#e.c. goossen

[garadinervi]

«Derriere le Miroir», No. 110: Ellsworth Kelly, (lithograph in colors in bound publication), Text by E.C. Goossen, Maeght Éditeur, Paris, 1958 [Art: © Ellsworth Kelly]

Plus: Saint-Martin Bookshop

↗ Ellsworth Kelly Foundation

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[thomasmartinnutt]

Carl Andre. Essay On Sculpture for E.C. Goossen, 1964

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Trees I, Joan Mitchell, 1992, Minneapolis Institute of Art: Prints and Drawings

two separate sheets; abstract images; L image has lines and squiggles, with mainly vertical black lines at R of sheet with thick yellow horizontal zigzag-like marks behind; R image has heavy black marked areas at L of sheet with red thin arcs and lines at R; both sheets are black, yellow and red on white; framed together A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell among the artists of the so-called second generation of the Abstract Expressionists. She is widely regarded as one of the supreme colorists of that movement. Her lyrical abstractions are generally inspired by actual entities found in nature, such as fields, wooded landscapes, or studies of flowers. Commenting on Mitchell's work, art critic E.C. Goossen noted, "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." On this, critic Jed Perl remarked, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear." A prolific printmaker, Mitchell produced more than 200 editioned prints during her lifetime, collaborating with master printers at some of the world's leading print workshops. Size: 57 x 41 in. (144.78 x 104.14 cm) (sheet, each) Medium: Color lithograph; diptych

https://collections.artsmia.org/art/105486/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Trees I, Joan Mitchell, 1992, Minneapolis Institute of Art: Prints and Drawings

two separate sheets; abstract images; L image has lines and squiggles, with mainly vertical black lines at R of sheet with thick yellow horizontal zigzag-like marks behind; R image has heavy black marked areas at L of sheet with red thin arcs and lines at R; both sheets are black, yellow and red on white; framed together A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell among the artists of the so-called second generation of the Abstract Expressionists. She is widely regarded as one of the supreme colorists of that movement. Her lyrical abstractions are generally inspired by actual entities found in nature, such as fields, wooded landscapes, or studies of flowers. Commenting on Mitchell's work, art critic E.C. Goossen noted, "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." On this, critic Jed Perl remarked, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear." A prolific printmaker, Mitchell produced more than 200 editioned prints during her lifetime, collaborating with master printers at some of the world's leading print workshops. Size: 57 x 41 in. (144.78 x 104.14 cm) (sheet, each) Medium: Color lithograph; diptych

https://collections.artsmia.org/art/105486/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/

[joan-mitchell]

Trees I, Joan Mitchell, 1992, Minneapolis Institute of Art: Prints and Drawings

two separate sheets; abstract images; L image has lines and squiggles, with mainly vertical black lines at R of sheet with thick yellow horizontal zigzag-like marks behind; R image has heavy black marked areas at L of sheet with red thin arcs and lines at R; both sheets are black, yellow and red on white; framed together A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell among the artists of the so-called second generation of the Abstract Expressionists. She is widely regarded as one of the supreme colorists of that movement. Her lyrical abstractions are generally inspired by actual entities found in nature, such as fields, wooded landscapes, or studies of flowers. Commenting on Mitchell's work, art critic E.C. Goossen noted, "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." On this, critic Jed Perl remarked, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear." A prolific printmaker, Mitchell produced more than 200 editioned prints during her lifetime, collaborating with master printers at some of the world's leading print workshops. Size: 57 x 41 in. (144.78 x 104.14 cm) (sheet, each) Medium: Color lithograph; diptych

https://collections.artsmia.org/art/105486/

[joan-mitchell]

Trees I, Joan Mitchell, 1992, Minneapolis Institute of Art: Prints and Drawings

two separate sheets; abstract images; L image has lines and squiggles, with mainly vertical black lines at R of sheet with thick yellow horizontal zigzag-like marks behind; R image has heavy black marked areas at L of sheet with red thin arcs and lines at R; both sheets are black, yellow and red on white; framed together A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell among the artists of the so-called second generation of the Abstract Expressionists. She is widely regarded as one of the supreme colorists of that movement. Her lyrical abstractions are generally inspired by actual entities found in nature, such as fields, wooded landscapes, or studies of flowers. Commenting on Mitchell's work, art critic E.C. Goossen noted, "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." On this, critic Jed Perl remarked, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear." A prolific printmaker, Mitchell produced more than 200 editioned prints during her lifetime, collaborating with master printers at some of the world's leading print workshops. Size: 57 x 41 in. (144.78 x 104.14 cm) (sheet, each) Medium: Color lithograph; diptych

https://collections.artsmia.org/art/105486/

[joan-mitchell]

Sunflower III, Joan Mitchell, 1972, Minneapolis Institute of Art: Prints and Drawings

A leading American painter and printmaker, Joan Mitchell was a contemporary of Helen Frankenthaler and Robert Motherwell and was widely regarded as one of the supreme colorists of the abstract expressionist movement. Her lyrical abstractions are generally based on actual physcial entities, such as landscapes or studies of flowers. Commenting on Mitchell's art, E.C. Goossen wrote: "The Abstract Expressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message... But unlike those contemporary painters who 'discover' their subject in the process of painting, Mitchell works from an idea and builds on it." Mitchell spent the last thirty years of her life in Paris, where she died in 1992. Size: 26 11/16 x 17 1/8 in. (67.79 x 43.5 cm) (plate) 35 7/8 x 24 7/8 in. (91.12 x 63.18 cm) (sheet) Medium: Color aquatint and etching

https://collections.artsmia.org/art/43577/