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paint flung and squeezed on to the canvases, spilling and spluttering across their surfaces and smeared on with the artist's fingers." The artist herself referred to the work created in this period of the early 1960s as "very violent and angry," but by 1964 she was "trying to get out of a violent phase and into something else."
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as influences on her work, and once said, "If I could paint like
Matisse, I'd be in heaven." Her paintings are expansive, often covering multiple panels. Memories and the feelings she associated with remembered landscapes provided the primary source material for her work. Mitchell told critic Irving
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Berkeley: Los
Angeles, 2002. Exhibitions: Whitney Museum of American Art, New York, June 20 â September 29, 2002; Birmingham Museum of Art, Alabama, June 27 â August 31, 2003; Modern Art Museum of Fort Worth, Texas, September 21, 2003 â January 7, 2004; The Phillips Collection, Washington, February
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In addition, the
Foundation manages a collection of Mitchell's artwork, her papers (including correspondence and photographs), and other archival materials related to her life and work. In 2015, the Foundation established the Joan Mitchell Catalogue RaisonnĂ© project, which is researching Mitchellâs
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Also in the early 1960s, Mitchell had solo exhibitions in Paris with
Galerie Neufville (1960) and Galerie Lawrence (1962). She had additional solo exhibitions in Italy (Galleria Dell'Ariete, Milan, 1960) and Switzerland (Klipstein und Kornfeld, Bern, 1962). Throughout the 1960s, Mitchell's work was
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During the period between 1960 and 1964, Mitchell moved away from the all-over style and bright colors of her earlier compositions, instead using sombre hues and dense central masses of color to express something inchoate and primordial. The marks on these works were said to be extraordinary: "The
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throughout the 1950sâ1960s. In an interview with Linda
Nochlin, Mitchell admitted that though many of her colleagues were very supportive of her artistic career, because she was a woman in the art field she did have a few setbacks. She said that she was once told by Hans Hofmann that she should be
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and painters such as Kate Van Houten, Claude Bauret Allard, Michaële-Andréa Schatt, Monique
Frydman, MĂąkhi Xenakis, Shirley Jaffe, Zuka, and Katy Crowe. In November 1984, Mitchell commenced sessions with Parisian psychoanalyst Christiane Rousseaux-Mosettig in the Bastille area. There she met and
425:. Joan Mitchell carried her large abstract painting across town with the help of Castelli. Her friends Franz Kline and Willem de Kooning thought her work was excellent and put the painting in good place in the exhibition. Her first solo exhibition was held at the New Gallery in New York in 1952.
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At the time of her death in 1992, Mitchell was represented by Robert Miller
Gallery in New York and Galerie Jean Fournier in Paris. Both galleries continued to present exhibitions of her work throughout the 1990s. In 2004, Cheim & Read in New York assumed gallery representation for the Joan
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predicted that
Mitchell would ultimately be recognized "as one of the best American painters not only of the fifties, but of the sixties and seventies as well." He continued, "This claim will not, I think, seem large to anyone lucky enough to have viewed the recent massive and almost awesomely
363:, first on Eleventh Street and later on Ninth Street. She was a regular at established artist gathering spots like the Cedar Tavern and The Club, an invitation-only loft space on Eighth Street where Mitchell participated in panel discussions and attended social gatherings throughout the 1950s.
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Mitchell said that she wanted her paintings "to convey the feeling of the dying sunflower" and "some of them come out like young girls, very coy ... they're very human." Mitchell was very influenced by her feelings and incorporated them into her artwork. She even compared these feelings that
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opened in 2015 at 2275 Bayou Road in the
Seventh Ward. The Joan Mitchell Center in New Orleans offers artists time and space for the creative process through 6 or 14 week residencies. Artists have opportunities to engage with arts professionals, partner arts organizations, and others in the
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At
Christie's New York in 2014, Mitchell's untitled 1960 abstract painting sold for $ 11.9 million, surpassing the high estimate and setting an auction record for the artist. The result also established a new record for an artwork by any female artist at auction, formerly held by
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Mitchell's artwork has been extremely commercially successful, both during her lifetime and after her death. Mitchell earned over $ 30,000 in art sales between 1960 and 1962, while still in the middle of her career. This was a significant figure for a woman painter at that time.
