{"id":471,"date":"2015-10-19T20:58:54","date_gmt":"2015-10-19T20:58:54","guid":{"rendered":"http:\/\/gsfineart.com\/gallery-news\/?p=471"},"modified":"2015-10-19T20:58:54","modified_gmt":"2015-10-19T20:58:54","slug":"wow-work-of-the-week-ellsworth-kelly-blue-green-black-red-101315","status":"publish","type":"post","link":"https:\/\/gsfineart.com\/gallery-news\/wow\/wow-work-of-the-week-ellsworth-kelly-blue-green-black-red-101315","title":{"rendered":"WOW! – Work of the Week – Ellsworth Kelly “Blue Green Black Red” 10\/13\/15"},"content":{"rendered":"

Ellsworth Kelly<\/strong> – Blue Green Black Red<\/em><\/a><\/p>\n

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Ellsworth Kelly<\/strong>
\nBlue Green Black Red<\/em>
\n1971
\nOffset lithograph
\n29 3\/4 \u00a0x 27 1\/4 in.
\nEdition of 100
\nPencil signed & numbered<\/p>\n

About This Work:<\/p>\n

For more than fifty years, Ellsworth Kelly has worked to refine elements of the observed world into rigorous abstraction with a bold clarity and elegance.\u00a0 \u201cMy work has always been about vision, the process of seeing,\u201d he notes. \u201cEach work of art is a fragment of a larger context\u2026 . I\u2019ve always been interested in things that I see that don\u2019t make sense out of context, that lead you into something else.\u201d \u00a0<\/span><\/p>\n

Maintaining a persistent focus on the dynamic relationships between shape, form and color, Kelly challenges viewers’ conceptions of space.<\/span> He intends for viewers to experience his artwork with instinctive, physical responses to the work’s structure, color, and surrounding space, rather than with contextual or interpretive analysis.<\/span> \u00a0<\/span><\/p>\n

His flat, immaculate compositions of pure line, simple forms, and saturated, unmodulated color are, in essence, found images, distillations of architectural details, shadows, plants, and other subtle forms that often might be overlooked. The contour of a leaf, the arch of a bridge and its reflection in water, and the soft curve of a hillside seen from the road have inspired paintings, sculptures, and prints alike.\u00a0 <\/span>His art work represent a subjective interpretation of reality, rather than a descriptive copy of it.<\/span><\/p>\n

Kelly’s arrangement of the complementary colors, which work to intensify one another at their intersections, is also an essential component of the work<\/span>.\u00a0 In the 1971 lithograph Blue, Green, Black, and Red <\/i>rectangles are laid, one on top of the other, in arrangements that suggest fragments of a remembered landscape. \u00a0 Perhaps it is several stories of a building, or perhaps a billboard looked, from a certain angle, or the way a shadow once fell.<\/span><\/p>\n

Ordinary memories such as these, Kelly has said, prompt many of his works. ”As we move, looking at hundreds of different things, we see many different kinds of shapes. Roofs, walls, ceilings are all rectangles, but we don’t see them that way. In reality they’re very elusive forms. The way the view through the rungs of a chair changes when you move even the slightest bit – I want to capture some of that mystery in my work.”<\/span><\/p>\n

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About The Artist:<\/p>\n

“I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.” – Ellswoth Kelly<\/em><\/p>\n

Ellsworth Kelly\u00a0is an\u00a0American\u00a0painter, sculptor, and printmaker associated with\u00a0Hard-edge painting,\u00a0Color Field\u00a0painting and the\u00a0Minimalist\u00a0school. His works demonstrate unassuming techniques emphasizing the simplicity of form.<\/p>\n

Although Kelly can now be considered an essential innovator and contributor to the American abstraction art movement, he was not always seen in such a positive light. It was hard for many to find the connection between Kelly\u2019s art and the dominant stylistic trends\u00a0 For Example, observing how light fragmented on the surface of water, he painted\u00a0Seine<\/em>\u00a0(1950), made of black and white rectangles arranged by chance.<\/p>\n

He created a new freedom of painterly expression.\u00a0 He began working in extremely large formats and explored the concepts of seriality and monochrome paintings.\u00a0 As a painter he worked in an exclusively abstract mode. By the late 1950s his painting stressed shape and planar masses (often assuming non-rectilinear formats). His work of this period also provided a useful bridge from the vanguard American geometric abstraction of the 1930s and early 1940s to the Minimalism and reductive art of the mid-1960s and 1970s.<\/p>\n

Kelly has distilled his palette and introduced forms never before.\u00a0 He starts with a rectangular canvas that he carefully paints with many coats of white paint; a shaped canvas, usually painted in a single bright color, is placed on top.\u00a0 The quality of line seen in his paintings and in the form of his shaped canvases is very subtle.\u00a0 The use of form and shadow, as well as the construction and deconstruction of the visible implies perfection.<\/p>\n

For more information and price please contact the gallery at info@gsfineart.com<\/strong><\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Ellsworth Kelly – Blue Green Black Red Ellsworth Kelly Blue Green Black Red 1971 Offset lithograph 29 3\/4 \u00a0x 27 1\/4 in. Edition of 100 Pencil signed & numbered About This Work: For more than fifty years, Ellsworth Kelly has … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[16,79,220,218,14,86,84,219,8,83,9,87,15,102,90,205,88,222,17,89],"acf":[],"_links":{"self":[{"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/posts\/471"}],"collection":[{"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/comments?post=471"}],"version-history":[{"count":1,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/posts\/471\/revisions"}],"predecessor-version":[{"id":473,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/posts\/471\/revisions\/473"}],"wp:attachment":[{"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/media?parent=471"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/categories?post=471"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gsfineart.com\/gallery-news\/wp-json\/wp\/v2\/tags?post=471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}