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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 6, 2016 | Sotheby's | Paris | Art Contemporain / Contemporary Art | 27 | $****** - ****** | Very Good | SANS TITRE | ||
Nov 23, 2005 | Beaussant-Lefevre | Paris | Modern & Contemporary Art | 129 | $****** - ****** | Very Good | Sans titre |
paintings
61.5 x 50.5 cm (24.21 x 19.88 in)
oil on canvas
Galerie Jean Fournier, Paris
Collection particulière, France
Vente: Beaussant & Lefèvre, Estampes, Dessins, Tableaux et Sculptures Modernes et Contemporains, Art Nouveau-Art Déco, 23 novembre 2005, lot 129
Acquis lors de cette vente par le propriétaire actuel
The English translation of this note follows the French
Notice de catalogue
"C'est evidemment du côté de de Kooning que se trouvait Joan Mitchell, mais avec cette différence essentielle que, dans ses peintures, la part de l'expression personnelle est réduite au minimum et s'efface au profit des contenus peints. Joan Mitchell ne donne pas sa gestualité à voir, elle l'utiliser pour faire voir, elle ne montre pas sa manière de voir, elle s'en sert pour donner à voir. Ce n'est pas l'expression personenelle qui importe comme sujet du tableay mais ce qui y est peint. Les paysages de de Kooning, ou ceux de Guston, portent plus la marque de leur auteur que des choses: ils expriment avant tout une forme de vision, des hantises et des tourments profonds - c'est probablement ce qui déterminera le retour de Guston à la figuration: elle donnait mieux à voir et plus directement ses obsessions intérieures. Dans les paysages de Joan Mitchell, une manière de voir ou de sentir, une forme de sensibilité commandent, bien sûr, ce qui est donné à voir, mais la singularité est que le peintre réussit à se tenir à cette frontière instable où le sentiment des choses prend une objectivité sans pour autant s'effacer au profit de l'image des choses. Ainsi l'expressionnisme retrouve le parti pris des choses et perd toute qualité séismographique et subjective. Il gagne solidité, objectivité et exactitude."
Catalogue note
Joan Mitchell got naturally affiliated to De Kooning, yet with this essential distinction that, in her paintings, personal expression was reduced to a minimum and disappeared behind the painted content. Joan Mitchell did not exhibit her own gesture; she used it to reveal. She did not showcase her own way of seeing; she used it to make others see. The matter of the painting is not personal expression but what is represented. De Kooning’s or Guston’s landscapes referred to their authors more than the reality they represented: they mainly expressed a form of vision as well as personal concerns and torments. It was probably what led Guston back to figuration: it allowed him to show his intimate obsessions more clearly. In Joan Mitchell’s landscapes, a way of seeing and feeling, and a form of sensitivity undoubtedly peaked through what was given to see, but their singularity lies in that the painter succeeds in staying on this moving threshold where the feeling of things become somewhat objective without however being overshadowed by their image. This is how expressionism turned back to things and lost its seismographic and subjective quality. In return, it gained strength, objectivity and accuracy.”
Yves Michau, Joan Mitchell, L'expressionism abstrait et le feeling, p. 107
huile sur toile
61,5 x 50,5 cm; 24 1/4 x 19 7/8 in.
Exécuté en 1979.
