Sam Francis (1923-1994)
Sam Francis (1923-1994)

Blue

細節
Sam Francis (1923-1994)
Francis, S.
Blue
signed and dated 'Sam Francis 1962' (on the reverse)
oil on canvas
35.7/8 x 30 in. (91 x 77 cm.)
Painted in 1962
來源
Pierre Matisse Gallery, Paris.
Andr Emmerich Gallery, New York.
展覽
New York, Pierre Matisse Gallery, Sam Francis Oil Paintings 1962-66, p. 12, February-March 1967 (illustrated).
Basel, Galerie Beyeler, Sam Francis, August 1977, no. 23.
San Francisco Museum of Modern Art, Bay Area Collects: A Diverse Sampling, April-June 1983.
Davenport (Iowa) Museum of Art; Wichita Art Museum; Vero Beach, Florida, Center for the Arts; Little Rock, Arts Center; Scottsdale Center for the Arts; Charlotte, Mint Museum of Art; Charleston, West Virginia, Sunrise Museums; Binghamton, Roberson Center for the Arts & Sciences; Chattanooga, Hunter Museum of Art; Peoria, Lakeview Museum of Art; Oklahoma City, Oklahoma Art Center; Jackson, Mississippi Museum of Art; Memphis, Brooks Museum of Art, and Birmingham Museum of Art, Contemporary Icons and Explorations, The Goldstrom Family Collection, April 1988-March 1992, no. 20 (illustrated in color).
New York, Gagosian Gallery, Sam Francis Blue Balls, May-June 1991 (pl. 11, illustrated in color).
Vienna, BAWAG Foundation, Amerikanische Kunst aus Der Sammlung Goldstrom, New York, November-December 1994, no. 20 (illustrated in color).
P. Selz, Sam Francis, New York, 1971, p. 39 (illustrated in color).

拍品專文

This work is registered with the Sam Francis Estate as archive number SFP62-3.

In 1962, Francis settled in Santa Monica, California after a period in Paris where he became strongly influenced by the French Impressionists and Post-Impressionists' uses of color. Paintings such as Monet's Nymphas series, Czanne's Bathers, and Matisse's Blue Nude had a tremendous impact on Francis' exclusive use of the color blue in his work.
In Blue, as part of the Blue Balls series, circular forms float in space in a dynamic arrangment, as they radiate towards the edges of the canvas. His use of the bare canvas in contrast to the blue forms is a crucial aspect of his innovative techniques. The combination of translucent and opague circles also creat a striking effect.
During this period Francis was recovering from an illness which he developed in Tokyo in 1961. The organic shapes found in this series could be interpreted as an autobiographical statement on his illness. Blue is a prime example of how an intense personal experience can be utilized to create a powerful visual expression.