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Although her painting style evolved over the years, Mitchell remained committed to abstraction from the early 1950s until her final works in 1992. Grounded in years of visiting the Art Institute of Chicago as a child to look at nineteenth-century painting, Mitchell cited
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In her will, Mitchell provided for the creation of a foundation that would "aid and assist" artists while stewarding her legacy. Established in New York in 1993 as a not-for-profit corporation, the Joan Mitchell Foundation awards grants and fellowships to U.S.-based
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New York for $ 3.8 million. In 2012, an untitled 1971 painting of Mitchell's sold for âŹ5.2 million ($ 7 million) at Christie's Paris. That year, Mitchell's canvases were the two most expensive works by any woman artist sold at auction, according to auction database
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beautiful Mitchell exhibitionâ49 paintings, some of them huge, done during the five years the artist has been living in Franceâat the Everson Museum in Syracuse." The exhibition traveled to Martha Jackson Gallery following the Everson Museum presentation.
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Mitchell was one of her era's few female painters to gain critical and public acclaim. Her paintings, drawings, and editioned prints can be seen in major museums and collections around the world, and have sold for record-breaking prices. In 2021, the
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wrote, "Those feelings which she strives to express she defines as 'the qualities which differentiate a line of poetry from a line of prose.' However, emotion must have an outside reference, and nature furnishes the external substance in her work."
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recalled, "She wanted to give to young people. Carl and I called it the Fresh Air Fund...The first time she invited me for the summer, it ended up being March to September. I got brainwashed for six months, and thatâs how I found out who I am."
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440:, with whom she would have a long, rich, and tumultuous relationship (from 1955 to 1979). They maintained separate homes and studios, but had dinner and drank together nearly daily. In the same year, Mitchell met the author
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construction; weight on the bottom of the canvas versus weight at the top; light versus dark; choppy versus continuous strokes; harmonious and clashing juxtapositions of hue â all are potent signs of meaning and feeling."
537:, particularly the view of the Seine and the gardens on her property, became frequent reference points for her work. Mitchell often invited artist friends from New York to come on creative retreats to VĂ©theuil. Painter
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growing up, and her art would later reflect this athleticism; one gallery owner commented that Mitchell "approached painting almost like a competitive sport". Mitchell frequently attended Saturday art classes at the
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included in the Salon de Mai and the Salon des Réalités Nouvelles in Paris, as well as numerous group exhibitions held at France, Germany, Italy, Switzerland, Japan, The Netherlands, and other international venues.
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793:(of nine paintings) ran from October 25 to November 25, 1989. Her second Robert Miller Gallery solo ran from March 26 to April 20, 1991. It proved to be very popular, and featured paintings described by
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community. Applicants must either be based in New Orleans for the last 5 years, native to New Orleans, or a former grant recipient of the Joan Mitchell Foundation. Past residency participants include
1039:, she extended the vocabulary of her Abstract Expressionist forebears. She imbued their painterliness with a compositional and chromatic bravery that defiantly alarms us into grasping their beauty."
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Mitchell painted primarily with oil paints on primed canvas or white ground, using gestural, sometimes violent brushwork. She has described a painting as "an organism that turns in space."
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painting, which sounds very nice, but she took it to mean that the male artists were not threatened by female artists so much that they did not care if they advanced their artistic career.
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In her will, Mitchell provided for the creation of the Joan Mitchell Foundation, a non-profit corporation that awards grants and fellowships to working artists and maintains her archives.
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By the mid-1950s Mitchell was spending increasing amounts of time traveling and working in France. She continued to exhibit regularly in New York, with numerous solo exhibitions at the
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home. Mitchell bought the house "so she wouldnât have to dogwalk" and that came in useful for her 13 dogs. She lived and worked there for the remainder of her life. The landscape in
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Ninth street women : Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler : five painters and the movement that changed modern art
642:. She wrote: "Kids⊠I really love your plural work and natch both of you. So nice liking the work and the artist too â itâs rather rare I have found⊠Iâm very very happy⊠".
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New York School: Abstract Expressionists : Artists Choice by Artists : a Complete Documentation of the New York Painting and Sculpture Annuals, 1951â1957.
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Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: five painters and the movement that changed modern art
314:, Mitchell attended only one class and declared, "I couldn't understand a word he said so I left, terrified." A $ 2,000 travel fellowship allowed her to study in
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948:(2020). The Foundation provides artists with free resources and instruction in the areas of career documentation, inventory management, and legacy planning.
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they created self-reflexive fragments that make us, as wayfarers of the text/canvas, traverse ân unending ending or beginning lightâ (Beckett, 2009, 126).'
