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Leon Polk SmithConstellation Blue Violet Green Red - Post War Abstract Shaped Acrylic Painting1968
1968
$175,000
£132,265.29
€151,598.98
CA$244,121.96
A$266,210.97
CHF 140,757.42
MX$3,202,270.01
NOK 1,786,233.44
SEK 1,637,066.34
DKK 1,132,350.09
About the Item
"Constellation Blue Violet Green Red” is a Post-War Abstract, shaped canvas painting by Hard-Edge American Painter, Leon Polk Smith. The artwork is signed verso, “Leon Polk Smith Constellation Blue Violet Green Red 1968”
Leon Polk Smith's "Constellation Blue Violet Green Red" (1968) is a striking example of the artist's radical exploration of form and color in postwar abstraction. Executed in acrylic on canvas, the work consists of four rounded-square panels arranged in a diamond formation. Each panel bears a crisp division of color: black at the outer edge, paired with one of four luminous hues—blue, violet, green, and red—creating a rhythmic interplay of symmetry and variation.
Provenance:
Lisson Gallerry, New York
Private Collection, purchased from the above
Leon Polk Smith, an American painter born in 1906, is best known for his lifelong commitment to simplified shapes, brilliant colors and minimal, pressurized compositions. Smith’s style has been associated with the Hard-edge school of the 1960s, and he was greatly influenced by Constantin Brancusi and Piet Mondrian. In his hard-edged paintings, Smith would push the geometry of Mondrian into curved compositions that celebrated optical tenseness and restraint.
Smith’s paintings, which were frequently on shaped or multipart canvases, exuded a buoyancy that was identified as quintessentially American. Roberta Smith, an art critic writing for the New York Times, analyzed his relationship to this uniquely American quality, connecting the overt simplicity, the balance of boldness and pensiveness to what she called a “slightly unhinged optimism.”
Smith has been the subject of numerous retrospectives and his work resides in major institutional collections including the Art Institute of Chicago, the Brooklyn Museum, Crystal Bridges Museum of American Art, the Solomon R. Guggenheim Museum of Art, the Hirshhorn Museum, L.A. County Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, and the Whitney Museum of American Art.
- Creator:Leon Polk Smith (1906-1996, American)
- Creation Year:1968
- Dimensions:Height: 36 in (91.44 cm)Width: 36.25 in (92.08 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Palm Desert, CA
- Reference Number:Seller: 475921stDibs: LU9317387372
Leon Polk Smith
Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting, which includes such artists as Bourgoyne Diller, Fritz Glarner, Al Held, and Ellsworth Kelly. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. His visual vocabulary was influenced by such historical figures as Hilla Rebay, both an abstract painter and the first director of the Solomon R. Guggenheim Museum, and the Dutch De Stijl painter Piet Mondrian. However, many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape and Native American art forms of his youth. Polk Smith’s exploration of non-objective imagery in the late 1950s put him at the forefront of movements including Color Field, Minimalist, and Hard Edge painting. Robert Buck, former director of the Brooklyn Museum, described Polk Smith as “an influential pioneer in the development of American Modernism”, adding, “He created a new vocabulary in painting that has had a far-reaching influence on subsequent generations of artists.”
One of Smith’s earliest and most successful forays into printmaking came in 1968 when he received a grant to work at June Wayne’s Tamarind Lithography Workshop in Los Angeles. Smith would create sixteen untitled prints at Tamarind. These bold and vibrant prints incorporate a variety of his painting motifs, many of which relate to his Correspondence Series of 1960-1967, with their interplay of organic forms on solid color backgrounds. Prints would continue to be an important aspect of Smith’s creative output. The artist would go on to make over 50 print editions in this country and Europe.
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