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莱恩-马普-德雷克斯勒（1928-1999）

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<div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div> <div>Lynne Mapp Drexler’s "Untitled (Dark)" (1962) reflects the artist’s revered 1960s period, a formative decade recently honored in the exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). Executed in oilstick on paper, this intimate work demonstrates Drexler’s signature approach of layering short, insistent strokes into dense, tessellated patterns. Here, however, her palette is markedly darker, evoking a moodier, more contemplative atmosphere than her brightly hued canvases of the same era. </div><br><br><div> </div><br><br><div>While smaller in scale, "Untitled (Dark)" reveals the same disciplined yet improvisational brushwork that defined Drexler’s early career. Chromatic relationships structure the composition, recalling Hans Hofmann’s “push-pull” theory, while the expressive freedom of her mark-making channels the influence of her teacher Robert Motherwell. The result is a compact yet powerful exploration of rhythm, color, and emotional tone. </div><br><br><div> </div><br><br><div>Stamped by the Estate of Lynne Drexler and signed and dated verso by the artist, "Untitled (Dark)" offers a rare glimpse into Drexler’s experimentation on paper during a pivotal decade of her career. </div>
无题（黑暗）196219 x 24 1/2 英寸（48.26 x 60.96 厘米(48.26 x 60.96 厘米）纸上油画棒
种源
艺术家遗产
旧金山福斯特-格温画廊
私人收藏，旧金山，2022 年
私人收藏，购自上文
菲利普斯纽约，2023年11月15日，星期三，拍 卖品号：105
私人收藏，购自上文

80,000

琳恩-马普-德雷克斯勒的作品 "无题（暗）"（1962 年）反映了这位艺术家备受推崇的 20 世纪 60 年代时期，最近在法恩斯沃斯艺术博物馆举办的 "琳恩-德雷克斯勒：色彩笔记 "展览（2024 年 5 月 4 日至 2025 年 1 月 12 日）对这一形成时期进行了表彰。这幅亲切的作品是用油画棒在纸上绘制的，展示了德雷克斯勒标志性的方法，即用简短、持续的笔触层叠出密集的棋盘格状图案。不过，与她同一时期色彩鲜艳的油画作品相比，这幅作品的色调明显偏暗，让人联想到一种更加沉思的氛围。





无题（暗色）》虽然尺幅较小，但却展现出与德雷克斯勒早期作品相同的严谨而又即兴的笔触。色调关系构成了画面的结构，让人想起汉斯-霍夫曼的 "推拉 "理论，而她自由的标记表现力则受到了她的老师罗伯特-马瑟韦尔的影响。结果是对节奏、色彩和情感基调的紧凑而有力的探索。





无题（暗）"由林恩-德雷克斯勒的遗产加盖印章，背面有艺术家的签名和日期，是德雷克斯勒在其职业生涯的关键十年中进行纸上实验的难得一见的作品。
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