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Mitchell's work was featured in mid-career surveys in 1961 and 1974, and a major late-career retrospective toured in 1988 and 1989. A retrospective survey,
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in Syracuse, New York. The exhibition, especially Mitchell's "Sunflower" paintings from the late 1960s-early 1970s, received critical acclaim. Writing for
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on 20 November 2014. In June 2018, nine of Mitchell's paintings were expected to sell for more than $ 70 million at the world's largest modern art fair,
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for the first time. Their relationship was both personal and intellectual. Critic Lucy Jeffery writes about their mutual influence and interest in
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Mitchell Foundation; the gallery presented numerous solo exhibitions of Mitchell's work until 2018, when the Foundation shifted representation to
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Mitchell's emotionally intense style and its gestural brushwork were influenced by nineteenth-century post-impressionist painters, particularly
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in New York; she continued to exhibit with the gallery into the 1970s. In 1972, Mitchell staged her first major museum exhibition, entitled
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In 1988, Mitchell's work was showcased in a major retrospective exhibition, which she referred to as being "art-historized live." Entitled
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821:. She returned to Paris on October 22, returning to VĂ©theuil briefly before entering hospital in Paris, where friends like John Cheim and
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of Paris. During this time, her paintings appeared in a string of high-profile international exhibitions, including the Osaka exhibition
3440:. Catalogue of exhibition held at David Zwirner New York, May 3 â July 12, 2019. New York: David Zwirner Books, 2019. ISBN 9781644230282
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and a mandibulectomy (removal of the jaw) was advised. In October, she obtained a second opinion from Jean-Pierre Bataini, a pioneer in
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Introduction by Suzanne Pagé; essays by Marcelin Pleynet and Barbara Rose. Paris: ARC, Musée d'Art Moderne de la Ville de Paris, 1982.
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2104:"'We Wanted to Unmoor Her from the 1950s': A Joan Mitchell Retrospective at SFMOMA Shows the Artist as You've Never Seen Her Before"
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1992:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020. p. 326.
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2060:. Sarah Rehm Roberts, Katy Siegel, eds. San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. p. 127.
1541:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020. p. 32.
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In 1967, Mitchell inherited enough money following the death of her mother to purchase a two-acre estate in the town of
3659:. New York: Hudson Hills Press, in association with Herbert F. Johnson Museum of Art, Cornell University, Ithaca, 1988.
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American Abstract Expressionism of the 1950s: An Illustrated Survey with Artists' Statements, Artwork and Biographies.
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2926:"Joan Mitchell Is Having More Than a Moment. Here's How the Artist's Foundation Has Championed Her Market and Legacy"
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1390:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020.
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Livingston, Jane; Mitchell, Joan; Nochlin, Linda; Lee, Yvette Y; Whitney Museum of American Art (January 1, 2002).
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1137:. Works by Mitchell fetched $ 239.8 million in sales from 1985 through 2013, according to figures compiled by
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Göttingen: Steidl, 2007. Catalog of an exhibition held at Hauser & Wirth London, May 24 â July 21, 2007.
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as "self-portraits by someone who has staked everything on autonomous marks that are peculiar to herself".
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movement, although she personally abhorred aesthetic labels. Beginning in 1950, she maintained a studio in
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Jeffery, Lucy, âSamuel Beckettâs brush with the other Mitchell: Painterly Techniques in âOne Eveningââ,
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After 1985, Mitchell's post-cancer paintings reflect the psychological changes cancer had effected: six
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By 1959, Mitchell was living full-time in France and painting in a studio on the rue Fremicourt in the
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in 1948â49, and she also traveled in Spain and Italy. During this period, her work became increasingly
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2849:"A space to work and room to grow are the benefit of Joan Mitchell Center artist-in-residency program"
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In 1950 Mitchell painted what would be her last picture with a human figure incorporated in the work
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In the final years of her life, Mitchell returned to the subject of sunflowers with renewed focus.
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184:(February 12, 1925 â October 30, 1992) was an American artist who worked primarily in painting and
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1468:"Joan Mitchell's Resplendent Paintings: How the Abstract Expressionist Resolved the Unresolvable"
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2719:"Atlanta artist Michi Meko's work is "the contemporary experience of black life and survival""
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Mitchell's art is held in the permanent collection of over 100 public institutions worldwide.
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in December 1985, but with little success. During her subsequent recuperation at a clinic in
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paintings were exhibited at Galerie Jean Fournier, Paris between June 10 and July 13, 1987.
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Around the same time, Mitchell's New York dealer, Xavier Fourcade, had been diagnosed with
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In 1982, Mitchell became the first female American artist to have a solo exhibition at the
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and remained friends with him in later years, although neither cared for the other's work.
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sold at auction for $ 11.9 million in 2014, a then record for a work by a female artist.
