Joan Mitchell - Knowledge

55: 1100: 250: 1078:, critic Tausif Noor wrote that the exhibition "tracks how Mitchell’s steely resolve to be written in history as one of the greatest painters produced a signature style that extended the contours of Abstract Expressionism." Following the run at SFMOMA, the show traveled to the Baltimore Museum of Art (March 6 – August 14, 2022) and the Fondation Louis Vuitton, Paris (Fall 2022). In 2023 her work was included in the exhibition 3585: 529:

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 – September 29, 2002; Birmingham Museum of Art, Alabama, June 27 – August 31, 2003; Modern Art Museum of Fort Worth, Texas, September 21, 2003 – 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 Raisonné project, which is researching Mitchell’s

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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 1950s–1960s. 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, Mâkhi 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

436:. 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. 1114:

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

374:, 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. 884:

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 €5.2 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 exhibition—49 paintings, some of them huge, done during the five years the artist has been living in France—at 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 that’s how I found out who I am."

3305: 459:, explaining that 'Mitchell and Beckett share a style that, like the pendulum, swings between dynamism and hesitancy, limpidity and obscurity, and, in so doing, obscures meaning to resist reductive pigeonholing. In ‘One Evening’ and 451:, 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 880:

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 – all are potent signs of meaning and feeling."

548:, 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 Vétheuil. Painter 2414: 1318: 269:

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

628:... "Mitchell juxtaposes energetic — nearly violent — sections of black and blue brush strokes against a haze of lavender and pale pink, warping the viewer’s sense of the painting’s scale and directing the eye".... 525:

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.

3154: 1072:, opened at San Francisco Museum of Modern Art (September 4, 2021 – January 17, 2022). The retrospective was co-curated by Sarah Roberts, SFMOMA, and Katy Siegel, Baltimore Museum of Art. In a review for 804:(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 971:

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

1050:, 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." 1080: 869:

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.

876:, the "meaning and emotional intensity are produced structurally, as it were, by a whole series of oppositions: dense versus transparent strokes; gridded structure versus more chaotic, 439:

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 wouldn’t 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

3363: 393:, "She went to their studios and shows, and they came to hers; she had dinner and drinks with them, in company and alone, talking painting materials and great art." Along with 1602:

Ninth street women : Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler : five painters and the movement that changed modern art

653:. She wrote: "Kids… I really love your plural work and natch both of you. So nice liking the work and the artist too — it’s rather rare I have found… I’m very very happy… ". 2226: 2962: 2252: 3630:

New York School: Abstract Expressionists : Artists Choice by Artists : a Complete Documentation of the New York Painting and Sculpture Annuals, 1951–1957.

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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

325:, 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 3794: 959:(2020). The Foundation provides artists with free resources and instruction in the areas of career documentation, inventory management, and legacy planning. 463:

they created self-reflexive fragments that make us, as wayfarers of the text/canvas, traverse ‘n unending ending or beginning light’ (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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of Paris. During this time, her paintings appeared in a string of high-profile international exhibitions, including the Osaka exhibition

3451:. Catalogue of exhibition held at David Zwirner New York, May 3 – July 12, 2019. New York: David Zwirner Books, 2019. ISBN 9781644230282 3287: 3231: 660:

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.

3404: 3492: 2910: 2115:"'We Wanted to Unmoor Her from the 1950s': A Joan Mitchell Retrospective at SFMOMA Shows the Artist as You've Never Seen Her Before" 1833: 17: 2003:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020. p. 326. 3799: 3759: 2071:. Sarah Rehm Roberts, Katy Siegel, eds. San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. p. 127. 1552:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020. p. 32. 3789: 2781: 1321: 279: 131: 3175: 1714: 3637: 3616: 3595: 3571: 3550: 3527: 3501: 2076: 2008: 1933: 1906: 1659: 1649: 1610: 1557: 1406: 1307: 1283: 1036: 2859: 1901:. Sarah Rehm Roberts, Katy Siegel, San Francisco Museum of Modern Art, Baltimore Museum of Art. San Francisco. 2020. p. 47. 1804: 1478: 3713: 2708: 2382: 1982: 362:, of which she said later "I knew that it would be my last figure". Then throughout the 1950s, Mitchell was active in the 3779: 3764: 790: 2439: 532:

In 1967, Mitchell inherited enough money following the death of her mother to purchase a two-acre estate in the town of

3670:. New York: Hudson Hills Press, in association with Herbert F. Johnson Museum of Art, Cornell University, Ithaca, 1988. 2032: 287: 231: 3609:

American Abstract Expressionism of the 1950s: An Illustrated Survey with Artists' Statements, Artwork and Biographies.

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Livingston, Jane; Mitchell, Joan; Nochlin, Linda; Lee, Yvette Y; Whitney Museum of American Art (January 1, 2002).

794: 3254: 1119:. In 2019, Mitchell's multi-panel works were the subject of a solo exhibition at David Zwirner New York, entitled 3200: 3784: 3130: 2936: 2483: 2365: 2114: 1962: 226:, "I carry my landscapes around with me." Her later work was informed and constrained by her declining health. 1148:. Works by Mitchell fetched $ 239.8 million in sales from 1985 through 2013, according to figures compiled by 3566:

Göttingen: Steidl, 2007. Catalog of an exhibition held at Hauser & Wirth London, May 24 – 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, ‘Samuel Beckett’s brush with the other Mitchell: Painterly Techniques in “One Evening”’,

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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 1948–49, and she also traveled in Spain and Italy. During this period, her work became increasingly

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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.

271: 195:(February 12, 1925 – October 30, 1992) was an American artist who worked primarily in painting and 2833: 727:. Her postoperative difficulties necessitated using an easel and working on a smaller format. Her 417:, Mitchell was one of the few female artists in her era to gain critical acclaim and recognition. 54: 3072: 2175: 1479:"Joan Mitchell's Resplendent Paintings: How the Abstract Expressionist Resolved the Unresolvable" 1453: 778: 665: 235: 1821: 472:, named by the artist after it was completed for what she called the "dark and blue feeling" of 2475: 2467: 1954: 1946: 1517: 1344: 1338: 743: 557: 406: 367: 212: 176: 2730:"Atlanta artist Michi Meko's work is "the contemporary experience of black life and survival"" 1091:

Mitchell's art is held in the permanent collection of over 100 public institutions worldwide.

672:), along with anxiety and depression. She had quit smoking on doctor's orders, but remained a 3228: 2142: 1116: 1008: 719:

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

3442:. San Francisco: SFMOMA; New Haven: Yale University Books, 2021. ISBN 9780300247275 2757:"Joan Mitchell Foundation Names Recipients of 2018 Painters & Sculptors Grants" 2607:"Joan Mitchell Foundation Announces 2017 Painters & Sculptors Grant Recipients" 948: 862: 747: 573: 35: 1665: 1099: 274:, and eventually would spend her summers of later adolescence in an Institute-run 3720:

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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the 29th Venice Biennale; the V Bienal do Museo de Arte Moderna, São Paulo; and

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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

720: 541: 433: 425: 334: 318: 295: 291: 3602: 3578: 3534: 3518: 3508: 2991:. Denver New Haven: Denver Art Museum Yale University Press. p. 186. 2360:. New York, Berkeley, CA: Whitney Museum, University of California Press. 640:. In Paris, Mitchell had a circle of artist friends, such as the composer 3644: 3623: 3557: 1688:"The exhibition that pushed NYC to the art world's centre | Art | Agenda" 1500:. New York; Berkeley, CA: Whitney Museum; University of California Press. 1004: 1000: 963: 940: 932: 916: 829: 775:

The Paintings of Joan Mitchell: Thirty-six Years of Natural Expressionism

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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

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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, 254–257.

