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Ellsworth Kelly (1923-2015)
On occasion, Christie's has a direct financial int… Read more An American Place: The Barney A. Ebsworth Collection
Ellsworth Kelly (1923-2015)

Red White

Details
Ellsworth Kelly (1923-2015)
Red White
signed with the artist's initials, numbered and dated '#307 EK63' (on the overlap); numbered again '307' (on the lower side edge)
acrylic on canvas
36 1/8 x 26 1/8 in. (91.7 x 66.3 cm.)
Painted in 1963.
Provenance
The artist
Merce Cunningham Foundation, donated from the above through the Foundation for Contemporary Performance Arts
B. C. Holland Gallery, Chicago, 1964
Robert Halff, Beverly Hills
James Goodman Gallery, New York, 1985
Margo Leavin Gallery, Los Angeles, 1986
Private collection, 1986
Anon. sale; Sotheby's, New York, 6 May 1997, lot 29
Greenberg Van Doren Gallery, St. Louis
Acquired from the above by the late owner, 1998
Literature
R. H. Axsom, The Prints of Ellsworth Kelly: A Catalogue Raisonné 1949-1985, New York, 1987, p. 40.
J. Daniel, “Simple…or so it seems,” Saint Louis Post-Dispatch, 5 May 2002, p. F11.
D. Ngo, ed., Art + Architecture: The Ebsworth Collection + Residence, San Francisco, 2006, n.p. (illustrated in color and installation view illustrated).
C. Brown, J. Jakes, J. Johns and L Lloyd, Artist for Artists: Fifty Years of the Foundation for Contemporary Arts, New York, 2013, p. 36 (illustrated in color).
Exhibited
New York, Allan Stone Gallery, Exhibition and Sale of Works Donated by Artists to the Foundation for Contemporary Performing Arts, February-March 1963, p. 4.
Washington, D.C., National Gallery of Art; Seattle Art Museum, Twentieth-Century American Art: The Ebsworth Collection, March-November, 2000, pp. 152-154 and 288, no. 34 (illustrated in color).
St. Louis, Pulitzer Arts Foundation, Selected Works by Ellsworth Kelly from St. Louis Collections, April-October 2002.
Seattle Art Museum, Modern in America, July-November 2004, n.p.
Special Notice

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid. Where it does so, and is the successful bidder, the fixed fee for taking on the guarantee risk may be netted against the final purchase price.

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Sara Friedlander
Sara Friedlander

Lot Essay

Unencumbered by the constantly shifting planes of contemporary art and dedicated to a singular vision, Ellsworth Kelly dismantled patterns of seeing to produce abstract, yet deeply meditative, canvases. A consummate example of his unique vision is Red White, a painting which marks the intersection between Kelly’s earlier innovations in conveying form, and his later forays into large-scale, monochromatic sculptural panels. Pulsing with the tensile strength of a perfectly executed line set against a vibrant pool of color, this work expands on the spatial ambiguities introduced by the Abstract Expressionists a generation earlier, and is a pristine marriage of Kelly’s exceptional way of seeing and the deep theoretical base that underlines much of his work, together with the possibility of finding joy in the nuances of the everyday.

In a twist on earlier abstractions, Red White replaces stark black with an intense red as a contrast to pure, luminescent white. The rolling curves of color gracefully reach the canvas’s far left edge exactly at the turning edge, evidence of Kelly’s exceptional compositional skill. Instead of stretching a finished canvas over wooden supports after painting, Kelly crafted each individual stretcher to perfectly fit specifications derived from preparatory sketches. Thus, the disparate materials composing the final work are expertly fused together in a holistic construction unique to Red White, rendering the dignified composition a genius study in balance and precision.

