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"Eight By Eight" by Ellsworth Kelly

US$25,500

About

A lithograph by Ellsworth Kelly titled "eight by eight" in blue. Archivally framed using archival materials in a 12-karat white gold leaf frame with ebonized walnut edge. This "fan" is signed and numbered in pencil "203 / 250 Kelly". There were also 43 artists proofs. The print is technically known as "Untitled", but was part of the portfolio "Eight by Eight to Celebrate the Temporary Contemporary". A lithograph printed in 1983, it is on Arches 88 paper, published by the Museum of Contemporary Art, Los Angeles. ‘Eight by Eight to Celebrate the Temporary Contemporary’, was a portfolio of prints by eight artists produced to help raise funds for the Los Angeles Museum of Contemporary Art which was founded in 1979. It featured Richard Diebenkorn, Sam Francis, David Hockney, Ellsworth Kelly, Robert Rauschenberg, Niki de Saint Phalle, Jean Tinguely and Andy Warhol.

Details

  • Creator
  • Dimensions
    Height: 29 in. (73.66 cm)Width: 41 in. (104.14 cm)Depth: 2 in. (5.08 cm)
  • Style
    Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
    1980-1989
  • Date of Manufacture
    1983
  • Condition
    Wear consistent with age and use.
  • Seller Location
    Stamford, CT
  • Reference Number
    Seller: Avery & Dash - NHS1stDibs: LU918611171693

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: Stamford, CT
  • Return Policy

    This item cannot be returned.

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About the Artist

Ellsworth Kelly

Ellsworth Kelly was one of the key figures in postwar American art, exercising major influence on the fields of Pop art, minimalism, Color-Field, and hard-edge painting. Widely known for his brightly colored geometric compositions, he was among the first artists, alongside his contemporary Frank Stella, to use irregularly shaped canvases. Although highly abstract, Kelly’s paintings are precise expressions in color and form of his sensory experience of the world. His works, both two- and three-dimensional, are in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and displayed at such sites as the UNESCO headquarters in Paris. Kelly grew up in the town of Newburgh, New York, near the Oradell Reservoir. He was an avid birder as a child and loved the colorful illustrations of naturalist John James Audubon. Encouraged to study art by a high school teacher, he enrolled at the Pratt Institute in Brooklyn, remaining there until 1943, when he was inducted into the army. During World War II, he served along with scores of other artists, in a unit known as the Ghost Army, where he learned the elements of camouflage while creating ersatz trucks and tanks intended to mislead Axis forces. When the war was over, Kelly took advantage of the G.I. Bill to study painting at the School of the Museum of Fine Arts, Boston, drawing inspiration from the museum's collections, and, later, at the École nationale supérieure des Beaux-Arts, in Paris. While in France, he immersed himself in the varied artistic movements and styles represented there and befriended Americans avant-gardists, such as composer John Cage and choreographer Merce Cunningham, as well as the German-French Surrealist Jean Arp and Romanian sculptor Constantin Brâncuși. Upon his return to the United States, in 1954, he found himself at odds with the dominant style of the period, Abstract Expressionism, which favored a dynamic and energetic application of paint in a loose manner. Like Stella, Kelly was interested in formal precision and explorations of color. Following an exhibition of his work at the Betty Parsons Gallery in 1956, Kelly’s work was included in the "Young America 1957” show at the Whitney Museum of American Art. During the 1960s, Kelly played with color and form to tease out and celebrate the tension between a painting’s subject and its background. In one of his most famous works, the 1963 Red Blue Green, for example, two shapes, one red, one blue, both contrast and resonate with a green background that extends to the edge of the canvas on both sides, appearing at moments to be the work’s primary shape. To explore this relationship between form and ground further, Kelly began using nontraditional, shaped canvases, as in the monochromatic 1966 Yellow Piece, from, whose two curved corners draws the eye to the wall behind it, as though the gallery wall itself were part of the composition. A lithograph from the same period, Blue and Orange consists of two shapes in the title’s complementary colors facing off against one another with a tension that makes them appear almost animated. Kelly made drawings and prints throughout his career, using plants and flowers as his primary source of inspiration. Like his paintings, his drawings tend to be relatively flat in perspective, but they are rarely abstract. This 1993 drawing of an oak leaf is clearly representational, but rendered with very minimal color and line. In the mid-1960s, he produced the series “Suite of Twenty-Seven Lithographs” with the Paris-based Maeght Éditeur. Later, collaborating with Gemini G.E.L., he created very large-scale works, such as 1988’s Purple/Red/Gray/Orange, which is 18 feet long and might be one of the biggest lithographs ever made. Kelly produced 140 sculptures, including the aluminum White Curves, created for the Fondation Beyeler, in Riehen, Switzerland, in 2002. In his three-dimensional works, as in his paintings, Kelly used form, color and light to play with perceptions of surface and depth, inviting viewers to look closely and see the world in a new way.
About the Seller
4.9 / 5
Located in Stamford, CT
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