Art by Women from 1956 to 1965
1956 Armonia by Remedios Varo
2020 SOLD for $ 6.2M including premium by Sotheby's
narrated post sale in 2020
The art of Remedios Varo is surreal, with a subtle neo-medieval atmosphere. She incorporates contradictions and aberrations into finely drawn figures, bringing occultism and alchemy amid an apparent realism. Many of her paintings are self-portraits, in which she is recognizable by a too short chin.
On June 30, 2020, Sotheby's sold at lot 1004 for $ 6.2M including premium from a lower estimate of $ 2M an oil on masonite 75 x 93 cm painted in 1956, titled Armonia (Autorretrato sugerente).
The artist's studio takes the form of a Romanesque chapel. The woman is sitting on a stool in front of a table. Without paying attention, she threads small objects onto a musical stave that has taken the function of a pattern of ropes, in front of a wall figure that appears like a life-size monochrome self-portrait.
The workshop layout is symmetrical, with another monochrome figure and another stave on the right side of the room. In this place, the stave is perpendicular to the wall figure, whose hand shoots out of the frame to catch a threaded object.
Now that the attention is drawn to these artefacts, we find that they are everywhere, indefinable and transparent, sometimes vegetated : they are disgorging from hatches in the floor and overflowing from drawers, chests and even the bidet. A grimoire which is perhaps an antiphonary is opened in front of the clef. This woman who seemed modern is a witch, claimed in the subtitle as a self-portrait. In the door, a bird in flight escapes this surreal madness.
On June 30, 2020, Sotheby's sold at lot 1004 for $ 6.2M including premium from a lower estimate of $ 2M an oil on masonite 75 x 93 cm painted in 1956, titled Armonia (Autorretrato sugerente).
The artist's studio takes the form of a Romanesque chapel. The woman is sitting on a stool in front of a table. Without paying attention, she threads small objects onto a musical stave that has taken the function of a pattern of ropes, in front of a wall figure that appears like a life-size monochrome self-portrait.
The workshop layout is symmetrical, with another monochrome figure and another stave on the right side of the room. In this place, the stave is perpendicular to the wall figure, whose hand shoots out of the frame to catch a threaded object.
Now that the attention is drawn to these artefacts, we find that they are everywhere, indefinable and transparent, sometimes vegetated : they are disgorging from hatches in the floor and overflowing from drawers, chests and even the bidet. A grimoire which is perhaps an antiphonary is opened in front of the clef. This woman who seemed modern is a witch, claimed in the subtitle as a self-portrait. In the door, a bird in flight escapes this surreal madness.
1957 Re-Echo by Lee Krasner
2020 SOLD for $ 9M including premium by Sotheby's
Link to catalogue.
1957-1958 Untitled by Joan Mitchell
2018 SOLD for $ 9.1M including premium by Christie's
1959 Endless White by Yayoi Kusama
2019 SOLD for HK$ 62M including premium
Yayoi Kusama arrives in New York City in June 1958, bringing therein her obsessions and her hallucinogenic visions. She is nothing but a small insignificant dot in the infinity of mankind, but she would like this dot to become highly visible.
In 1959 she covers her canvases with a network of regularly spaced dots in white paint, in a minimalist gesture that she reproduces without any other modification than thickness variations.
This work is never finished. She is able to perform it without resting during forty or fifty hours, satiating her body and subconscious mind in this repetitive task. Each of these identical dots was at one moment an achievement of her creation. When a canvas is entirely filled with that white proliferation, she begins another one that can be viewed as its extension.
She reaches her target of astonishing the New York arts community. Her art is the opposite of all tendencies : it does not offer the global effect of abstract expressionism, nor the gestural amplitude of action painting, nor the new figuration of pop art. Her monochrome white is not a sign of purity but a provocation. Donald Judd is amazed.
No. 2, 183 x 274 cm, which had belonged to Judd, was sold for $ 5.8M including premium by Christie's on November 12, 2008. Interminable net # 3, 133 x 125 cm, was sold for $ 5.9M including premium by Sotheby's on May 12, 2015. Interminable net # 4, 144 x 109 cm, is estimated HK $ 50M for sale by Sotheby's in Hong Kong on April 1, lot 1144.
