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Friedel Dzubas"Northern Cool (sketch)" Friedel Dzubas, Light Blue, Green, Abstract Composition1978
1978
$14,000
£10,657.51
€12,183.78
CA$19,698.19
A$21,546.58
CHF 11,344.86
MX$257,244.20
NOK 144,591.88
SEK 132,267.07
DKK 91,000.37
About the Item
Friedel Dzubas
Northern Cool (sketch), 1978
Magna acrylic on canvas
5 1/2 x 5 1/2 inches
Provenance
The artist
Estate of Friedel Dzubas
Jacobson Howard Gallery, New York
Bernard Jacobson Gallery, New York
Private collection
- Creator:Friedel Dzubas (1915-1994, German)
- Creation Year:1978
- Dimensions:Height: 10 in (25.4 cm)Width: 10 in (25.4 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1841217386912
Friedel Dzubas
Friedel Dzubas was born April 20, 1915 in Berlin and studied at the Prussian Academy of Fine Art and under Paul Klee while in Düsseldorf from 1936 to 1939. In 1939, Dzubas fled Germany for London and the United States where he later became a citizen. In 1948, he he answered art critic Clement Greenberg's anonymous advertisement for a summer roommate. It was the height of the Abstract Expressionist Movement in New York, and through Greenberg Dzubas met Willem de Kooning, Jackson Pollock, Adolph Gottlieb and Barnett Newman. Later, in the early 1950s, Dzubas shared a studio with Helen Frankenthaler, associating with some of the younger generation of abstract painters in New York including Jules Olitski and Kenneth Noland. In the early 1950s, he began exhibiting his work in New York. In the 1960s, he started experimenting with color field painting. Dzubas' mature paintings since the 1960s assimilate his early interest in German Romanticism and Expressionism into post-war American abstraction. "He abandoned oil paint for Magna acrylic in 1965 when he found he could achieve with a brevity of gesture the brilliance and luminosity of oil paint applied in thin veils of color. He could thus effect the richness and variation of traditional glazed tones using a more expressive, immediate process. By the early 1980s, Dzubas abandoned his preliminary preparations of sketching and priming, thereby inviting spontaneity and accident into his painting process. Although he typically coated his canvas with a gesso primer before painting, he began to apply it so thinly that the pigment was almost immediately absorbed into the ground, making it impossible for him to revise and rework his compositions. Dzubas' change in technique reveals a thoroughly modernist sensibility: "I like that risk," he explained. "I think, to a certain degree, I have to make it mechanically difficult and unreliable for myself. If I can predict the effect too much, then I probably am not supposed to be doing it. I function better if my footing is not too sure, so to speak." The rich, velvety hues of Grade's reds, greens, and blues appear radiant in places. Dzubas heightened his color drama -- a drama characterized as quintessentially Baroque by some critics-- by varying the density of his paint. His rectangular forms appear to ebb and flow in an orchestrated movement across the surface of the picture plane." (Megan Bahr) A retrospective of Dzubas' work was shown at the Museum of Fine Art, Houston in 1974 and at the Museum of Fine Art, Boston the following year. In 1983, Dzubas was honored with an exhibition at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (ASKART)
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My work has always been anchored in drawing. I spent years drawing and painting from life. This instilled a strong sense of space and structure. At some point I became more interested in the negative space surrounding the objects I was observing and modifying the objects themselves. I began to organically develop an abstract language, but the sense of structure and organization remained constant in the painting.
I apply paint in layers using palette knives, brushes and oil sticks. I initially draw loose gestures and a variety of spontaneous marks. Often traces of previous layers remain visible, allowing colors to interact in ways I could not have anticipated. This process leaves me feeling quite lost a lot of the time, and I have had to learn to become comfortable with that feeling. This sometimes builds to frustration, and I will scrape off much of what was applied, but the result of doing this is often something wonderful that moves the painting forward.
