17 PROPERTY FROM A PRIVATE AMERICAN COLLECTION Brice Marden Elements (Hydra) 1999-2000/2001 oil on linen 75 x 53 1/2 in. (190.5 x 135.9 cm) Signed, titled and dated "Elements (Hydra) B. Marden 99 00 01" on the reverse.
Provenance Private Collection, New York Matthew Marks Gallery, New York Acquired directly from the above by the present owner, 2010 Video Brice Marden 'Elements (Hydra)', 1999-2000/2001 Brice Marden’s 'Elements (Hydra)', 1999–2001, is the culmination of his decades-long evolution as a pioneering artist whose influences range from the lyricism and structure of Chinese calligraphy and poetry to the undiluted and un-tempered expression of Jackson Pollock The sinuous whorls of red, yellow and blue course across the green-grey picture plane, framing organic forms and creating an overall impression of fluidity and natural, gestural abstraction. Catalogue Essay “There are the rocks, Hydra rocks, the pines bending to the winds, echoing the bends the rocks have undergone for so many more years. Nature—forces…I am of the stuff to be of it but only through my work which, unfortunately (but I am young) is my life. Remember immersion—water—land—sky—the all.” Brice Marden 1974 Brice Marden’s Elements (Hydra), 1999-2001, is the culmination of his decades-long evolution as a pioneering artist whose influences range from the lyricism and structure of Chinese calligraphy and poetry to the undiluted and un-tempered expression of Jackson Pollock The sinuous whorls of red, yellow and blue course across the green-grey picture plane, framing organic forms and creating an overall impression of fluidity and natural, gestural abstraction. Marden established himself alongside the likes of Robert Ryman and Agnes Martin as one of the artists who, in the midst of Minimalism and Pop, set about proving that painting still had much to offer in the way of lyrical and emotive power. The force of color, the application and treatment of the paint and other media such as beeswax, even the construction of his pictures into multi-paneled arrangements all served Marden’s aim of harnessing the latent power of the medium. His pictures are about the plane, the rectangle, the surface, the edge and the relationship of one distinct color working alongside another. Everything is an integral part of the painting itself, referring to its physical presence as an object. This formalism serves Marden’s underlying and ultimate aim of creating a strong emotional reverberation within the viewer through these various techniques. By the mid-1980s, the previous methods by which he had expressed these philosophical concerns seemed to lose their authority and his style, though not his overall artistic compunction, changed drastically. These developments would reach their apex in works such as Elements (Hydra) and continue to be the focus of the artist up to the present day. During the mid-1980s, Marden had reached an inflection point in his career when a range of influences and ideas converged and provided a new means of expression for the artist. Increasingly, he had been intrigued by the forms that Nature provided, be it in the shape of shells or trees or rocks. In particular, while travelling in the Far East, he had begun to draw objects and views from his surroundings superimposed upon one another, "One day I would draw a tree, the next day we would go to the same place and I would draw a sea shell on top of it... You are observing nature and yet you are just trying to respond to it. You are not trying to draw a picture of it... It deals with a certain kind of abstraction. You can accept that as energy coming through and going back out into painting." (B. Marden, quoted in J. Lewison, Brice Marden Prints 1961-1991 A Catalogue Raisonné, exh. cat., London, 1992, p. 48) Marden was exploring the echoes, the curves and the lines that resonate and abound in so many different aspects of Nature. The swirling loops and wash of color in Elements (Hydra) recall those shells, trees and stones. However, in this instance, he is not referencing those Eastern influences as much as he is invoking the harsh beauty of his summer studio on the Greek island of Hydra. Informed by his numerous journey
17 PROPERTY FROM A PRIVATE AMERICAN COLLECTION Brice Marden Elements (Hydra) 1999-2000/2001 oil on linen 75 x 53 1/2 in. (190.5 x 135.9 cm) Signed, titled and dated "Elements (Hydra) B. Marden 99 00 01" on the reverse.
Provenance Private Collection, New York Matthew Marks Gallery, New York Acquired directly from the above by the present owner, 2010 Video Brice Marden 'Elements (Hydra)', 1999-2000/2001 Brice Marden’s 'Elements (Hydra)', 1999–2001, is the culmination of his decades-long evolution as a pioneering artist whose influences range from the lyricism and structure of Chinese calligraphy and poetry to the undiluted and un-tempered expression of Jackson Pollock The sinuous whorls of red, yellow and blue course across the green-grey picture plane, framing organic forms and creating an overall impression of fluidity and natural, gestural abstraction. Catalogue Essay “There are the rocks, Hydra rocks, the pines bending to the winds, echoing the bends the rocks have undergone for so many more years. Nature—forces…I am of the stuff to be of it but only through my work which, unfortunately (but I am young) is my life. Remember immersion—water—land—sky—the all.” Brice Marden 1974 Brice Marden’s Elements (Hydra), 1999-2001, is the culmination of his decades-long evolution as a pioneering artist whose influences range from the lyricism and structure of Chinese calligraphy and poetry to the undiluted and un-tempered expression of Jackson Pollock The sinuous whorls of red, yellow and blue course across the green-grey picture plane, framing organic forms and creating an overall impression of fluidity and natural, gestural abstraction. Marden established himself alongside the likes of Robert Ryman and Agnes Martin as one of the artists who, in the midst of Minimalism and Pop, set about proving that painting still had much to offer in the way of lyrical and emotive power. The force of color, the application and treatment of the paint and other media such as beeswax, even the construction of his pictures into multi-paneled arrangements all served Marden’s aim of harnessing the latent power of the medium. His pictures are about the plane, the rectangle, the surface, the edge and the relationship of one distinct color working alongside another. Everything is an integral part of the painting itself, referring to its physical presence as an object. This formalism serves Marden’s underlying and ultimate aim of creating a strong emotional reverberation within the viewer through these various techniques. By the mid-1980s, the previous methods by which he had expressed these philosophical concerns seemed to lose their authority and his style, though not his overall artistic compunction, changed drastically. These developments would reach their apex in works such as Elements (Hydra) and continue to be the focus of the artist up to the present day. During the mid-1980s, Marden had reached an inflection point in his career when a range of influences and ideas converged and provided a new means of expression for the artist. Increasingly, he had been intrigued by the forms that Nature provided, be it in the shape of shells or trees or rocks. In particular, while travelling in the Far East, he had begun to draw objects and views from his surroundings superimposed upon one another, "One day I would draw a tree, the next day we would go to the same place and I would draw a sea shell on top of it... You are observing nature and yet you are just trying to respond to it. You are not trying to draw a picture of it... It deals with a certain kind of abstraction. You can accept that as energy coming through and going back out into painting." (B. Marden, quoted in J. Lewison, Brice Marden Prints 1961-1991 A Catalogue Raisonné, exh. cat., London, 1992, p. 48) Marden was exploring the echoes, the curves and the lines that resonate and abound in so many different aspects of Nature. The swirling loops and wash of color in Elements (Hydra) recall those shells, trees and stones. However, in this instance, he is not referencing those Eastern influences as much as he is invoking the harsh beauty of his summer studio on the Greek island of Hydra. Informed by his numerous journey
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