2227:"Review/Art; An Art of Motion: Joan Mitchell's Abstract Expressionism" 1081:

Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970

828:. Upon her arrival, she was taken to a doctor, who diagnosed advanced 3201:"Joan Mitchell: I carry my landscapes around with me | David Zwirner" 1173: 967: 904: 612: 589:

In 1976, Mitchell began exhibiting regularly with New York gallerist

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Berkeley, CA: University of California Press, 2012, pp. 32–34.

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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. 226–229.

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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.

2279:"Art Review: 'Joan Mitchell/The Last Decade' at Gagosian Gallery" 1065:, which traveled to Museum Ludwig, Cologne, Germany (2015–2016). 836:

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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in December to view an exhibition of works by Matisse from the

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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, 1958–1964.

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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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of artists and poets, and was associated with the American

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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. 233–247.

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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.

3654:: Inside the Studios of Today's Most Celebrated Artists 593:, who was her New York dealer until his death in 1987. 447:

In 1955, while in Paris, Mitchell met Canadian painter

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This article is about the painter. For the singer, see

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Oral history interview with Joan Mitchell, 1965 May 21

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Tap, M. (2018). Joan Mitchell and Jean-Paul Riopelle.

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The Art Newspaper – International art news and events

2474:. New York: Whitney Museum of American Art. pp. 1953:. New York: Whitney Museum of American Art. pp. 3583:

Livingston, Jane, Yvette Y. Lee, and Linda Nochlin.

3333:"Christie's Art Sale Brings In Record $ 745 Million" 1278:. New York: Little, Brown, and Company. p. 44. 616:(dedicated to her friend the art critic and curator 294:

neighborhood. She was close to her Parker classmate

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Joan Mitchell: I carry my landscapes around with me

3253:Lane, Ellen Gamerman and Mary M. (April 18, 2013). 3098: 2456:

magazine, 17/Fall 1986. Retrieved October 24, 2012.

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Birmingham Museum of Art: A Guide to the Collection

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Joan Mitchell: I carry my landscapes around with me

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Joan Mitchell Retrospective: Her Life and Paintings

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International Art of a New Era: Informel and Gutai;