The creative act is a temporary therapy that does not solve her obsession against sex. Wanting to face it like Dali had done thirty years earlier, she will end her New York period in exhibitionism and pornography.
In 1959 she covers her canvases with a network of regularly spaced dots in white paint, in a minimalist gesture that she reproduces without any other modification than thickness variations.
This work is never finished. She is able to perform it without resting during forty or fifty hours, satiating her body and subconscious mind in this repetitive task. Each of these identical dots was at one moment an achievement of her creation. When a canvas is entirely filled with that white proliferation, she begins another one that can be viewed as its extension.
She reaches her target of astonishing the New York arts community. Her art is the opposite of all tendencies : it does not offer the global effect of abstract expressionism, nor the gestural amplitude of action painting, nor the new figuration of pop art. Her monochrome white is not a sign of purity but a provocation. Donald Judd is amazed.
No. 2, 183 x 274 cm, which had belonged to Judd, was sold for $ 5.8M including premium by Christie's on November 12, 2008. Interminable net # 3, 133 x 125 cm, was sold for $ 5.9M including premium by Sotheby's on May 12, 2015. Interminable net # 4, 144 x 109 cm, is estimated HK $ 50M for sale by Sotheby's in Hong Kong on April 1, lot 1144.
The creative act is a temporary therapy that does not solve her obsession against sex. Wanting to face it like Dali had done thirty years earlier, she will end her New York period in exhibitionism and pornography.
1959 The Self Obliteration of Yayoi Kusama
2015 SOLD for $ 5.9M including premium
Since childhood, Yayoi Kusama is practicing drawing and painting to fight her anxiety. She sees in hallucination the motif which she is painting, infinitely repeated, and comes to assimilate it to the contradiction between individual and mankind.
In 1958, viewing the network of lights of New York from the top of the skyscrapers, she appreciates the mystical dimension of her own ailment. She expresses infinity, spending dozens of consecutive hours to tirelessly paint on the canvas the same tiny colorful pattern whose repetition cancels her discomfort.
Her art comes at the right time, when New York seeks to define a new style to supersede the expressionism. Searching for her psychic quietness through a process of annihilation, self obliteration in her own wording, she is supported by Donald Judd and the minimalists. The use of white in art is the concern of many other artists including Manzoni, Ryman, Uecker and the unlimited repeatability of her brush is comparable to Agnes Martin's.
On May 12 in New York, Sotheby's sells Interminable Net No. 3, one of the first works of her new style in New York. This oil on canvas 133 x 125 cm painted in 1959 is estimated $ 5M, lot 17. On 12 November 2014, Christie's sold for $ 7.1M including premium White No. 28, 148 x 111 cm painted in 1960.
This unprecedented therapy by abstract art may have temporarily relieved Yayoi Kusama but did not heal her. Her voluntary move to a mental home in Japan did not stop her creativity.
In 1958, viewing the network of lights of New York from the top of the skyscrapers, she appreciates the mystical dimension of her own ailment. She expresses infinity, spending dozens of consecutive hours to tirelessly paint on the canvas the same tiny colorful pattern whose repetition cancels her discomfort.
Her art comes at the right time, when New York seeks to define a new style to supersede the expressionism. Searching for her psychic quietness through a process of annihilation, self obliteration in her own wording, she is supported by Donald Judd and the minimalists. The use of white in art is the concern of many other artists including Manzoni, Ryman, Uecker and the unlimited repeatability of her brush is comparable to Agnes Martin's.
On May 12 in New York, Sotheby's sells Interminable Net No. 3, one of the first works of her new style in New York. This oil on canvas 133 x 125 cm painted in 1959 is estimated $ 5M, lot 17. On 12 November 2014, Christie's sold for $ 7.1M including premium White No. 28, 148 x 111 cm painted in 1960.
This unprecedented therapy by abstract art may have temporarily relieved Yayoi Kusama but did not heal her. Her voluntary move to a mental home in Japan did not stop her creativity.
