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LYNNE MAPP DREXLER (1928-1999)

BIO DEL ARTISTA CONSULTARDESCARGAR PDF
 
<div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div> <div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div>
Primavera esporádica196340 x 29 1/2 pulg.(101,6 x 76,2 x 3,81 cm) óleo sobre lienzo
Procedencia
Galería Lupine, Monhegan, Maine
Colección privada, adquirida a los anteriores
Phillips Nueva York, miércoles 15 de noviembre de 2023, Lote 106
Colección privada, adquirida a los anteriores
 Precio375,000
Primavera esporádica" (1963) de Lynne Mapp Drexler ejemplifica su dinámica aproximación al color y al gesto durante su venerado periodo de los sesenta, una década formativa que ha sido recientemente celebrada en la gran exposición "Lynne Drexler: Notas de color" en el Museo de Arte Farnsworth (4 de mayo de 2024 - 12 de enero de 2025). El lienzo está cubierto en su totalidad por densas capas de pinceladas cortas y repetitivas de vivos verdes, rojos y naranjas. Estas pinceladas se unen en una serie de círculos, rombos y rectángulos, formando un mosaico "esporádico" pero extraordinariamente armonioso que activa toda la superficie del cuadro.





En esta obra, el color prima sobre la forma, y Drexler utiliza la intensidad cromática para crear ritmo y estructura. Su técnica resuena con la influyente teoría "push-pull" de Hans Hofmann, en la que las relaciones de color generan profundidad espacial y tensión sin depender de la perspectiva tradicional. Al mismo tiempo, el vigor gestual y la calidad improvisada de la pincelada reflejan la influencia de su maestro Robert Motherwell, que fomentaba la libertad expresiva y la inmediatez emocional.





"Primavera esporádica" capta la síntesis de disciplina y espontaneidad de Drexler, revelando cómo se forjó una voz propia dentro de la Escuela de Nueva York al tiempo que anticipaba la abstracción lírica que definiría su estilo de madurez.
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