Joan Mitchell
1925 (Chicago ) / 1992 (Vétheuil)
Artist's webSite
Artist's gallery
"Joan Mitchell experienced the outside world in a very intense way. And this world was essentially made up of the painter's environment: nature, very beautiful, which is both the microcosm constituted by her property, with its flower garden and its trees, and the macrocosm beyond, that is, the view she had of the Seine. Joan Mitchell received what nature gave her. When memory was at work, "landscapes of memory" emerged, hence the title of the exhibition in Caen. These, in the end, are expressed on the surface of the canvas by means of all sorts of protocols that call upon the gestural modalities linked to his adherence to the New York School at the turn of the 1950s. The masterful examples of Jackson Pollock, Willem De Kooning, and even Hans Hoffmann's colour, are prominent in her work, but she has brought out a dimension of her own from the gestures of her predecessors. While Pollock does not work on the memorial aspect, Joan does, and in this she is closer to De Kooning. At the same time, her work is driven by historical examples, such as Monet's - he has sometimes been referred to as "abstract impressionism" - but, in fact, Joan Mitchell's relationship with the world was much more tense than that of the author of "Water Lilies"."
Text : Philippe Piguet
Photograph : © Edouard Boubat
Courtesy Galerie Jean Fournier, Paris
Artist's webSite
Artist's gallery
"Joan Mitchell experienced the outside world in a very intense way. And this world was essentially made up of the painter's environment: nature, very beautiful, which is both the microcosm constituted by her property, with its flower garden and its trees, and the macrocosm beyond, that is, the view she had of the Seine. Joan Mitchell received what nature gave her. When memory was at work, "landscapes of memory" emerged, hence the title of the exhibition in Caen. These, in the end, are expressed on the surface of the canvas by means of all sorts of protocols that call upon the gestural modalities linked to his adherence to the New York School at the turn of the 1950s. The masterful examples of Jackson Pollock, Willem De Kooning, and even Hans Hoffmann's colour, are prominent in her work, but she has brought out a dimension of her own from the gestures of her predecessors. While Pollock does not work on the memorial aspect, Joan does, and in this she is closer to De Kooning. At the same time, her work is driven by historical examples, such as Monet's - he has sometimes been referred to as "abstract impressionism" - but, in fact, Joan Mitchell's relationship with the world was much more tense than that of the author of "Water Lilies"."
Text : Philippe Piguet
Photograph : © Edouard Boubat
Courtesy Galerie Jean Fournier, Paris
Artist's exhibitions
Monet-Mitchell, dialogue
05/10/2022 - 27/02/2023(Paris) Fondation Louis Vuitton
Joan Mitchell, mémoires de paysage
14/06/2014 - 21/09/2014(Caen) Musée des Beaux-arts de Caen
Joan Mitchell, peintures
23/08/2009 - 31/10/2009(Giverny ) Musée des impressionnismes de Giverny.
Publicité
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