Kenneth Noland Pale 1967 acrylic on canvas 98 x 24 in. (248.9 x 61 cm) Signed, titled, and dated "Pale, 1967, Kenneth Noland" on the reverse.
Provenance Buschlen Mowatt Gallery, Vancouver Catalogue Essay Noland’s name stands for a particular kind of American painting – one based on the potency of color. His pictures are among the most original, elegant and unabashedly beautiful of our time. And they are among the most abstract, admired as much because they test the limits of what can be eliminated (without compromising reason or expression) as for their seductive hues. In Noland’s hands, the orchestration and placement of colors have become, almost for the first time in the history of Western art, independently expressive elements, removed from even the most tenuous connection with any preexisting image. The powerful associative qualities of color harmonies, like evocative sounds or scents, are made the carriers of profound emotions, but they are completely detached from any specific reference, from anecdote or symbol. (K. Wilkin, Kenneth Noland New York, 1990, p. 7) Read More
Kenneth Noland Pale 1967 acrylic on canvas 98 x 24 in. (248.9 x 61 cm) Signed, titled, and dated "Pale, 1967, Kenneth Noland" on the reverse.
Provenance Buschlen Mowatt Gallery, Vancouver Catalogue Essay Noland’s name stands for a particular kind of American painting – one based on the potency of color. His pictures are among the most original, elegant and unabashedly beautiful of our time. And they are among the most abstract, admired as much because they test the limits of what can be eliminated (without compromising reason or expression) as for their seductive hues. In Noland’s hands, the orchestration and placement of colors have become, almost for the first time in the history of Western art, independently expressive elements, removed from even the most tenuous connection with any preexisting image. The powerful associative qualities of color harmonies, like evocative sounds or scents, are made the carriers of profound emotions, but they are completely detached from any specific reference, from anecdote or symbol. (K. Wilkin, Kenneth Noland New York, 1990, p. 7) Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
