العودة

لين ماب دريكسلر(1928-1999)

الفنان بيو الاستفسارحميل PDF
 
<div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div>
بدون عنوان (داكن)196219 × 24 1/2 بوصة.(48.26 × 60.96 سم) عصا زيتية على ورق
الاصل
تركة الفنان
معرض فوستر غوين، سان فرانسيسكو
مجموعة خاصة، سان فرانسيسكو، 2022
مجموعة خاصة، تم اقتناؤها من المجموعة المذكورة أعلاه
فيليبس نيويورك، الأربعاء، 15 نوفمبر/تشرين الثاني 2023، القطعة 105
مجموعة خاصة، تم الحصول عليها مما سبق

80,000

تعكس لوحة لين ماب دريكسلر "بدون عنوان (داكن)" (1962) للفنانة لين دريكسلر فترة الستينيات الموقرة، وهو عقد تكويني تم تكريمه مؤخرًا في معرض "لين دريكسلر: ملاحظات ملونة" في متحف فارنسورث للفنون (4 مايو 2024 - 12 يناير 2025). يُظهر هذا العمل الحميم، الذي نُفّذ باستخدام الأعواد الزيتية على الورق، نهج دريكسلر المميز في وضع طبقات من الضربات القصيرة والمتسارعة في أنماط كثيفة ومتعددة الطبقات. ومع ذلك، فإن لوحاتها هنا أكثر قتامة بشكل ملحوظ، حيث تستحضر جوًا أكثر مزاجية وتأملاً من لوحاتها ذات الألوان الزاهية من نفس الحقبة.





وعلى الرغم من صغر حجمها، إلا أن لوحة "بدون عنوان (داكن)" تكشف عن نفس عمل الفرشاة المنضبط والارتجالي الذي ميّز مسيرة دريكسلر المهنية المبكرة. تُنظّم العلاقات اللونية التركيبة، مذكّرةً بنظرية "الدفع والسحب" التي وضعها هانز هوفمان، في حين أن الحرية التعبيرية في رسمها للعلامات تستند إلى تأثير معلمها روبرت ماذرويل. والنتيجة هي استكشاف مضغوط وقوي للإيقاع واللون والنغمة العاطفية.





تقدم لوحة "بدون عنوان (داكن)" المختومة بختم تركة لين دريكسلر والموقعة والمؤرخة من قبل الفنانة، لمحة نادرة عن تجارب دريكسلر على الورق خلال عقد محوري من حياتها المهنية.
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الاستفسار