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cycle of paintings, followed, after Xavier Fourcade's death on April 28, 1987, by the
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and, in 1986, travelled to France to undergo treatment. Fourcade and Mitchell visited
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Mitchell maintained a robust creative discourse with fellow New York School painters
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In 1979 Mitchell completed two of her best known large scale works, the polyptychs
3431:. San Francisco: SFMOMA; New Haven: Yale University Books, 2021. ISBN 9780300247275
2746:"Joan Mitchell Foundation Names Recipients of 2018 Painters & Sculptors Grants"
2596:"Joan Mitchell Foundation Announces 2017 Painters & Sculptors Grant Recipients"
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Joan Mitchell: Portrait of an Abstract Painter, documentary film by Marion Cajori
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Mitchell, Joan. "Interview with Yves Michaud." Stiles, Kristine, and Peter Selz.
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1332:. Berkeley and Los Angeles, California: University of California Press. pp.
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211:. Memories of landscapes inspired her compositions; she famously told art critic
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the 29th Venice Biennale; the V Bienal do Museo de Arte Moderna, SĂŁo Paulo; and
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3394:"$ 20 M. Joan Mitchell Painting Sells During Art Basel Hong Kong's Early Hours"
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Born to be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey
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Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings.
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In 1969 Mitchell completed her first large scale triptych, the 16.5 foot wide
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In October 1992, Mitchell flew to New York for a Matisse exhibition at the
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2980:. Denver New Haven: Denver Art Museum Yale University Press. p. 186.
2349:. New York, Berkeley, CA: Whitney Museum, University of California Press.
629:. In Paris, Mitchell had a circle of artist friends, such as the composer
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1677:"The exhibition that pushed NYC to the art world's centre | Art | Agenda"
1489:. New York; Berkeley, CA: Whitney Museum; University of California Press.
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The Paintings of Joan Mitchell: Thirty-six Years of Natural Expressionism
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2537:"Joan Mitchell Foundation switches to longer-term support of US artists"
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Post War and Contemporary Art Evening Sale, November 13, 2007, New York.
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In October 1957, the first major feature on Mitchell's work appeared in
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in Massachusetts and the Art Institute of Chicago, where she earned her
3645:. New York: Rizzoli International Publications, 1999, pp. 90â103.
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group of four. Her health further deteriorated when Mitchell developed
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New Jersey: New York School Press, 2000, pp. 8, 16, 38, 254â257.
2216:"Review/Art; An Art of Motion: Joan Mitchell's Abstract Expressionism"
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Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970
817:. Upon her arrival, she was taken to a doctor, who diagnosed advanced
3190:"Joan Mitchell: I carry my landscapes around with me | David Zwirner"
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In 1976, Mitchell began exhibiting regularly with New York gallerist
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Berkeley, CA: University of California Press, 2012, pp. 32â34.
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and by members of the Artists' Club; the show also included work by
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and made other works on paper. She was an active participant in the
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Franklin Lakes, NJ: New York School Press, 2003, pp. 226â229.
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movement, even though she lived in France for much of her career.
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New York, Post-War & Contemporary Evening Sale, May 13, 2014.
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New York, Post-War & Contemporary Evening Sale, May 13, 2014.
2268:"Art Review: 'Joan Mitchell/The Last Decade' at Gagosian Gallery"
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visited her. She died on the morning of October 30, 1992, at the
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In the article, entitled "Mitchell Paints a Picture", art critic
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paintings for the eventual publication of a catalogue raisonné.
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1972:"Book Review: 'Joan Mitchell: Lady Painter' by Patricia Albers"
1236:"She's About to Be the Belle of Basel, Decades After Her Death"
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in December to view an exhibition of works by Matisse from the
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2509:"A Gift from One Artist to Many: The Joan Mitchell Foundation"
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Steidl Publication, Fall Winter 07 08, page 161, excerpt from
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An Artist-in-Residence program at the Joan Mitchell Center in
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Joan Mitchell: Leaving America, New York to Paris, 1958â1964.
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https://www.euppublishing.com/doi/full/10.3366/jobs.2018.0235
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A passionate inner vision guided Joan's brush. Like her peer
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3343:"Billionaires Help Christie's to Record $ 745 Million Sale"
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of artists and poets, and was associated with the American
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2771:"Joan Mitchell Foundation Announces 2019 Grant Recipients"
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was painted to "convey the feeling of a dying sunflower".
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Joan Mitchell, ca. 1942, Francis W. Parker School yearbook
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Top 20 Female Artists Fetch $ 1.8 Billion; Mitchell Leads
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New York: Simon & Schuster, 1979, pp. 233â247.
