In two subsequent years, 1955 and 1956, she has her summer time in France. She joins the important Parisian artistic community and her style changes, renouncing to use a geometric grammar. The 'experiment' (in her own words) is successful as she will move permanently in Paris in 1959.
The violence of the hand, the zigzags, the desire to express the nature through abstraction make her art close to Pollock's, but Mitchell's strong temperament does not necessarily accepts models. Unlike Pollock, she uses a wide brush to perform her long lines of bright and pure colors. She develops an obsession against the drippings of paint that she takes away as soon as she sees them.
On November 10 in New York, Christie's sells an oil on canvas 195 x 185 cm painted in 1956, lot 30B estimated $ 6M.
This abstract painting is dominated by her favorite color, green, increasingly inspired by the French forests. The diversity and brilliance of the other colors anticipate her angers of the following years. The white background, which she considers necessary, provides the contrast.