LYNNE MAPP DREXLER (1928-1999)

$475,000

 
<div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div> <div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div>
Soleil printanier197135 5/8 x 39 3/4 x 1 po(90,36 x 100,97 x 2,54 cm) huile sur toile
Provenance
Studio de l'artiste, Spring Street, New York City, New York
Succession de John Hultberg, par legs de la personne susmentionnée
Collection privée par l'intermédiaire d'Elaine Weschler, 2013
Collection privée, Maine, 2025
Spring Sun (1971) de Lynne Mapp Drexler illustre parfaitement l'abstraction lyrique et vibrante qui lui a valu une reconnaissance renouvelée ces dernières années. Composée de cercles concentriques, de coups de pinceau en cascade et de teintes rayonnantes de jaune, d'orange et de rouge, la toile vibre au rythme de la lumière et des saisons. Le vocabulaire pictural de Drexler, qui superpose des coups de pinceau gestuels à des grappes pointillistes, crée une surface dynamique qui évoque à la fois les phénomènes naturels et la structure musicale, reflétant son amour de longue date pour la composition symphonique.


 


Peint en 1971, Spring Sun appartient à une période importante de la carrière de Drexler, lorsqu'elle synthétisait ses études auprès de Hans Hofmann et Robert Motherwell dans un langage visuel personnel ancré dans la couleur et les motifs. La composition immersive suggère non seulement l'éclat de la lumière printanière, mais aussi l'intensité expressive avec laquelle Drexler abordait l'abstraction.





Ses contributions ont été de plus en plus reconnues par les grandes institutions. Le Portland Museum of Art a présenté une rétrospective historique, Lynne Drexler : Color Notes (2022-2023), et son travail a également été exposé au MoMA PS1 et au Parrish Art Museum. Spring Sun démontre pourquoi Drexler est aujourd'hui considérée comme une figure essentielle de la deuxième génération d'expressionnistes abstraits, dont l'utilisation audacieuse de la couleur et de la structure continue de trouver un écho auprès du public contemporain.
demander