3469:. Illinois: University of Chicago Press, January, 2016.
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In 1956 Mitchell painted one of her breakthrough works,
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In 1951, Mitchell's work was exhibited in the landmark "
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co-organized a comprehensive retrospective of her work.
3643:: Inside the Studios of Today's Most Celebrated Artists
582:, who was her New York dealer until his death in 1987.
436:
In 1955, while in Paris, Mitchell met Canadian painter
19:
This article is about the painter. For the singer, see
3703:
Oral history interview with Joan Mitchell, 1965 May 21
3443:
Tap, M. (2018). Joan Mitchell and Jean-Paul Riopelle.
3002:"Joan Mitchell Retrospective: Her Life and Paintings"
2541:
The Art Newspaper â International art news and events
2463:. New York: Whitney Museum of American Art. pp.
1942:. New York: Whitney Museum of American Art. pp.
3572:
Livingston, Jane, Yvette Y. Lee, and Linda Nochlin.
3322:"Christie's Art Sale Brings In Record $ 745 Million"
1267:. New York: Little, Brown, and Company. p. 44.
605:(dedicated to her friend the art critic and curator
283:
neighborhood. She was close to her Parker classmate
3437:
Joan Mitchell: I carry my landscapes around with me
3242:Lane, Ellen Gamerman and Mary M. (April 18, 2013).
3087:
2445:
magazine, 17/Fall 1986. Retrieved October 24, 2012.
1640:
Birmingham Museum of Art: A Guide to the Collection
1110:
Joan Mitchell: I carry my landscapes around with me
1052:
Joan Mitchell Retrospective: Her Life and Paintings
609:who died in 1978). Tausif Noor in writing for the
500:
International Art of a New Era: Informel and Gutai;
2952:"Her Passion Was Abstract but No Less Combustible"
2342:
2242:"Paintings That Liberate the Viewer's Imagination"
1482:
1057:In September 2021, a comprehensive retrospective,
310:school in New York City but, according to curator
3686:. New York: Whitney Museum of American Art, 1974.
3165:"Joan Mitchell Foundation Heads to David Zwirner"
1050:. In 2015, Kunsthaus Bregenz, Austria, organized
855:Sandler, "I carry my landscapes around with me."
620:
3740:
1699:
1697:
1042:In 2016 her work was included in the exhibition
3313:
2372:"Joan Mitchell, Abstract Artist, Is Dead at 66"
23:. For the computer scientist and inventor, see
645:In 1984, Mitchell was diagnosed with advanced
3784:School of the Art Institute of Chicago alumni
3663:Joan Mitchell: Choix de peintures, 1970â1982.
2336:
2334:
1694:
1594:(1st Back Bay paperback ed.). New York.
1357:Joan Mitchell: A Painter Under the Influences
3458:. New York: Little, Brown and Company, 2018.
3420:Reverse chronological by date of publication
2022:"Art | Joan Mitchell: To Obscurity and Back"
1015:
3551:Mitchell, Joan, and Helen Anne Molesworth.
1769:"Oral History Interview with Joan Mitchell"
882:
529:, the gardener's cottage of which had been
233:
2847:Tafur, Suzanne Pfefferle (July 22, 2021).
2506:
2340:
2331:
2088:: CS1 maint: location missing publisher (
2019:
1864:"Joan Mitchell â Exhibitions â Cheim Read"
1827:. Yale University Press. January 5, 2021.
1794:Jean Paul Riopelle: The Artist's Materials
1622:: CS1 maint: location missing publisher (
1569:: CS1 maint: location missing publisher (
1500:
1498:
1496:
1418:: CS1 maint: location missing publisher (
1325:
340:
42:
3804:Francis W. Parker School (Chicago) alumni
2743:
2507:Blatchford, Christa (December 11, 2018).
2496:: 17 – via Academic Search Premier.
2490:"The Lyrical Principle: On Joan Mitchell"
2312:Kimmelman, Michael (September 20, 1992).
2311:
2305:
1861:
1775:. Smithsonian Institution. April 16, 1986
1443:"Joan Mitchell: An Illustrated Biography"
275:neighborhood and attended high school at
3028:"The Roots of Joan Mitchell's Greatness"
2698:"Ann Purcell â Paintings from the 1970s"
2147:"The Roots of Joan Mitchell's Greatness"
2053:
1197:
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634:became friends with the American artist
627:Musee d'art moderne de la Ville de Paris
545:In 1968, Mitchell began exhibiting with
237:
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2118:"Joan Mitchell | "La Vie en Rose""
1966:
1960:
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832:
3741:
3714:Joan Mitchell Biography on TheArtStory
3120:"Exhibitions & Public Collections"
3059:
2975:
2969:
2744:Armstrong, Annie (December 12, 2018).