1960 Mitchell with or without Birds
2018 SOLD for $ 14M including premium
Joan Mitchell moved permanently to Paris in 1959, the year when she also began her affair with Riopelle. Her studio in rue Frémicourt is far from intellectual communities, perhaps to better preserve the authenticity and originality of her abstract creativity inspired by the colors of nature.
Despite the illusion of spontaneity close to the Action Painting, her art is the result of a meticulous preparation. Her style changes after she arrives in Paris. It brings her solution to the great ambition of the abstract expressionists to offer the visitor an infinite vision without frame : it gathers a multicolored centrifugal energy in the center of very large canvases whose edges are only reached by apparent splashes.
On November 13 in New York, Christie's sells a 296 x 200 cm oil on canvas painted in 1960, lot 14 B estimated $ 12M. An Untitled 240 x 204 cm painted in the same year and same style was sold for $ 12M including premium by Christie's on May 13, 2014.
Joan gave titles to the works which she considered the most evocative. The painting that comes on sale is named 12 Hawks at 3 O'Clock. The title in English cannot be linked to some Parisian surrealist poetry. The work also has no particularity at that time position on a clock dial.
In her attention to nature, Joan included the birds. 12 hawks at 3:00 is certainly referring to reserves for the protection of raptors in which birdwatchers recorded the flight of birds with that level of detail.
Joan had always stated a great admiration for Le Champ de Blé aux Corbeaux, considered as the ultimate and premonitory work by Vincent van Gogh. In the final phase of her life, she will paint a colorful composition inspired by this artwork, titled No Birds in a poignant effort to force optimism.
Despite the illusion of spontaneity close to the Action Painting, her art is the result of a meticulous preparation. Her style changes after she arrives in Paris. It brings her solution to the great ambition of the abstract expressionists to offer the visitor an infinite vision without frame : it gathers a multicolored centrifugal energy in the center of very large canvases whose edges are only reached by apparent splashes.
On November 13 in New York, Christie's sells a 296 x 200 cm oil on canvas painted in 1960, lot 14 B estimated $ 12M. An Untitled 240 x 204 cm painted in the same year and same style was sold for $ 12M including premium by Christie's on May 13, 2014.
Joan gave titles to the works which she considered the most evocative. The painting that comes on sale is named 12 Hawks at 3 O'Clock. The title in English cannot be linked to some Parisian surrealist poetry. The work also has no particularity at that time position on a clock dial.
In her attention to nature, Joan included the birds. 12 hawks at 3:00 is certainly referring to reserves for the protection of raptors in which birdwatchers recorded the flight of birds with that level of detail.
Joan had always stated a great admiration for Le Champ de Blé aux Corbeaux, considered as the ultimate and premonitory work by Vincent van Gogh. In the final phase of her life, she will paint a colorful composition inspired by this artwork, titled No Birds in a poignant effort to force optimism.
1960 The Grand Mourning of Lee Krasner
2019 SOLD for $ 11.7M including premium
Lee Krasner, Jackson Pollock's wife, was an artist of great creativity. She managed to reveal the genius of her husband to himself and to the world while pushing him to work in an isolated barn, far away from the sterile temptations of the big city.
With this success, she had let her career vanish behind Jackson's glory. When he died in 1956, she knew how to demonstrate the originality of her personal art. Inspired by biomorphics, her style is closer to de Kooning than to Pollock.
The death of her mother in 1959 is an intolerable event for this hypersensitive woman. She returns in the barn studio for painting on very large canvases. Her works are unlimited like those of Pollock, with an angry energy like that of Joan Mitchell and an obsession with repetition like Yayoi Kusama.
Her psychological trauma makes her lose sleep. Throughout the night, she paints. She remembers her talent as a colorist and regrets having to work in the dark. She skillfully chooses neutral and nuanced hues that do not ask for being improved by daylight such as amber, cream, sienna. This series of 24 paintings executed from 1959 to 1961 is titled Umber, which means both shadow and sienna.
