JACK TWORKOV (1900-1982)
JACK TWORKOV (1900-1982)
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JACK TWORKOV (1900-1982)

Crossfield III (W-NY-70 #3)

JACK TWORKOV (1900-1982)
Crossfield III (W-NY-70 #3)
oil on linen
80 x 96 in. (203.2 x 243.8 cm)
Painted in 1970.
Estate of Jack Tworkov, New York
André Emmerich Gallery, New York
Acquired from the above by the present owner, 1991
Art Now / New York, vol. 2, 1970 (illustrated).
A. Kingsley, "Jack Tworkov," Art International, vol. 18, March 1974, p. 38 (illustrated).
J. Tworkov, "On my Outlook as a Painter: A Memoir," Leonardo, International Journal of the Contemporary Artist, vol. 7, no. 2, 1974, p. 114 (illustrated).
Jack Tworkov: Paintings, 1928-1982, exh. cat., Philadelphia, Pennsylvania Academy of the Fine Arts, 1987, pl. 66 (illustrated).
A.W. Lloyd, "Jack Tworkov at Emmerich," Art in America, 79:12, December 1991, p. 121.
E. Lambert, Architectural Digest, November 2016 (illustrated).
New York, Whitney Museum of American Art, Jack Tworkov: Recent Paintings, February-March 1971, no. 9 (illustrated).
Toledo Museum of Art, Paintings of Jack Tworkov, October-November 1971.
Boston, Harcus / Krakow / Rosen / Sonnabend Gallery, Jack Tworkov / Recent Paintings, January-February 1974.
Richmond, Virginia Museum of Fine Arts, Twelve American painters: Richard Diebenkorn, Richard Estes, Sam Francis, Helen Frankenthaler, Robert indiana, Roy Lichtenstein, Conrad Marca-Relli, Robert Motherwell, Philip Pearlstein, Frank Stella, Wayne Thiebaud, Jack Tworkov, September-October 1974.
Cleveland, New Gallery of Contemporary Art; Columbus, Sullivan Gallery at Ohio State University; Youngstown, Kilcawley Center Art Gallery at Youngstown State University; Cincinnati, Contemporary Arts Center, Jack Tworkov: Paintings and Drawings: 1968-1975, November 1975-April 1976, pl. 4, no. 4 (illustrated).
Washington D.C., Hirshhorn Museum and Sculpture Garden, The Golden Door: Artist-immigrants of America, 1876-1976, May-October 1976, p. 169, no. 46 (illustrated).
Glasgow, Third Eye Center; Edinburgh, Fruitmarket Gallery; Liverpool, Academy Gallery; Belfast, Ulster Museum; Newcastle-upon-Tyne, Hatton Gallery, Jack Tworkov: Paintings 1950-78, May-December 1979, p. 42, no. 17 (illustrated).
New York, Solomon R. Guggenheim Museum, Jack Tworkov: Fifteen Years of Painting, April-June 1982, p. 25, no. 8 (illustrated).
New York, André Emmerich Gallery, Jack Tworkov: Paintings from 1930 to 1981, February-March 1991, pl. 9, no. 9 (illustrated).
Further details
This work is archived as No. 093 in the Jack Tworkov Catalogue Raisonné prepared by Jason Andrew for the Estate of Jack Tworkov.

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Lot Essay

In a more disciplined and contemplative move, Jack Tworkov, made geometry play a more active role in his painting. Evolving from the death knell of Abstraction Expressionism, of which he was a First-Generation practitioner, Tworkov began exploring the contrasts between “the measured and the random activity” in his paintings.(1) Numbered systems and mathematic divisions became the framework wherein Tworkov’s gesture would be guided and restrained. “The sense of tension, precipitated by contradiction,” wrote Douglas Crimp, “is a continuation of the conflict between the spontaneity and restraint which has always been integral to Tworkov’s art.”(2)

The seven paintings that make up the Crossfield Series (1968-1970) celebrate Tworkov’s tenuous balance between surface and depth, calligraphy and geometry, sensations of spontaneity and freedom. Each painting in the series is masterfully composed beginning with a horizontal structure and selection of a ground color to determine the overall preferred light value and then the subsequent dense layering of varying hues—light over dark and dark over light creating the illusion of shadow. Paintings in the series vary from monochromes of pink, orange, mauve, and violet.

The title, Crossfield, suggests a current or directional flow, like the patterns of particles drifting or the mass of magnetic conductions. It suggests the movement against or across a prevailing ground.

The series achieved Tworkov’s aim:

“What I wanted was a simple structure dependent on drawing as a base on which the brushing, spontaneous and pulsating, gave a beat to the painting somewhat analogous to the beat in music.”(3)

– Jason Andrew, Manager/Curator of the Estate of Jack Tworkov

(1) Tworkov, Jack in Extreme of the Middle: Writings of Jack Tworkov, ed. Mira Schor (New Haven: Yale University Press, 2009), p. 255.
(2) Crimp, Douglas. "Quartered and Drawn." ARTnews 70 (March 1971), p. 48.
(3) Tworkov, Jack. "On My Outlook as a Painter: A Memoir." Leonardo, International Journal of the Contemporary Artist Vol. 7, No. 2 (Spring 1974), p. 116.

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