About The Work
Jules Olitski (1922-1977) is one of the most collected and accomplished artists associated with the color-field movement, if not 20th century American abstraction.
Possibly one of the most "demanding" abstract artists - appreciating Olitski is not always easy. Some people, on first glance, dismiss his work from this period as simply being a mass of color.
But Olitski asks you to get up close to the work, to loose yourself in the color, to consider how its created and contained on the picture plane...He wants the viewer to think about the conventions and strategies used by his contemporaries and predecessors active in abstraction.
Throughout his lengthy career Olitski experimented with different techniques, creating a body of work that was dynamic and ever changing. One of Olitski's most radical reinventions occurred in the mid-1960's when he adopted industrial sprays.
During this period the leading American abstract artists were staining their canvases or taping up surfaces for hard-edge compositions. Olitski's spray was either an evolution or an abandonment of this approach, depending on one's perspective.
The spray technique produced minuscule droplets of vibrant color that float like a mist or dew on the canvas. Olitski continued to spray the paint on his canvases, creating works that were highly innovative and nuanced and unlike anything his contemporaries were creating.
This painting is an exceptional example from this remarkable era. Not only as it demonstrates his fascinating technique, but it was realized in an atypical small format. The color is also somewhat unusual for its saturated combination of persimmon, red and magenta.
At the time this painting was created Olitski was arguably the leading artist of the American avant-garde. In 1966 he co-represented the United States at the Venice Biennale, followed by one man exhibitions at the Corcoran Gallery (1967) and the Metropolitan Museum (1969). Olitski canvases from this era, in such a radiant color, rarely come to market.
Courtesy of Caviar20
About Jules Olitski
From The Magazine
- Interviews & Features: Shawn Henderson – The Art For Home Interview
- News & Events: To Protest Trump's Ban, This Museum Will Remove All Art Made By Immigrants
- Art 101: Looking to Start Buying Art? Here Are 9 Tips From Seasoned Experts on How to Build a Great Collection
- News & Events: Old Is the New New: What the Met Breuer and the ADAA Say About the Crisis of Progress
- News & Events: Inside New York's Swankiest Art Fair: A Connoisseur’s Preview of the ADAA
Painting
Acrylic on Canvas
21.00 x 9.50 in
53.3 x 24.1 cm
Signed, titled and dated by the artist verso(Along with various other artist notations verso)Comes with certificate of authenticity.
About The Work
Jules Olitski (1922-1977) is one of the most collected and accomplished artists associated with the color-field movement, if not 20th century American abstraction.
Possibly one of the most "demanding" abstract artists - appreciating Olitski is not always easy. Some people, on first glance, dismiss his work from this period as simply being a mass of color.
But Olitski asks you to get up close to the work, to loose yourself in the color, to consider how its created and contained on the picture plane...He wants the viewer to think about the conventions and strategies used by his contemporaries and predecessors active in abstraction.
Throughout his lengthy career Olitski experimented with different techniques, creating a body of work that was dynamic and ever changing. One of Olitski's most radical reinventions occurred in the mid-1960's when he adopted industrial sprays.
During this period the leading American abstract artists were staining their canvases or taping up surfaces for hard-edge compositions. Olitski's spray was either an evolution or an abandonment of this approach, depending on one's perspective.
The spray technique produced minuscule droplets of vibrant color that float like a mist or dew on the canvas. Olitski continued to spray the paint on his canvases, creating works that were highly innovative and nuanced and unlike anything his contemporaries were creating.
This painting is an exceptional example from this remarkable era. Not only as it demonstrates his fascinating technique, but it was realized in an atypical small format. The color is also somewhat unusual for its saturated combination of persimmon, red and magenta.
At the time this painting was created Olitski was arguably the leading artist of the American avant-garde. In 1966 he co-represented the United States at the Venice Biennale, followed by one man exhibitions at the Corcoran Gallery (1967) and the Metropolitan Museum (1969). Olitski canvases from this era, in such a radiant color, rarely come to market.
Courtesy of Caviar20
About Jules Olitski
From The Magazine
- Interviews & Features: Shawn Henderson – The Art For Home Interview
- News & Events: To Protest Trump's Ban, This Museum Will Remove All Art Made By Immigrants
- Art 101: Looking to Start Buying Art? Here Are 9 Tips From Seasoned Experts on How to Build a Great Collection
- News & Events: Old Is the New New: What the Met Breuer and the ADAA Say About the Crisis of Progress
- News & Events: Inside New York's Swankiest Art Fair: A Connoisseur’s Preview of the ADAA
Original period frame Very good condition. Provenance: Hackett Mill (San Francisco) Private Collection (Toronto)
This work may require special shipping and handling.
- This work is framed.
- Ships in 5 to 7 business days from Canada.
- This work is final sale and not eligible for return.
- Questions about this work?
- Interested in other works by this artist or other artists? We will source them for you.
- Want to pay in installments?
Contact an Artspace Advisor
advisor@artspace.com