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1311:Crystal Bridges Museum of American Art
1201:
489:
271:. She lived on Chestnut Street in the
200:, she is associated with the American
121:School of the Art Institute of Chicago
3391:
2846:
2593:
2531:
2529:
2288:"Joan Mitchell Becomes the Sunflower"
2265:
2214:Brenson, Michael (November 3, 1989).
1763:
1761:
1178:
196:of artists in the 1950s. A native of
3794:20th-century American women painters
3508:Joan Mitchell: Lady Painter: A Life.
3434:Hudson, Suzanne and Robert Slifkin.
3340:
3319:
3241:
3025:
2416:
2144:
2020:Schjeldahl, Peter (April 30, 1972).
1988:Joyce Pensato, "To a Sunflower," in
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874:influenced her paintings to poetry.
720:cycle is emblematic of this period.
329:Mitchell married American publisher
3534:London: Thames & Hudson, 2007.
3216:Hilarie M. Sheets (July 17, 2008),
2580:
2182:
1716:
1165:. In May 2021, Mitchellâs painting
780:La Jolla Museum of Contemporary Art
13:
3670:Originals: American Women Artists.
3414:
3367:"American Art: Sale Number N09229"
3355:from the original on May 14, 2014.
3026:Noor, Tausif (September 2, 2021).
2924:Cascone, Sarah (October 4, 2018).
2892:
2594:Scher, Robin (November 14, 2017).
2526:
2370:Russell, John (October 31, 1992).
2266:Pagel, David (November 19, 2010).
2259:
2145:Noor, Tausif (September 2, 2021).
1758:
1630:
221:San Francisco Museum of Modern Art
14:
3815:
3799:20th-century American printmakers
3690:
3511:New York: Alfred A. Knopf, 2011.
3301:from the original on May 15, 2014
3275:Katya Kazakina (August 6, 2013),
3060:Delson, Susan (August 20, 2021).
2823:"Creating a Living Legacy (CALL)"
2314:"The Many Moods Of Henri Matisse"
1809:, 27.2 (2018), 175-192 (p. 189),
1637:Birmingham Museum of Art (2010).
1430:
1367:
1316:
1225:
3425:Roberts, Sarah and Katy Siegel.
3392:Villa, Angelica (May 20, 2021).
2950:Kertess, Klaus (June 16, 2002).
2457:"Joan Mitchell: A Rage to Paint"
2240:Russell, John (April 12, 1991).
2165:"Joan Mitchell: Brief Biography"
1936:"Joan Mitchell: A Rage to Paint"
1505:Sandler, Irving (October 1957).
784:Herbert F. Johnson Museum of Art
306:in 1947, she wanted to study at
3575:The Paintings of Joan Mitchell.
3385:
3359:
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3269:
3235:
3182:
3163:Russeth, Andrew (May 1, 2018).
3156:
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2978:Women of abstract expressionism
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1044:Women of Abstract Expressionism
3789:20th-century American painters
3749:Abstract expressionist artists
3734:Joan Mitchell at David Zwirner
2461:The Paintings of Joan Mitchell
2345:The Paintings of Joan Mitchell
1940:The Paintings of Joan Mitchell
1849:"Joan Mitchell | Hemlock"
1643:. London: Giles. p. 243.
1485:The paintings of Joan Mitchell
1350:
1329:The Paintings of Joan Mitchell
1301:
1281:
1254:
1022:The Paintings of Joan Mitchell
789:Mitchell's first solo show at
621:Later years and death (France)
1:
3779:Artists from New York (state)
3218:Artist Dossier: Joan Mitchell
2459:. In Livingston, Jane (ed.).
1938:. In Livingston, Jane (ed.).
1211:. New York: Alfred A. Knopf.
1172:
1155:Jimson Weed/White Flower No 1
1083:
3697:The Joan Mitchell Foundation
3320:Crow, Kelly (May 14, 2014).
2874:"Residencies in New Orleans"
551:My Five Years in the Country
16:American painter (1925â1992)
7:
1507:"Mitchell paints a picture"
1291:, text by Helen Molesworth
1208:Joan Mitchell: Lady Painter
1115:
861:According to art historian
772:San Francisco Museum of Art
739:. The trip resulted in the
413:," organized by art dealer
10:
3820:
3769:American women printmakers
3754:American abstract painters
3705:â Archives of American Art
2488:Ashton, Dore (Fall 2008).