2963:"Her Passion Was Abstract but No Less Combustible" 2353: 2253:"Paintings That Liberate the Viewer's Imagination" 1493: 1068:In September 2021, a comprehensive retrospective, 321:school in New York City but, according to curator 3697:. New York: Whitney Museum of American Art, 1974. 3176:"Joan Mitchell Foundation Heads to David Zwirner" 1061:. In 2015, Kunsthaus Bregenz, Austria, organized 866:Sandler, "I carry my landscapes around with me." 631: 3751: 1710: 1708: 1053:In 2016 her work was included in the exhibition 3324: 2383:"Joan Mitchell, Abstract Artist, Is Dead at 66" 34:. For the computer scientist and inventor, see 656:In 1984, Mitchell was diagnosed with advanced 3795:School of the Art Institute of Chicago alumni 3674:Joan Mitchell: Choix de peintures, 1970–1982. 2347: 2345: 1705: 1605:(1st Back Bay paperback ed.). New York. 1368:Joan Mitchell: A Painter Under the Influences 3469:. New York: Little, Brown and Company, 2018. 3431:Reverse chronological by date of publication 2033:"Art | Joan Mitchell: To Obscurity and Back" 1026: 3562:Mitchell, Joan, and Helen Anne Molesworth. 1780:"Oral History Interview with Joan Mitchell" 893: 540:, the gardener's cottage of which had been 244: 2858:Tafur, Suzanne Pfefferle (July 22, 2021). 2517: 2351: 2342: 2099:: CS1 maint: location missing publisher ( 2030: 1875:"Joan Mitchell – Exhibitions – Cheim Read" 1838:. Yale University Press. January 5, 2021. 1805:Jean Paul Riopelle: The Artist's Materials 1633:: CS1 maint: location missing publisher ( 1580:: CS1 maint: location missing publisher ( 1511: 1509: 1507: 1429:: CS1 maint: location missing publisher ( 1336: 351: 53: 3815:Francis W. Parker School (Chicago) alumni 2754: 2518:Blatchford, Christa (December 11, 2018). 2507:: 17 – via Academic Search Premier. 2501:"The Lyrical Principle: On Joan Mitchell" 2323:Kimmelman, Michael (September 20, 1992). 2322: 2316: 1872: 1786:. Smithsonian Institution. April 16, 1986 1454:"Joan Mitchell: An Illustrated Biography" 286:neighborhood and attended high school at 3039:"The Roots of Joan Mitchell's Greatness" 2709:"Ann Purcell – Paintings from the 1970s" 2158:"The Roots of Joan Mitchell's Greatness" 2064: 1208: 1206: 1204: 1202: 1200: 1198: 1196: 1194: 1192: 1098: 645:became friends with the American artist 638:Musee d'art moderne de la Ville de Paris 556:In 1968, Mitchell began exhibiting with 248: 3173: 2960: 2954: 2934: 2465: 2432: 2430: 2380: 2250: 2244: 2224: 2218: 2129:"Joan Mitchell | "La Vie en Rose"" 1977: 1971: 1944: 1598: 1515: 1504: 843: 14: 3752: 3725:Joan Mitchell Biography on TheArtStory 3131:"Exhibitions & Public Collections" 3070: 2986: 2980: 2755:Armstrong, Annie (December 12, 2018). 2600: 2598: 2596: 2594: 2498: 2198: 2196: 1746: 1744: 1742: 1740: 1738: 1736: 1734: 1732: 1730: 1322:Crystal Bridges Museum of American Art 1212: 500: 282:. She lived on Chestnut Street in the 211:, she is associated with the American 132:School of the Art Institute of Chicago 3402: 2857: 2604: 2542: 2540: 2299:"Joan Mitchell Becomes the Sunflower" 2276: 2225:Brenson, Michael (November 3, 1989). 1774: 1772: 1189: 207:of artists in the 1950s. A native of 3805:20th-century American women painters 3519:Joan Mitchell: Lady Painter: A Life. 3445:Hudson, Suzanne and Robert Slifkin. 