KENNETH NOLAND "STRIPES" MONOTYPE, 1983
Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved and enduring figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking until later in his career. And once Noland began collaborating with the printmakers at Tyler Graphics (and other studios) he was more interested in using their applications to make unique one-of-a-kind artworks.
This unique and intimately-scaled monotype is an excellent example of Noland's signature forms and aesthetic from the late 1970s/early 1980s. Diagonal bands were a frequently employed motif of his, realized repeatedly through several mediums from paintings to prints.
Here, Noland challenges the strict geometric constraints, overwhelming the structure with color that appears to be either dripping, scraped or sprayed. Soft apricot, lavender, cornflower, chartreuse, grape, ocean blue and pearl shift into and out of each other, yet avoiding the clear-cut stacked diagonal field of his signature geometric arrangement.
Noland's diagonal bands, one of his most memorable and iconic motifs, serve as fine examples of his ingenuity and aesthetic, as well as a treasure from his experiments with creating monotypes.
Questions about this piece? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Stripes"
1983
Monotype on Japanese handmade paper mounted on board
Signed and dated by the artist, bottom right
8.5"H 12.5"W (Work, deckled edges)
17.5"H 21.75"W (Framed)
Very good condition.
Original: $10,000.00
-70%$10,000.00
$3,000.00More Images
KENNETH NOLAND "STRIPES" MONOTYPE, 1983
Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved and enduring figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking until later in his career. And once Noland began collaborating with the printmakers at Tyler Graphics (and other studios) he was more interested in using their applications to make unique one-of-a-kind artworks.
This unique and intimately-scaled monotype is an excellent example of Noland's signature forms and aesthetic from the late 1970s/early 1980s. Diagonal bands were a frequently employed motif of his, realized repeatedly through several mediums from paintings to prints.
Here, Noland challenges the strict geometric constraints, overwhelming the structure with color that appears to be either dripping, scraped or sprayed. Soft apricot, lavender, cornflower, chartreuse, grape, ocean blue and pearl shift into and out of each other, yet avoiding the clear-cut stacked diagonal field of his signature geometric arrangement.
Noland's diagonal bands, one of his most memorable and iconic motifs, serve as fine examples of his ingenuity and aesthetic, as well as a treasure from his experiments with creating monotypes.
Questions about this piece? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Stripes"
1983
Monotype on Japanese handmade paper mounted on board
Signed and dated by the artist, bottom right
8.5"H 12.5"W (Work, deckled edges)
17.5"H 21.75"W (Framed)
Very good condition.
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Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved and enduring figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking until later in his career. And once Noland began collaborating with the printmakers at Tyler Graphics (and other studios) he was more interested in using their applications to make unique one-of-a-kind artworks.
This unique and intimately-scaled monotype is an excellent example of Noland's signature forms and aesthetic from the late 1970s/early 1980s. Diagonal bands were a frequently employed motif of his, realized repeatedly through several mediums from paintings to prints.
Here, Noland challenges the strict geometric constraints, overwhelming the structure with color that appears to be either dripping, scraped or sprayed. Soft apricot, lavender, cornflower, chartreuse, grape, ocean blue and pearl shift into and out of each other, yet avoiding the clear-cut stacked diagonal field of his signature geometric arrangement.
Noland's diagonal bands, one of his most memorable and iconic motifs, serve as fine examples of his ingenuity and aesthetic, as well as a treasure from his experiments with creating monotypes.
Questions about this piece? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Stripes"
1983
Monotype on Japanese handmade paper mounted on board
Signed and dated by the artist, bottom right
8.5"H 12.5"W (Work, deckled edges)
17.5"H 21.75"W (Framed)
Very good condition.
