.jpg?w=1)
Lot Essay
This work is identified with the interim identification number of SF77-267 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.
“Francis's distinctive way of building a picture with an accretion of rhythmic touches, at once deliberate and loose, seems equally indebted to the legacy of Abstract Expressionism, the slashing 'automatic' gestures of Riopelle and his colleagues, and the most spontaneous, inspired Japanese brushwork, with an admixture of reverent homage to the planar strokes of Paul Cézanne's late watercolors."
(Carl Belz in Karen Wilkin, Ed., Color as Field: American Painting, 1950-1975, New Haven 2007, p. 66)
“Francis's distinctive way of building a picture with an accretion of rhythmic touches, at once deliberate and loose, seems equally indebted to the legacy of Abstract Expressionism, the slashing 'automatic' gestures of Riopelle and his colleagues, and the most spontaneous, inspired Japanese brushwork, with an admixture of reverent homage to the planar strokes of Paul Cézanne's late watercolors."
(Carl Belz in Karen Wilkin, Ed., Color as Field: American Painting, 1950-1975, New Haven 2007, p. 66)