3351: 3330: 3252: 3036: 2427: 2155: 2031:Schjeldahl, Peter (April 30, 1972). 1999:Joyce Pensato, "To a Sunflower," in 1448: 1446: 1444: 1391: 1389: 1387: 1385: 1383: 1381: 1332: 1330: 1271: 1241: 1239: 885:influenced her paintings to poetry. 731:cycle is emblematic of this period. 340:Mitchell married American publisher 3545:London: Thames & Hudson, 2007. 3227:Hilarie M. Sheets (July 17, 2008), 2591: 2193: 1727: 1176:. In May 2021, Mitchell’s painting 791:La Jolla Museum of Contemporary Art 24: 3681:Originals: American Women Artists. 3425: 3378:"American Art: Sale Number N09229" 3366:from the original on May 14, 2014. 3037:Noor, Tausif (September 2, 2021). 2935:Cascone, Sarah (October 4, 2018). 2903: 2605:Scher, Robin (November 14, 2017). 2537: 2381:Russell, John (October 31, 1992). 2277:Pagel, David (November 19, 2010). 2270: 2156:Noor, Tausif (September 2, 2021). 1769: 1641: 232:San Francisco Museum of Modern Art 25: 3826: 3810:20th-century American printmakers 3701: 3522:New York: Alfred A. Knopf, 2011. 3312:from the original on May 15, 2014 3286:Katya Kazakina (August 6, 2013), 3071:Delson, Susan (August 20, 2021). 2834:"Creating a Living Legacy (CALL)" 2325:"The Many Moods Of Henri Matisse" 1820:, 27.2 (2018), 175-192 (p. 189), 1648:Birmingham Museum of Art (2010). 1441: 1378: 1327: 1236: 3436:Roberts, Sarah and Katy Siegel. 3403:Villa, Angelica (May 20, 2021). 2961:Kertess, Klaus (June 16, 2002). 2468:"Joan Mitchell: A Rage to Paint" 2251:Russell, John (April 12, 1991). 2176:"Joan Mitchell: Brief Biography" 1947:"Joan Mitchell: A Rage to Paint" 1516:Sandler, Irving (October 1957). 795:Herbert F. Johnson Museum of Art 317:in 1947, she wanted to study at 3586:The Paintings of Joan Mitchell. 3396: 3370: 3345: 3280: 3246: 3193: 3174:Russeth, Andrew (May 1, 2018). 3167: 3148: 3123: 3064: 3030: 3005: 2989:Women of abstract expressionism 2928: 2877: 2851: 2826: 2800: 2774: 2748: 2722: 2701: 2675: 2649: 2624: 2566: 2511: 2492: 2459: 2408: 2374: 2291: 2168: 2149: 2135: 2121: 2107: 2058: 1993: 1938: 1918: 1892: 1866: 1852: 1826: 1810: 1798: 1680: 1592: 1540: 1485: 1471: 1055:Women of Abstract Expressionism 3800:20th-century American painters 3760:Abstract expressionist artists 3745:Joan Mitchell at David Zwirner 2472:The Paintings of Joan Mitchell 2356:The Paintings of Joan Mitchell 1951:The Paintings of Joan Mitchell 1860:"Joan Mitchell | Hemlock" 1654:. London: Giles. p. 243. 1496:The paintings of Joan Mitchell 1361: 1340:The Paintings of Joan Mitchell 1312: 1292: 1265: 1033:The Paintings of Joan Mitchell 800:Mitchell's first solo show at 632:Later years and death (France) 13: 1: 3790:Artists from New York (state) 3229:Artist Dossier: Joan Mitchell 2470:. In Livingston, Jane (ed.). 1949:. In Livingston, Jane (ed.). 1222:. New York: Alfred A. Knopf. 1183: 1166:Jimson Weed/White Flower No 1 1094: 3708:The Joan Mitchell Foundation 3331:Crow, Kelly (May 14, 2014). 2885:"Residencies in New Orleans" 562:My Five Years in the Country 27:American painter (1925–1992) 7: 1518:"Mitchell paints a picture" 1302:, text by Helen Molesworth 1219:Joan Mitchell: Lady Painter 1126: 872:According to art historian 783:San Francisco Museum of Art 750:. The trip resulted in the 424:," organized by art dealer 10: 3831: 3780:American women printmakers 3765:American abstract painters 3716:– Archives of American Art 2499:Ashton, Dore (Fall 2008). 