Whitney Museum of American Art, 13 January - 13 March 1983
Frank Stella
Print - 190 x 132 cm Print - 74.8 x 52 inch
€5,000
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Jonah Historically Regarded, from Moby Dick Domes (A. 210),
1992
Frank Stella
Print : aquatint, acrylic, Screen Print, etching, engraving
186.69 x 134.62 x 15.24 cm 73.5 x 53 x 6 inch
€98,568
€88,711
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About the artwork
Type
Numbered and limited to 18 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
186.69 x 134.62 x 15.24 cm 73.5 x 53 x 6 inch Height x Width x Depth
Support
Framing
Transparent case
Artwork dimensions including frame
197.49 x 145.42 x 30.48 cm 77.8 x 57.3 x 12 inch
Tags
Artwork sold in perfect condition
Artwork location: United States
Edition: of 21
Notes: Hand Signed, Dated and Numbered by the Artist. Comes with Custom Built Tray Frame with Acrylic Case.
Since Frank Stella exhibited the dour simplicity of his Black Paintings at The Museum of Modern Art in 1959–1960, he has shaped and challenged trends in art, including Abstract Expressionism, Minimalist, and post-Minimalism. His complex use of structure, color, and shape has enlivened his work throughout his career, with sometimes subtle and great changes. In the 1980s and '90s in particular, Stella began breaking up the picture plane and exploring abstraction as both painter and sculptor. He said: "Abstraction in the 20th century is dependent on cubism, which is arranging planes in space, but the planes are arranged in a kind of stiff and geometric kind of way. Once the planes begin to bend and curve and deform then you get into what happens in Moby Dick — it's a way of opening things up for abstraction."
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Notes: Hand Signed, Dated and Numbered by the Artist. Comes with Custom Built Tray Frame with Acrylic Case.
Since Frank Stella exhibited the dour simplicity of his Black Paintings at The Museum of Modern Art in 1959–1960, he has shaped and challenged trends in art, including Abstract Expressionism, Minimalist, and post-Minimalism. His complex use of structure, color, and shape has enlivened his work throughout his career, with sometimes subtle and great changes. In the 1980s and '90s in particular, Stella began breaking up the picture plane and exploring abstraction as both painter and sculptor. He said: "Abstraction in the 20th century is dependent on cubism, which is arranging planes in space, but the planes are arranged in a kind of stiff and geometric kind of way. Once the planes begin to bend and curve and deform then you get into what happens in Moby Dick — it's a way of opening things up for abstraction."
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End To End Gallery • United States
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Print - 167.6 x 132.1 x 0.3 cm Print - 66 x 52 x 0.1 inch
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Presentation
Frank Stella was born in Malden, Massachusetts, in 1936. Now, he lives and works in New York. Not only is Stella often considered a pioneer of minimalism, but he is also a central representative of Op Art and shaped canvas. Frank studied Arts at the Phillips Academy in Andover, Massachusetts, and History at Princeton University. Stella was influenced by abstract expressionism and artists Pollock and Kline. Later, Stella renounced the expressive use of painting and rejected the lyricism of the movement. He focused on the contrasts between shape and color by painting abnormally-shaped canvases. This led him to break the boundaries of classical geometric work and his paintings evolved into real sculptures from the 1980s onwards.
Stella's first solo show was in 1960 where he exhibited his "Black paintings" despite having already been shown in NYC's Museum of Modern Art during the "Sixteen Americans" exhibition. These works are the culmination of his reflections on object-painting and marked his break with abstract expressionism. The compositions are defined by the representation of black stripes separated by fine white lines. Again, Stella explores the opposing forms and the absence of color. He uses painting as an end and not as a means of expression or representation. As the minimalist artist, Carl Andre said, "Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Frank Stella is not interested in expression or sensitivity. He is interested in the necessities of painting... His stripes are the paths of brush on canto These paths lead only into painting". This exhibition marked the starting point of the minimalist movement.
Stella developed "shaped canvases", where the contour merges with the painted shapes. He experiments with colors: white, black, or multicolored, and media: aluminum, copper, or steel. His compositions are generally in series. In the mid-1970s, there was a turning point in his artistic approach. He began to work in relief, influenced by the Baroque movement. Since the 1980s, sculpting has kept Stella's interest and he has produced almost exclusively sculpture.
Frank Stella's work has been presented in numerous exhibitions. He is one of the few artists who have been able to attend his own retrospective during his lifetime. In 1970 and then nearly ten years later, exhibitions were dedicated to him at the Musée d'Art Moderne de la Ville de Paris. His sculpture, "The Prince of Hamburg", was installed at the National Gallery of Art in Washington in 2001.
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