On May 16 in New York, Sotheby's sells a 234 x 487 cm oil on canvas painted in 1960, lot 29 estimated $ 10M. It is titled The Eye is the First Circle, which is a mystical quote from Ralph Waldo Emerson searching for the meaning of the world. Please watch the video shared by the auction house.
With this success, she had let her career vanish behind Jackson's glory. When he died in 1956, she knew how to demonstrate the originality of her personal art. Inspired by biomorphics, her style is closer to de Kooning than to Pollock.
The death of her mother in 1959 is an intolerable event for this hypersensitive woman. She returns in the barn studio for painting on very large canvases. Her works are unlimited like those of Pollock, with an angry energy like that of Joan Mitchell and an obsession with repetition like Yayoi Kusama.
Her psychological trauma makes her lose sleep. Throughout the night, she paints. She remembers her talent as a colorist and regrets having to work in the dark. She skillfully chooses neutral and nuanced hues that do not ask for being improved by daylight such as amber, cream, sienna. This series of 24 paintings executed from 1959 to 1961 is titled Umber, which means both shadow and sienna.
On May 16 in New York, Sotheby's sells a 234 x 487 cm oil on canvas painted in 1960, lot 29 estimated $ 10M. It is titled The Eye is the First Circle, which is a mystical quote from Ralph Waldo Emerson searching for the meaning of the world. Please watch the video shared by the auction house.
1960 An Anger of Joan Mitchell
2011 SOLD 9.3 M$ including premium
Joan Mitchell settles in Paris in 1959 with Jean-Paul Riopelle. Welcomed by the artistic community, she manages to realize her violent temper, becoming one of the best artists of abstract expressionism.
From her training and beginnings in the United States, she learned the lesson of Jackson Pollock, with significant differences for the aesthetic effect of the art. Her pure colors are bright. Concentrated in the middle of the canvas, they provide the illusion of an explosion with many drips. Less spontaneous than Pollock, Mitchell reworked her paintings until reaching the desired balance between colors.
An oil painting of large size, 243 x 200 cm, made circa 1960 in her early Parisian life, was sold $ 3.2 million including premium at Christie's on May 16, 2007.
This work is now estimated $ 4M, for sale by Sotheby's in New York on November 9. Considering that its presentation at Christie's four years ago helped to better appreciate this particularly creative period in the career of Mitchell, this gain is reasonable.
POST SALE COMMENT
As in 2007, this painting is confirmed as a masterpiece of Joan Mitchell. Sold $ 9.3 million including premium, it demonstrates the dramatic and deserved evolution of the rating of this artist.
From her training and beginnings in the United States, she learned the lesson of Jackson Pollock, with significant differences for the aesthetic effect of the art. Her pure colors are bright. Concentrated in the middle of the canvas, they provide the illusion of an explosion with many drips. Less spontaneous than Pollock, Mitchell reworked her paintings until reaching the desired balance between colors.
An oil painting of large size, 243 x 200 cm, made circa 1960 in her early Parisian life, was sold $ 3.2 million including premium at Christie's on May 16, 2007.
This work is now estimated $ 4M, for sale by Sotheby's in New York on November 9. Considering that its presentation at Christie's four years ago helped to better appreciate this particularly creative period in the career of Mitchell, this gain is reasonable.
POST SALE COMMENT
As in 2007, this painting is confirmed as a masterpiece of Joan Mitchell. Sold $ 9.3 million including premium, it demonstrates the dramatic and deserved evolution of the rating of this artist.
1961 The Danger of the Sea
2018 SOLD for HK$ 56M including premium
Joan Mitchell is attracted by the beauty of the landscapes of France with its forests and seas. She admires Van Gogh's relationship with the ground and the Fauvist colors by Matisse.
When she establishes her studio permanently in Paris, her style changes. The lines of bright pure colors that made her practice compared with Pollock's are relegated to the edges of the image while the center becomes a violent bubbling.
The early 1960s is a difficult time for this hypersensitive artist who knows that her parents are seriously ill. Her explosions of colors are however not the result of a simple rage. The canvas is carefully prepared by a drawing defining the outlines that will guide her rapid movements, alternately centripetal and centrifugal.