2195:. Joan Mitchell Foundation
1807:Journal of Beckett Studies
827:American Hospital of Paris
91:American Hospital of Paris
18:
3719:Mitchell/Riopelle Exhibit
3223:February 1, 2014, at the
2341:Livingston, Jane (2002).
1326:Livingston, Jane (2002).
1016:Select legacy exhibitions
877:
776:Albright-Knox Art Gallery
421:, Willem de Kooning, and
302:in 1950. After moving to
158:
129:
103:
79:
53:
41:
34:
3531:Women, Art, and Society.
3124:Joan Mitchell Foundation
3095:"Action, Gesture, Paint"
3006:Joan Mitchell Foundation
2976:Marter, Joan M. (2016).
2904:Joan Mitchell Foundation
2878:Joan Mitchell Foundation
2827:Joan Mitchell Foundation
2801:Joan Mitchell Foundation
2676:Joan Mitchell Foundation
2650:Joan Mitchell Foundation
2625:Joan Mitchell Foundation
2567:Joan Mitchell Foundation
2431:October 8, 2010, at the
2169:Joan Mitchell Foundation
2153:– via NYTimes.com.
1773:Archives of American Art
1745:Joan Mitchell Foundation
1447:Joan Mitchell Foundation
1122:Art Institute of Chicago
883:Joan Mitchell Foundation
638:and her husband, artist
595:by the French chanteuse
277:Francis W. Parker School
261:Art Institute of Chicago
234:Early life and education
3724:East Ninth Street LACMA
3062:"The Artist as Athlete"
2455:Nochlin, Linda (2002).
2054:Hoberman, Mara (2021).
1934:Nochlin, Linda (2002).
786:at Cornell University.
768:Corcoran Gallery of Art
341:Early career (New York)
225:Baltimore Museum of Art
1588:Gabriel, Mary (2019).
1096:
998:Cullen Washington, Jr.
733:State Hermitage Museum
547:Martha Jackson Gallery
357:Abstract expressionist
243:
202:abstract expressionist
166:Abstract expressionism
3774:Artists from Illinois
3729:Joan Mitchell at MoMA
2106:. September 20, 2021.
1657:on September 10, 2011
1573:) CS1 maint: others (
1422:) CS1 maint: others (
1167:12 Hawks at 3 OâClock
1091:
791:Robert Miller Gallery
555:Everson Museum of Art
333:in September 1949 in
246:Mitchell was born in
241:
171:New York School (art)
3244:"Women on the Verge"
3194:www.davidzwirner.com
2777:. September 25, 2019
1741:"Joan Mitchell's CV"
833:Style and influences
815:Museum of Modern Art
770:before traveling to
290:Mitchell studied at
3655:Bernstock, Judith.
3617:Herskovic, Marika.
3596:Herskovic, Marika.
3579:14 â May 16, 2004.
3528:Chadwick, Whitney.
3467:Essays on Their Art
3373:. November 20, 2014
3327:Wall Street Journal
3248:Wall Street Journal
3099:Whitechapel Gallery
3066:Wall Street Journal
2900:"Supported Artists"
2797:"Zarouhie Abdalian"
2725:. February 28, 2018
2678:. December 13, 2013
2652:. December 15, 2011
2563:"Supported Artists"
2439:and Betsy Sussler,
1261:Dery, Mark (2019).
1075:Whitechapel Gallery
808:Sunflowers, 1990â91
714:watercolor painting
496:15th arrondissement
490:Mid-career (France)
468:Domination of Black
392:Helen Frankenthaler
348:Figure and the City
116:Columbia University
3295:"Sale 2847 Lot 32"
3032:The New York Times
2956:The New York Times
2880:. January 22, 2024
2803:. October 21, 2020
2543:. February 4, 2021
2376:The New York Times
2318:The New York Times
2246:The New York Times
2220:The New York Times
2151:The New York Times
2026:The New York Times
1126:Ste. Hilaire, 1957
1097:
1064:The New York Times
898:artist collectives
800:The New York Times
651:radiation oncology
559:The New York Times
438:Jean-Paul Riopelle
244:
3701:Dorothy Seckler,
3627:978-0-967-79940-7
3606:978-0-967-79941-4
3585:978-0-520-23568-7
3561:978-3-865-21490-4
3540:978-0-500-20393-4
3517:978-0-307-59598-0
3491:978-0-520-25374-2
3341:Kazakina, Katya.
