Back

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
Provenance
Estate of the artist, California, 1994
Chalk & Vermillion Fine Arts, Inc., Greenwich, Connecticut, 1997
Private Collection, California
Literature
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.)
Inquire

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.

SUSAN ROTHENBERG

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

SAM FRANCIS

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.

SAM FRANCIS

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>
<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>
<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.

RICHARD DIEBENKORN

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

TOM WESSELMANN

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

HASSEL SMITH

RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11

RICHARD DIEBENKORN

Carl Andre is an American artist who helped pioneer minimalist sculpture and was the husband of famed and celebrated artist Ana Mendieta. This is a classic text piece from the early 1960s and is typical of his poems which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Aviator Charles Lindbergh deep fascinated Carl Andre whom he returned to as a source for his poetry. This work with its structured repetition like his famed sculptures reflect the minimalism and post-minimalism emerging in the 1960s and the 1970s including fellow concrete poet Christopher Knowles.

CARL ANDRE

ROBERT NATKIN - Untitled - acrylic on canvas - 60 x 60 in.

ROBERT NATKIN

FRED MITCHELL - Untitled - oil on canvas - 72 x 72 in.

FRED MITCHELL

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

PAUL JENKINS

PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in.

PAUL JENKINS

ELLSWORTH KELLY - Pears III, (A.47) - lithograph - 35 3/4 x 24 1/2 in.

ELLSWORTH KELLY

ANDY WARHOL - I Dream of Genie with the Light Brown Shoes - offset lithograph with watercolor - 9 3/4 x 13 3/4 in.

ANDY WARHOL

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

PAUL JENKINS

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

PAUL JENKINS

PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.

PAUL JENKINS