2206:. Joan Mitchell Foundation 1818:Journal of Beckett Studies 838:American Hospital of Paris 102:American Hospital of Paris 29: 3730:Mitchell/Riopelle Exhibit 3234:February 1, 2014, at the 2352:Livingston, Jane (2002). 1337:Livingston, Jane (2002). 1027:Select legacy exhibitions 888: 787:Albright-Knox Art Gallery 432:, Willem de Kooning, and 313:in 1950. After moving to 169: 140: 114: 90: 64: 52: 45: 3542:Women, Art, and Society. 3135:Joan Mitchell Foundation 3106:"Action, Gesture, Paint" 3017:Joan Mitchell Foundation 2987:Marter, Joan M. (2016). 2915:Joan Mitchell Foundation 2889:Joan Mitchell Foundation 2838:Joan Mitchell Foundation 2812:Joan Mitchell Foundation 2687:Joan Mitchell Foundation 2661:Joan Mitchell Foundation 2636:Joan Mitchell Foundation 2578:Joan Mitchell Foundation 2442:October 8, 2010, at the 2180:Joan Mitchell Foundation 2164:– via NYTimes.com. 1784:Archives of American Art 1756:Joan Mitchell Foundation 1458:Joan Mitchell Foundation 1133:Art Institute of Chicago 894:Joan Mitchell Foundation 649:and her husband, artist 606:by the French chanteuse 288:Francis W. Parker School 272:Art Institute of Chicago 245:Early life and education 18:Joan Mitchell Foundation 3735:East Ninth Street LACMA 3073:"The Artist as Athlete" 2466:Nochlin, Linda (2002). 2065:Hoberman, Mara (2021). 1945:Nochlin, Linda (2002). 797:at Cornell University. 779:Corcoran Gallery of Art 352:Early career (New York) 236:Baltimore Museum of Art 1599:Gabriel, Mary (2019). 1107: 1009:Cullen Washington, Jr. 744:State Hermitage Museum 558:Martha Jackson Gallery 368:Abstract expressionist 254: 213:abstract expressionist 177:Abstract expressionism 3785:Artists from Illinois 3740:Joan Mitchell at MoMA 2117:. September 20, 2021. 1668:on September 10, 2011 1584:) CS1 maint: others ( 1433:) CS1 maint: others ( 1178:12 Hawks at 3 O’Clock 1102: 802:Robert Miller Gallery 566:Everson Museum of Art 344:in September 1949 in 257:Mitchell was born in 252: 182:New York School (art) 3255:"Women on the Verge" 3205:www.davidzwirner.com 2788:. September 25, 2019 1752:"Joan Mitchell's CV" 844:Style and influences 826:Museum of Modern Art 781:before traveling to 301:Mitchell studied at 3666:Bernstock, Judith. 3628:Herskovic, Marika. 3607:Herskovic, Marika. 3590:14 – May 16, 2004. 3539:Chadwick, Whitney. 3478:Essays on Their Art 3384:. November 20, 2014 3338:Wall Street Journal 3259:Wall Street Journal 3110:Whitechapel Gallery 3077:Wall Street Journal 2911:"Supported Artists" 2808:"Zarouhie Abdalian" 2736:. February 28, 2018 2689:. December 13, 2013 2663:. December 15, 2011 2574:"Supported Artists" 2450:and Betsy Sussler, 1272:Dery, Mark (2019). 1086:Whitechapel Gallery 819:Sunflowers, 1990–91 725:watercolor painting 507:15th arrondissement 501:Mid-career (France) 479:Domination of Black 403:Helen Frankenthaler 359:Figure and the City 127:Columbia University 3306:"Sale 2847 Lot 32" 3043:The New York Times 2967:The New York Times 2891:. January 22, 2024 2814:. October 21, 2020 2554:. February 4, 2021 2387:The New York Times 2329:The New York Times 2257:The New York Times 2231:The New York Times 2162:The New York Times 2037:The New York Times 1137:Ste. Hilaire, 1957 1108: 1075:The New York Times 909:artist collectives 811:The New York Times 662:radiation oncology 570:The New York Times 449:Jean-Paul Riopelle 255: 3712:Dorothy Seckler, 3638:978-0-967-79940-7 3617:978-0-967-79941-4 3596:978-0-520-23568-7 3572:978-3-865-21490-4 3551:978-0-500-20393-4 3528:978-0-307-59598-0 3502:978-0-520-25374-2 3352:Kazakina, Katya. 