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Sam FrancisOhne Titel (SF 79-885)Acryl auf Karton. 75 x 104,5 cm. Unter Glas gerahmt. Rückseitig mit

In Contemporary Art

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Sam FrancisOhne Titel (SF 79-885)Acryl auf Karton. 75 x 104,5 cm. Unter Glas gerahmt. Rückseitig mit
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Sam Francis
Ohne Titel (SF 79-885)

Acryl auf Karton. 75 x 104,5 cm. Unter Glas gerahmt. Rückseitig mit dem Signaturstempel "Sam Francis", dem Stempel "The Sam Francis Estate" sowie mit den Archiv- und Werknummern des Sam Francis Estate und der Sam Francis Foundation, Santa Monica, Kalifornien.

Provenienz
Nachlass des Künstlers, Kalifornien; Gallery Delaive, Amsterdam (mit rückseitigem Aufkleber); Baukunst Galerie, Köln (mit rückseitigem Aufkleber); Privatsammlung, Nordrhein-Westfalen

Nach den edge paintings der 1960er Jahre, in denen Sam Francis die Bildmitte seiner Gemälde weiß belässt und die Farben an den äußersten Rand drängt, erlaubt er ab Anfang der 1970er Jahre den Farben eine Rückkehr in das Zentrum der Komposition. Zugleich führt er ordnende Farbbänder ein, die die Bildfläche in zunehmenden Maße wie ein Gitter überziehen. Sie strukturieren die Bildfläche gleichmäßig durch und geben damit jeder Bildpartie die gleiche Relevanz, es gibt keine dominierenden Mittel- oder Randbereiche mehr.
Die zarten, türkisfarbenen Gitterlinien, die das hier angebotene Werk in rechtwinkligen Farbbändern überziehen, wirken wie eine Gewebestruktur, an der sich die roten, blauen, gelben und violetten Farbpunkte und -schlieren absetzen. Francis erschafft damit eine leichte, lichtdurchlässige Komposition von großer Ausgewogenheit. Anklänge an fernöstliche Kalligraphie, französischen Impressionismus, Farbfeldmalerei und Action painting - alles Einflüsse, die prägend für seine künstlerische Entwicklung waren - sind in Werken wie diesen auszumachen.

NB

Sam Francis
Untitled (SF 79-885)

Acrylic on card. 75 x 104.5 cm. Framed under glass. Signature stamp "Sam Francis", stamp "The Sam Francis Estate" and archive and work numbers of the Sam Francis Estate and Sam Francis Foundation, Santa Monica, California, verso.

This work is identified with the interim identification number of SF 79-885 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

Provenance
Artist's estate, California; Gallery Delaive, Amsterdam (label verso); Baukunst Galerie, Cologne (label verso); private collection, Northern Rhine-Westphalia

After the edge paintings of the 1960s - in which Sam Francis left the centre of his paintings white and pushed the colours to the outermost edge - from the beginning of the 1970s, he allowed the colours to return to the centre of the composition. He simultaneously introduced regulated bands of colour which increasingly covered the picture surface like a grid. They structure the picture surface evenly and thus give each part of the picture equal relevance. There are no longer any dominant areas at the middle or edge.
The delicate turquoise-coloured grid lines which cross the present work in right-angled bands of colour are like a woven structure contrasting with the red, blue, yellow and violet dots and streaks. Francis thus creates a light, translucent composition of great equilibrium. Echoes of Far Eastern calligraphie, French Impressionism, colour field painting and action painting - all influences that shaped his artistic development - can be accounted for in works like these.

NB
Sam Francis
Ohne Titel (SF 79-885)

Acryl auf Karton. 75 x 104,5 cm. Unter Glas gerahmt. Rückseitig mit dem Signaturstempel "Sam Francis", dem Stempel "The Sam Francis Estate" sowie mit den Archiv- und Werknummern des Sam Francis Estate und der Sam Francis Foundation, Santa Monica, Kalifornien.

Provenienz
Nachlass des Künstlers, Kalifornien; Gallery Delaive, Amsterdam (mit rückseitigem Aufkleber); Baukunst Galerie, Köln (mit rückseitigem Aufkleber); Privatsammlung, Nordrhein-Westfalen

Nach den edge paintings der 1960er Jahre, in denen Sam Francis die Bildmitte seiner Gemälde weiß belässt und die Farben an den äußersten Rand drängt, erlaubt er ab Anfang der 1970er Jahre den Farben eine Rückkehr in das Zentrum der Komposition. Zugleich führt er ordnende Farbbänder ein, die die Bildfläche in zunehmenden Maße wie ein Gitter überziehen. Sie strukturieren die Bildfläche gleichmäßig durch und geben damit jeder Bildpartie die gleiche Relevanz, es gibt keine dominierenden Mittel- oder Randbereiche mehr.
Die zarten, türkisfarbenen Gitterlinien, die das hier angebotene Werk in rechtwinkligen Farbbändern überziehen, wirken wie eine Gewebestruktur, an der sich die roten, blauen, gelben und violetten Farbpunkte und -schlieren absetzen. Francis erschafft damit eine leichte, lichtdurchlässige Komposition von großer Ausgewogenheit. Anklänge an fernöstliche Kalligraphie, französischen Impressionismus, Farbfeldmalerei und Action painting - alles Einflüsse, die prägend für seine künstlerische Entwicklung waren - sind in Werken wie diesen auszumachen.

NB

Sam Francis
Untitled (SF 79-885)

Acrylic on card. 75 x 104.5 cm. Framed under glass. Signature stamp "Sam Francis", stamp "The Sam Francis Estate" and archive and work numbers of the Sam Francis Estate and Sam Francis Foundation, Santa Monica, California, verso.

This work is identified with the interim identification number of SF 79-885 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

Provenance
Artist's estate, California; Gallery Delaive, Amsterdam (label verso); Baukunst Galerie, Cologne (label verso); private collection, Northern Rhine-Westphalia

After the edge paintings of the 1960s - in which Sam Francis left the centre of his paintings white and pushed the colours to the outermost edge - from the beginning of the 1970s, he allowed the colours to return to the centre of the composition. He simultaneously introduced regulated bands of colour which increasingly covered the picture surface like a grid. They structure the picture surface evenly and thus give each part of the picture equal relevance. There are no longer any dominant areas at the middle or edge.
The delicate turquoise-coloured grid lines which cross the present work in right-angled bands of colour are like a woven structure contrasting with the red, blue, yellow and violet dots and streaks. Francis thus creates a light, translucent composition of great equilibrium. Echoes of Far Eastern calligraphie, French Impressionism, colour field painting and action painting - all influences that shaped his artistic development - can be accounted for in works like these.

NB

Contemporary Art

Auktionsdatum
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Köln
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Germany

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