The achievement of her art at that time is the expression of a location. With its cool colors, Atlantic Side, 222 x 220 cm painted in 1960-1961, is typical of these abstract landscapes that anticipate the paintings by de Kooning at Long Island. It was sold for $ 6.9M including premium by Sotheby's on November 13, 2013.
On September 30 in Hong Kong, Sotheby's sells Syrtis, oil on canvas 130 x 162 cm painted in 1961, lot 1080 estimated HK $ 50M.
In that year Joan spent the summer in Cap d'Antibes. Faced with the splendid colors of the French Riviera, she imagines the Mediterranean sea in the supreme expression of its hottest point, the Gulf of Sirte on the Libyan coast. Sirte has been an attractive place since antiquity with its abundant fish for which boats take the risk of running aground on the sandbanks.
By its title and exuberance, Syrtis reflects the anxieties of Joan Mitchell. Adding the reference to the distant past, this work joins the fantasies of another American who chose Europe, Cy Twombly, probably without consultation between the two artists.
When she establishes her studio permanently in Paris, her style changes. The lines of bright pure colors that made her practice compared with Pollock's are relegated to the edges of the image while the center becomes a violent bubbling.
The early 1960s is a difficult time for this hypersensitive artist who knows that her parents are seriously ill. Her explosions of colors are however not the result of a simple rage. The canvas is carefully prepared by a drawing defining the outlines that will guide her rapid movements, alternately centripetal and centrifugal.
The achievement of her art at that time is the expression of a location. With its cool colors, Atlantic Side, 222 x 220 cm painted in 1960-1961, is typical of these abstract landscapes that anticipate the paintings by de Kooning at Long Island. It was sold for $ 6.9M including premium by Sotheby's on November 13, 2013.
On September 30 in Hong Kong, Sotheby's sells Syrtis, oil on canvas 130 x 162 cm painted in 1961, lot 1080 estimated HK $ 50M.
In that year Joan spent the summer in Cap d'Antibes. Faced with the splendid colors of the French Riviera, she imagines the Mediterranean sea in the supreme expression of its hottest point, the Gulf of Sirte on the Libyan coast. Sirte has been an attractive place since antiquity with its abundant fish for which boats take the risk of running aground on the sandbanks.
By its title and exuberance, Syrtis reflects the anxieties of Joan Mitchell. Adding the reference to the distant past, this work joins the fantasies of another American who chose Europe, Cy Twombly, probably without consultation between the two artists.
1961-1962 Miss Mitchell in the City
2020 SOLD for $ 11M including premium
Joan Mitchell is passionate about the colors of landscapes, and the treatment of color by the great masters such as Turner, Monet and Van Gogh. Like Pollock, she expresses her feeling for nature through abstraction. This involvement by a woman in abstract expressionism surprised art critics : they referred to her as Miss Mitchell.
Joan is appealed by European art and by the landscapes of France where she makes frequent stays before setting up her workshop in Paris in 1959, in a remote district to avoid unwanted influences on her creativity.
However times are difficult for Joan, very affected by the poor health of her parents. She supersedes the impressions of nature by an abstraction of great violence. She will remember it later as a period of great anger.
In fact her anger was under control. The artworks, often very large, remain the object of a meticulous preparation. The gestures that create the illusion of an explosion do not extend beyond the preliminary sketch. Unlike other abstract painters, she uses all the techniques to obtain the desired effect on the canvas : wash, impasto, throwing, fine brush strokes, and probably also the fingers. Green remains her favorite color.
During this Parisian period, the titles of the works are defined afterwards, only when necessary and most often without a real meaning. Some confirm the artist's taste for poetry.
An Untitled 250 x 204 cm painted in 1960 was sold for $ 12M including premium by Christie's on May 13, 2014. Painted in the same year, 12 Hawks at 3 O'Clock, 296 x 200 cm, whose title is a sponsoring for the protection of raptors in an American nature reserve, was sold for $ 14M including premium by Christie's on November 13, 2018.
Noël, 205 x 200 cm painted in 1961 or 1962, is estimated $ 9.5M to be sold by Phillips in New York on July 2, lot 5. Garden Party, 165 x 130 cm painted in the same time range, is estimated $ 4M for sale by Sotheby's in New York on June 29, lot 7.