Kelly’s keen eye developed early. “I remember that when I was about ten or twelve years old I was ill and fainted,” he recalled. “And when I came to, my head was upside down. I looked at the room upside down, and for a brief moment I couldn’t understand anything until my mind realized that I was upside down and I righted myself. But for the moment that I didn’t know where I was, it was fascinating. It was like a wonderful world because I didn’t know where I was. And I’ve always remembered that vision” (E. Kelly, quoted in D. Hickey, “The Literal Prophecies of Ellsworth Kelly,” in Ellsworth Kelly: Red Green Blue – Paintings and Studies, 1958-1965, exh. cat. Museum of Contemporary Art San Diego, 2002, p. 26). Such a vision propelled Kelly through a year of study at the School of the Museum of Fine Arts, Boston and back to Europe, where glimpses of Paris through windows and puddles coalesced into the aesthetic foundation for his burgeoning practice. Rather than be overwhelmed by historical grandeur of the city, Kelly was more taken with the everyday structures supporting these legendary cities. Sketches from a Metro station grille, memories of warped shadows, and photographs of zigzagging chimney pipes provided ammunition for Kelly’s imagination, which in turn fired back stripped-down versions of real life. Thus, his compositions are not so much developed abstractions as they are reduced figurations, tearing away fanciful trappings to reveal the essence of a perceived thing. Each work resolves into a mere “fragment of the world, to compete with other fragments” (E. Kelly, quoted in M. Grynsztejn, “Clear-Cut: The Art of Ellsworth Kelly,” Ellsworth Kelly in San Francisco, exh. cat., San Francisco Museum of Modern Art, 2002, p. 11).

In this way, Kelly fashioned himself less a creator and more an observer—one who recognized art in the environment and presented it for others to examine: “Everywhere I looked, everything I saw became something to be made, and it had to be made exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already, and I could take from everything; it all belonged to me” (E. Kelly, quoted in J. Coplans, Ellsworth Kelly, New York, 1971, p. 28). Though his brilliantly painted canvases appear to contradict Marcel Duchamp’s critical paradigm, Kelly in fact shares Duchamp’s aspiration to challenge traditional notions of perception by presenting the found subject, rather than the designed one. Though Kelly’s forms feel familiar, they elude identification; though his colors seem elementary, they bask in a fullness all their own. Red White, then, is a readymade for today—a transposition of quotidian surroundings into a new space, cultivated from life and refined for contemplation.

Such sophistication results from intentional considerations of color and contour. Paired with white to tamper their vibrancy, Kelly’s layers of paint become objects unto themselves. Color is not simply decoration, but an integral element of the work: “Once, in France, the artist observed a young boy pointing at each component of a panel painting and saying the name of its color. This straightforward gesture, Kelly realized, elegantly encapsulated his basic goal of letting colors assume their most apt forms” (T. Kamps, “Ellsworth Kelly: Red Green Blue,” Ellsworth Kelly: Red Green Blue – Paintings and Studies, 1958-1965, exh. cat., Museum of Contemporary Art San Diego, 2002, p. 16). To name is to assert presence; thus, a Kelly color enjoys corporeal status uninhibited by formal concerns. In the present work, rich red gently abuts soft white, obscuring clear figure/ground relationships so that the colors coexist, hues living in harmony, while ensconced in tender line.

Neither a constraining force, nor permeable boundary, Kelly’s line delicately holds his forms in place, perched on the precise edge of his canvas without spilling over. Often labeled along with other abstract artists of his generation, Kelly sought instead to defy classification, especially in his exploration of the world beyond the canvas. The organic curves of Red White compel the viewer to mentally complete the figure’s right side, but Kelly explicitly confines the form to the pictorial field by leaving the sides of the stretcher white. Thus, the viewer balances precariously between the folding dimensions of a world in which the shape continues, and the one in which it ends. Where Jackson Pollock was concerned with establishing an environment beyond the scope of his painting, Kelly was content to leave the viewer pondering an ambiguity of infinite possibilities. Offering a fresh vision of a stagnant world, Kelly’s Red White magnifies the overlooked ordinary to rescue shards of unseen beauty, carving a timeless niche for both itself and its indomitable creator.

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