2513:The Brooklyn Rail
2406:Aires Pour Marion
2273:Los Angeles Times
2067:978-0-300-24727-5
1998:978-0-300-24727-5
1976:Los Angeles Times
1970:(June 12, 2011).
1923:978-3-86521-490-4
1896:978-0-300-24727-5
1868:www.cheimread.com
1650:978-1-904832-77-5
1601:978-0-316-22617-2
1548:978-0-300-24727-5
1517:(6): 44â47, 67â70
1470:. September 2021.
1397:978-0-300-24727-5
1364:, April 26, 1994.
1361:Los Angeles Times
1297:978-3-86521-490-4
1274:978-0-316-18854-8
1151:Apres le dejeuner
1048:Denver Art Museum
1046:organized by the
1002:Carl Joe Williams
946:Zarouhie Abdalian
942:Daniel Lind-Ramos
844:Wassily Kandinsky
591:(named after the
411:Ninth Street Show
400:Elaine de Kooning
376:Willem de Kooning
361:Greenwich Village
248:Chicago, Illinois
179:
178:
96:Neuilly-sur-Seine
64:February 12, 1925
3811:
3682:Tucker, Marcia.
3668:Munro, Eleanor.
3638:Seidner, David.
3503:Albers, Patricia
3445:Border Crossings
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1222:
1203:Albers, Patricia
1199:
1159:Georgia O'Keeffe
938:Elisabeth Condon
852:Vincent van Gogh
700:. She underwent
575:(without Snow).
563:Peter Schjeldahl
298:in 1947 and her
188:, and also used
86:
83:October 30, 1992
63:
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48:Mitchell in 1983
46:
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25:Joan L. Mitchell
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3640:Artists at Work
3454:Gabriel, Mary.
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706:HĂŽpital Cochin
694:osteoarthritis
688:cycle and the
631:GisĂšle Barreau
622:
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615:La Vie en Rose
611:New York Times
607:Thomas B. Hess
588:La Vie en Rose
531:Claude Monet's
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430:Stable Gallery
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2321:. Retrieved
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2249:. Retrieved
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2172:. Retrieved
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1744:
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1705:
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1680:
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1659:. Retrieved
1655:the original
1639:
1632:
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1521:November 23,
1519:. Retrieved
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1010:
986:Shani Peters
982:Carrie Moyer
970:Heather Hart
966:Firelei BĂĄez
950:
944:(2019), and
918:Simone Leigh
886:
872:
866:
860:
857:
840:Paul CĂ©zanne
836:
812:
807:
805:
798:
795:John Russell
788:
763:
761:
756:
752:
748:
744:
740:
722:
717:
710:Louveciennes
689:
685:
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678:Faded Air II
677:
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614:
600:
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558:
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504:Documenta II
503:
499:
493:
475:
473:
466:
465:' 1916 poem
456:
454:
449:
446:Paul CĂ©zanne
435:
427:
423:Hans Hofmann
415:Leo Castelli
408:
379:
365:
346:
344:
328:
289:
285:Edward Gorey
281:Lincoln Park
245:
229:
217:
206:
181:
180:
85:(1992-10-30)
29:
3764:1992 deaths
3759:1925 births
3398:ARTnews.com
3377:January 12,
3261:January 17,
3229:Art+Auction
3169:ARTnews.com
3129:January 17,
2935:January 15,
2930:Artnet News
2781:January 19,
2755:January 19,
2750:ARTnews.com
2703:January 15,
2682:January 12,
2656:January 19,
2605:January 19,
2600:ARTnews.com
2572:January 17,
2547:January 15,
2518:January 15,
2174:January 17,
2132:"Salut Tom"
1779:November 1,
1077:in London.
1006:Mel Ziegler
994:Amy Sherald
990:Alison Saar
953:New Orleans
930:Ann Purcell
922:Amy Sherald
906:Amy Sillman
819:lung cancer
704:surgery at
684:cycle, the
674:Faded Air I
672:paintings,
647:oral cancer
384:Lee Krasner
372:Franz Kline
335:Le Lavandou
186:printmaking
142:Printmaking
3743:Categories
3403:August 23,
3199:August 31,
3174:August 31,
3151:Christie's
3079:August 23,
3011:August 10,
2909:August 10,
2858:August 12,
2832:August 10,
2807:August 18,
2474:0520235703
2437:Cora Cohen
2411:Christie's
2356:0520235681
2076:1198094217
2039:August 10,
2005:1198094217
1953:0520235703
1903:1198094217
1750:August 10,
1711:Christie's
1610:1124485876
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