RESULTS INCLUDING PREMIUM :
Phillips ; SOLD for $ 11M
Sotheby's : SOLD for $ 7.9M
Joan is appealed by European art and by the landscapes of France where she makes frequent stays before setting up her workshop in Paris in 1959, in a remote district to avoid unwanted influences on her creativity.
However times are difficult for Joan, very affected by the poor health of her parents. She supersedes the impressions of nature by an abstraction of great violence. She will remember it later as a period of great anger.
In fact her anger was under control. The artworks, often very large, remain the object of a meticulous preparation. The gestures that create the illusion of an explosion do not extend beyond the preliminary sketch. Unlike other abstract painters, she uses all the techniques to obtain the desired effect on the canvas : wash, impasto, throwing, fine brush strokes, and probably also the fingers. Green remains her favorite color.
During this Parisian period, the titles of the works are defined afterwards, only when necessary and most often without a real meaning. Some confirm the artist's taste for poetry.
An Untitled 250 x 204 cm painted in 1960 was sold for $ 12M including premium by Christie's on May 13, 2014. Painted in the same year, 12 Hawks at 3 O'Clock, 296 x 200 cm, whose title is a sponsoring for the protection of raptors in an American nature reserve, was sold for $ 14M including premium by Christie's on November 13, 2018.
Noël, 205 x 200 cm painted in 1961 or 1962, is estimated $ 9.5M to be sold by Phillips in New York on July 2, lot 5. Garden Party, 165 x 130 cm painted in the same time range, is estimated $ 4M for sale by Sotheby's in New York on June 29, lot 7.
RESULTS INCLUDING PREMIUM :
Phillips ; SOLD for $ 11M
Sotheby's : SOLD for $ 7.9M
1961-1962 Garden Party by Joan Mitchell
2020 SOLD for $ 7.9M including premium by Sotheby's
Link to catalogue.
1964 The Beach by Agnes Martin
2013 SOLD for $ 6.5M including premium by Sotheby's
Link to catalogue.
1964 The Rocky Coast of Cornwall
2016 SOLD for £ 3.55M including premium
Barbara Hepworth becomes a sculptor at the time when Brancusi and Arp are purifying the forms. She is certainly the very first artist to want to express the landscape through the sculpture. She imagines to create abstract structures around human life size and to hollow them. She had a decisive influence on Henry Moore.
The war pushes her to a land's end, more precisely to St. Ives in Cornwall where a community of artists was established around Bernard Leach's pottery workshop.
A figure by Barbara Hepworth is foreseen for outdoor use, in harmony with the natural sculptures of the rocks by the ocean. Her garden adjoins her studio. She is responsive to the differentiated expression of each point of the seaside attacked by the waves and shaken by the wind. Hepworth knows that her creative ability is directly related to her feminine sensibility.
Her standing monuments can remain isolated or be grouped. Megaliths like in Brittany do not exist in Cornwall and did not influence Hepworth but her artistic language has a similar timeless quality.
In 1960 she tries the bronze. Her assistants help her to position the original plaster around the armature. Bronze is a robust material that does not weaken her void structures and allows the green-brown patina matching the real color of the rocks of the coast. A bronze 2.60 m high was sold for £ 4.2M including premium by Christie's on June 25, 2014.
On June 30 in London, Christie's sells a bronze 2.04 m high titled Sea Form (Atlantic), lot 22 estimated £ 3M, serial number 6 in an edition of 6 plus one artist's proof. This work was conceived in 1964 and cast in London between 1964 and 1966.
The abstract figures by Barbara Hepworth meet a growing interest in the art market. A sculpture 59 cm high executed in 1946 with its inside walls painted in sky blue was sold for $ 5.4M including premium by Christie's on May 12, 2016 over a lower estimate of $ 1.2M.
The war pushes her to a land's end, more precisely to St. Ives in Cornwall where a community of artists was established around Bernard Leach's pottery workshop.
