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Hidden Jewels

Viewing room
18 December 2019 - 2 January 2020

Post-War and Contemporary Works on Paper

Hidden Jewels presents a selection of works on paper highlighting the major developments and through lines in abstract painting from the post-war period to the present. The use of geometric structures unites otherwise distinctive paintings by William Baziotes, Audrey Flack, and Günther Förg. An interest in color fields and the effects created by a variety of medias (watercolor, acrylic, tempera, pastel) can be seen across the works of Richard Pousette-Dart, Mark Tobey, Paul Jenkins, Norman Bluhm, Leon Berkowitz and contemporary artist John Knuth, whose experimental processes uses flyspeck. Drawings and paintings by Franz Kline, Michael West, Joan Mitchell, Elaine de Kooning, and Hollis Heichemer chronicle various approaches to gesture painting, while Lucio Fontana and Sam Gilliam explore the physicality of paper with bold punctures and folds.

 

For more information on this online presentation please contact us at 212.628.4000 or info@hollistaggart.com.

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Audrey Flack, Emerald, 1950-51, Gouache on paper, 11 7/8 x 17 7/8 inches
Franz Kline, Untitled, n.d., Oil on paper mounted on canvas, 8 3/4 x 7 inches
Richard Pousette-Dart, Serpentine Saffron, circa 1960s, Acrylic on paper, 9 x 11 1/4 inches
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Joan Mitchell, Untitled, circa 1964 [detail]
Joan Mitchell, Untitled, circa 1964 [detail]

Joan Mitchell

Though Joan Mitchell is an undeniable master of oil paint, her pastel, graphite, watercolor and gouache drawings on paper are an impressive body of work in their own right. Untitled 1964, reflects a shift in Mitchell's sensibility in the early 1960s "away from the aggressively active Abstract Expressionist brushwork, toward a more delicate, subtle, and lyrical style" (1).

 

1. Jane Livingston, The Paintings of Joan Mitchell (New York: Whitney Museum of American Art, 2002), p. 25. 

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Sam Gilliam, Untitled, 1971, Mixed media on paper, 13 3/4 x 17 5/8 inches
Michael (Corinne) West, Untitled, n.d., Oil pastel and ink on paper, 11 x 8 1/2 inches
Norman Bluhm, Belle-Ile-en-Mer, 1955, Watercolor on paper, 22 1/2 x 30 3/4 inches
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Richard Pousette-Dart, Serpentine Saffron, circa 1960s
Richard Pousette-Dart, Serpentine Saffron, circa 1960s [detail]

Richard Pousette-Dart

In the mid-1960s Richard Pousette-Dart painted with a clear focus on allover abstraction and direct paint application. Rather than finding the hard edge or soft edge in painting at this time he sought to achieve what has been referred to as the “living edge” or the trembling edge, as beautifully exemplified Serpentine Saffron.

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    Richard Pousette-Dart, Serpentine Saffron, circa 1960s