PAUL JENKINS (1923-2012)

PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in. PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in.
Phenomena Violet Scent196614 x 18 in. oil on canvas
Private Collection, New York



Similar Artworks

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.


The only known extant Diebenkorn sculpture, this welded iron form is a brilliant example of his artistic development and the creative energy of his early work. 
<br>This rare sculpture comes from a period of experimentation and a burst of lyrical creativity that the artist experienced while in graduate school at the University of New Mexico. It was likely included in his 1951 Master's Degree Exhibition at that institution. Like many American artists before him, Diebenkorn was enthralled with the atmosphere and landscape of the Southwest. He produced energetic and unpredictable canvases with bold, warm colors, barely contained within their underlying geometric structure. This iron sculpture demonstrates the far reaches of the artist’s exploration, establishing the essential linear framework that would come to characterize his later work. 
<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.


Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors.
<br>Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.


Roy Lichtenstein’s style of Pop art was inspired by comic strips, in which he created images through a combination of mechanical reproduction and hand-drawing. He used iconic images and cultural influences to create striking action images, often with captions and onomatopoeic exclamations, much as one would find in comics. This screenprint is from a group of seven Reflections prints and in each, the image is obscured by color and patterns resembling the reflected light as if behind glass. Inspired by trying to photograph a work by Robert Rauschenberg behind glass, Lichtenstein appropriated images from his past and thus brings the appropriation of Pop art full circle.


American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.


Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.


MANUEL NERI - Standing Male Figure - polychrome plaster and wood - 70 x 13 3/4 x 19 in.


HASSEL SMITH - Piano, Bass and Drums - oil on canvas - 67 7/8 x 48 1/4 in.


ARNE HIERSOUX - Mem Sahib - acrylic and paper on canvas - 70 1/2 x 120 1/2 in.


NANCY SPERO - The Modest Orgasms of the Middle Class - gouache, charcoal, and collage on paper - 25 x 20 in.


PETER YOUNG - #5 - oil on canvas - 60 x 132 in.


HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.


KARL BENJAMIN - Untitled - oil on canvas - 50 x 38 1/4 in.


PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in


ROBERT NATKIN - Bern Series (#421) - acrylic on canvas - 34 x 46 in.


LAWRENCE SCHILLER - Robert Kennedy, San Diego - vintage silver gelatin photograph - 11 x 14 in.


ROBERT FRAME - Still Life on Green Table - oil on canvas - 30 x 40 in.


PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.


LAWRENCE SCHILLER - Clint Eastwood - Vintage Silver Gelatin Photograph - 11 x 14 in.


PAUL JENKINS - Phenomena The Edge of Plume - watercolor on paper - 30 1/4 x 22 1/4 in.


TSENG KWONG CHI - Oshima, Japan - silver gelatin print - 16 x 20 in.


WILLIAM WEGMAN - On Mrs. Wegman's Couch - C-Print - 4 x 4 in.


LAWRENCE SCHILLER - Contact Sheet, Marilyn Monroe, "Something's Got to Give" - Silver Gelatin Photograph - 20 x 24 in.


WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.


ELIOT PORTER - Coyote Gulch, Escalante River, Glen Canyon, Utah - dye-transfer print - 15 3/4 x 12 1/4 in.