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リン・マップ・ドレクスラー(1928-1999)

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<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>
散発的な春196340 x 29 1/2 in.(101.6 x 76.2 x 3.81 cm）キャンバスに油彩
出所
ルパイン・ギャラリー（メイン州モンヒガン
プライベート・コレクション、上記より入手
フィリップス・ニューヨーク、2023年11月15日（水）、ロット106
プライベートコレクション
 価格325,000
リン・マップ・ドレクスラーの "Sporadic Spring"（1963年）は、1960年代の色彩とジェスチャーに対する彼女のダイナミックなアプローチを象徴している。キャンバスは、鮮やかな緑、赤、オレンジで描かれた短く反復的な筆致の密な層で覆われている。これらのストロークは、円、菱形、長方形の配列に合体し、「散発的」でありながら、驚くほど調和のとれたモザイクを形成し、絵画の表面全体を活性化している。





この作品では、色が形よりも優先され、ドレクスラーは色彩の強弱を使ってリズムと構造を作り出している。彼女の技法は、ハンス・ホフマンの影響力のある「プッシュ・プル」理論と共鳴しており、伝統的な遠近法に頼ることなく、色彩の関係が空間的な奥行きと緊張感を生み出している。同時に、身振り手振りの勢いと即興的な筆致は、表現の自由と感情的な即時性を奨励した彼女の師ロバート・マザーウェルの影響を反映している。





「Sporadic Spring（散発的な春）」は、ドレクスラーの規律と自発性の統合をとらえ、彼女がニューヨーク派の中でどのように独自の声を作り上げたかを明らかにすると同時に、彼女の成熟したスタイルを定義することになる叙情的な抽象表現を予期させる。
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