A figure by Barbara Hepworth is foreseen for outdoor use, in harmony with the natural sculptures of the rocks by the ocean. Her garden adjoins her studio. She is responsive to the differentiated expression of each point of the seaside attacked by the waves and shaken by the wind. Hepworth knows that her creative ability is directly related to her feminine sensibility.
Her standing monuments can remain isolated or be grouped. Megaliths like in Brittany do not exist in Cornwall and did not influence Hepworth but her artistic language has a similar timeless quality.
In 1960 she tries the bronze. Her assistants help her to position the original plaster around the armature. Bronze is a robust material that does not weaken her void structures and allows the green-brown patina matching the real color of the rocks of the coast. A bronze 2.60 m high was sold for £ 4.2M including premium by Christie's on June 25, 2014.
On June 30 in London, Christie's sells a bronze 2.04 m high titled Sea Form (Atlantic), lot 22 estimated £ 3M, serial number 6 in an edition of 6 plus one artist's proof. This work was conceived in 1964 and cast in London between 1964 and 1966.
The abstract figures by Barbara Hepworth meet a growing interest in the art market. A sculpture 59 cm high executed in 1946 with its inside walls painted in sky blue was sold for $ 5.4M including premium by Christie's on May 12, 2016 over a lower estimate of $ 1.2M.
1965 Orange Grove by Agnes Martin
2016 SOLD for $ 10.7M including premium by Christie's
1965 Agnes Martin caught by the Desert
2007 SOLD for $ 4.7M including premium by Christie's
2010 UNSOLD
PRE 2010 SALE DISCUSSION
One can hardly imagine an artistic language simpler than that of Agnes Martin. She covers her canvases with a layer of monochrome acrylic, and she finishes the work by a regular grid in pencil. Like Rothko, it reaches the supremacy of abstract art: a painting by Agnes Martin must be for real, no reproduction can approach the effect offered by the original.
Qualifying herself to abstract expressionist, Martin wanted to express the perfection and eternity of nature. In 1965, while living in New York, she created The Desert, 183 x 183 cm, light beige. This woman from Saskatchewan had long taught in New Mexico. Fleeing New York, she will settle as early as 1967 in Taos, this small paradise for artists where we recently discussed a work by Fechin.
On May 12, Sotheby's sells the Desert in New York, with an estimate of $ 4 million. It had been sold for $ 4.7 million by Christie's on May 16, 2007.
Canada is proud to have given birth to Agnes Martin. Information about this lot was shared by the Montreal Gazette and by CBC News.
POST SALE COMMENT
Among the top lots, The Desert is the only disappointment of this extraordinary sale: unsold.
Yet in the same sale, a small painting from 1962 (27 x 27 cm) titled Kyrie has been sold $ 2.2 million including premium on a $ 600 K estimate. The grid clearly visible and reinforced with nails is a good example of the art of Agnes Martin.
One can hardly imagine an artistic language simpler than that of Agnes Martin. She covers her canvases with a layer of monochrome acrylic, and she finishes the work by a regular grid in pencil. Like Rothko, it reaches the supremacy of abstract art: a painting by Agnes Martin must be for real, no reproduction can approach the effect offered by the original.
Qualifying herself to abstract expressionist, Martin wanted to express the perfection and eternity of nature. In 1965, while living in New York, she created The Desert, 183 x 183 cm, light beige. This woman from Saskatchewan had long taught in New Mexico. Fleeing New York, she will settle as early as 1967 in Taos, this small paradise for artists where we recently discussed a work by Fechin.
On May 12, Sotheby's sells the Desert in New York, with an estimate of $ 4 million. It had been sold for $ 4.7 million by Christie's on May 16, 2007.
Canada is proud to have given birth to Agnes Martin. Information about this lot was shared by the Montreal Gazette and by CBC News.
POST SALE COMMENT
Among the top lots, The Desert is the only disappointment of this extraordinary sale: unsold.
Yet in the same sale, a small painting from 1962 (27 x 27 cm) titled Kyrie has been sold $ 2.2 million including premium on a $ 600 K estimate. The grid clearly visible and reinforced with nails is a good example of the art of Agnes Martin.