I view the painting process as a collaboration between myself and the materials. A conversation starts that has a beginning and an end, but everything in between is unpredictable. It seems at first some exciting things may show up but it’s important to disregard these first, too beautiful bursts, work over them, and develop something deeper from them. As the painting evolves, shapes and lines solidify, and I begin to see how the parts affect the whole.
This way of layering, adding and subtracting, creates a history on the canvas. Shapes have a story to tell. Lines that have been obliterated and resurrected over and over again have an emotional charge. This process that started as a wild party ends up as a contemplative carefully edited composition, involving precise modifications, while hopefully leaving the life force in tact.
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SELECTED EXHIBITIONS:
Solo Shows:
2019 Carrie Haddad Gallery, Hudson, NY
2019 Hidell Brooks Gallery, Charlotte NC
2018 Light Waves, Hidell Brooks Gallery, Charlotte NC
2017 New Works, Carrie Haddad Gallery, Hudson NY
2016 Sailing in Place, Hidell Brooks Gallery, Charlotte NC
2013 Traveling Light, Tria Gallery, Manhattan NY
2012 New Work, Smink Modern, Dallas TX
2012 New Work, Carrie Haddad Gallery, Hudson NY
2011 Awakenings (Duo with Keun Young Park) Tria Gallery, Manhattan NY
2010 New Paintings, Chace-Randall Gallery, Andes NY
2008 Autumn Elegance, Asher Neiman Gallery, Red Bank NJ
2008 The Light Between, Chace-Randall Gallery, Andes NY
2007 New Work, Carrie Haddad Gallery, Hudson NY
2006 Of Line and Light, Chace-Randall Gallery, Andes NY
2006 Abstractions, Gallery 100, Saratoga NY
2005 Spring Collection, Coffey Gallery, Kingston NY
2005 New Work, Carrie Haddad Gallery, Hudson NY
2004 Summer, Omega Institute, Rhinebeck NY
2004 New Work, Carrie Haddad Gallery, Hudson NY
2003 Paintings from Shady, Coffey Gallery, Kingston NY
2001 Fisher Studio Art Gallery, Annandale-on-Hudson
Group Exhibitions:
2018 20th Anniversary Show, Hidell Brooks Gallery, Charlotte, NC
2017 Due East: Woodstock Artists in Nantucket, Nantucket Arts Center, Nantucket, MA
2017 Composition: The Abstract Landscape, Kleinert/James Gallery, Woodstock NY
2014 Women in Abstract, Hidell Brooks Gallery, Charlotte NC
2013 Hidell Brooks Anniversary Show, Hidell Brooks Gallery, Charlotte, NC
2013 AD Boston Art Fair, Gold Gallery, Boston
2012 Contemporary Painters, Carrie Haddad Gallery Hudson, NY
2012 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA
2012 Tria Gallery Summer Exhibition, Manhattan, NY
2012 AAF NYC, Tria Gallery, Manhattan, NY
2011 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA
2011 AAF NYC, Tria Gallery, Manhattan, NY
2011 Figures and Abstractions, Carrie Haddad Gallery, Hudson NY
2010 Art Hamptons, Tria Gallery, Manhattan NY
2010 Featured Artist, Dragonfly Gallery, Martha's Vineyard MA
2009 LA Art Fair, Bryant Street Gallery, Palo Alto CA
2009 Curators Choice, Chace-Randall Gallery, Andes NY
2009 Instructors Exhibition, Woodstock School of Art, Woodstock NY
2009 Group Exhibition, Bryant Street Gallery, Palo Alto CA
2009 Small Works, Anne Irwin Fine Art, Atlanta GA
2009 Winter White, Tria Gallery, Manhattan NY
2009 Contrasts, Anne Irwin Fine Art, Atlanta GA
2009 AAF NYC Tria Gallery, Manhattan NY
2008 Summer Cocktail, Tria Gallery, Manhattan NY
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2007 Faculty Plus One, Columbia Greene Community College, Hudson NY
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