SAM FRANCIS (1923-1994)

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in. SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.
Untitled 1985, San Leandro198544 x 52 in. acrylic on canvas mounted on board
Estate of the artist, California, 1994
Chalk & Vermillion Fine Arts, Inc., Greenwich, Connecticut, 1997
Private Collection, California
Hulten, Pontus. Sam Francis. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 1993; exh. cat., p. 412 (illus.);
Sam Francis. Rome: Galleria II Gabbiano, 1998; exh. cat., p. 45 (illus.);
Sam Francis: 1957-1986. Tokyo: Nantenshi Gallery, 1987; exh. cat. (illus.);
Sam Francis: Remembering 1923-1994. Amsterdam: Gallery Delaive, 2004; exh. cat., pp. 104, 112 (illus.);
Sam Francis: Retrospective in Blue. Bratislava, Slovakia: Danubiana Meulensteen Art Museum, 2010; exh. cat., p. 253 (illus.)

Similar Artworks

Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.


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


After his move to Paris in 1950, Sam Francis began to use vibrant, bold color in his painting.  Influenced by Henri Matisse, Francis evolved his palette to include bright reds, yellows, whites and blues. “New York, New York” is an exemplary work that shows the influence of the Parisian art scene on the artist. Francis provides the link between the audacious American Abstract Expressionism and the more calligraphic European Tachisme.


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. 
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