2524:The Brooklyn Rail 2417:Aires Pour Marion 2284:Los Angeles Times 2078:978-0-300-24727-5 2009:978-0-300-24727-5 1987:Los Angeles Times 1981:(June 12, 2011). 1934:978-3-86521-490-4 1907:978-0-300-24727-5 1879:www.cheimread.com 1661:978-1-904832-77-5 1612:978-0-316-22617-2 1559:978-0-300-24727-5 1528:(6): 44–47, 67–70 1481:. September 2021. 1408:978-0-300-24727-5 1375:, April 26, 1994. 1372:Los Angeles Times 1308:978-3-86521-490-4 1285:978-0-316-18854-8 1162:Apres le dejeuner 1059:Denver Art Museum 1057:organized by the 1013:Carl Joe Williams 957:Zarouhie Abdalian 953:Daniel Lind-Ramos 855:Wassily Kandinsky 602:(named after the 422:Ninth Street Show 411:Elaine de Kooning 387:Willem de Kooning 372:Greenwich Village 259:Chicago, Illinois 190: 189: 107:Neuilly-sur-Seine 75:February 12, 1925 16:(Redirected from 3822: 3693:Tucker, Marcia. 3679:Munro, Eleanor. 3649:Seidner, David. 3514:Albers, Patricia 3456:Border Crossings 3420: 3419: 3417: 3415: 3400: 3394: 3393: 3391: 3389: 3374: 3368: 3367: 3349: 3343: 3342: 3328: 3322: 3321: 3319: 3317: 3302: 3296: 3284: 3278: 3277: 3275: 3273: 3250: 3244: 3225: 3216: 3215: 3213: 3211: 3197: 3191: 3190: 3188: 3186: 3171: 3165: 3152: 3146: 3145: 3143: 3141: 3127: 3121: 3120: 3118: 3116: 3102: 3096: 3095: 3093: 3091: 3068: 3062: 3061: 3059: 3057: 3034: 3028: 3027: 3025: 3023: 3009: 3003: 3002: 2984: 2978: 2977: 2975: 2973: 2958: 2952: 2951: 2949: 2947: 2932: 2926: 2925: 2923: 2921: 2907: 2901: 2900: 2898: 2896: 2881: 2875: 2874: 2872: 2870: 2855: 2849: 2848: 2846: 2844: 2830: 2824: 2823: 2821: 2819: 2804: 2798: 2797: 2795: 2793: 2786:www.artforum.com 2778: 2772: 2771: 2769: 2767: 2752: 2746: 2745: 2743: 2741: 2734:Atlanta Magazine 2726: 2720: 2719: 2717: 2715: 2705: 2699: 2698: 2696: 2694: 2683:"Amanda Ross-Ho" 2679: 2673: 2672: 2670: 2668: 2653: 2647: 2646: 2644: 2642: 2628: 2622: 2621: 2619: 2617: 2602: 2589: 2588: 2586: 2584: 2570: 2564: 2563: 2561: 2559: 2544: 2535: 2534: 2532: 2530: 2515: 2509: 2508: 2496: 2490: 2489: 2463: 2457: 2434: 2425: 2412: 2406: 2405: 2403: 2401: 2378: 2372: 2371: 2359: 2349: 2340: 2339: 2337: 2335: 2320: 2314: 2313: 2311: 2309: 2303:The New York Sun 2295: 2289: 2288: 2274: 2268: 2267: 2265: 2263: 2248: 2242: 2241: 2239: 2237: 2222: 2216: 2215: 2213: 2211: 2200: 2191: 2190: 2188: 2186: 2172: 2166: 2165: 2153: 2147: 2146: 2139: 2133: 2132: 2125: 2119: 2118: 2111: 2105: 2104: 2098: 2090: 2062: 2056: 2055: 2053: 2051: 2028: 2019: 1997: 1991: 1990: 1979:Muchnic, Suzanne 1975: 1969: 1968: 1942: 1936: 1922: 1916: 1896: 1890: 1889: 1887: 1885: 1870: 1864: 1863: 1856: 1850: 1849: 1830: 1824: 1814: 1808: 1802: 1796: 1795: 1793: 1791: 1776: 1767: 1766: 1764: 1762: 1748: 1725: 1712: 1703: 1702: 1700: 1698: 1684: 1678: 1677: 1675: 1673: 1664:. 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Mitchell 21: 3830: 3829: 3825: 3824: 3823: 3821: 3820: 3819: 3750: 3749: 3704: 3651:Artists at Work 3465:Gabriel, Mary. 3428: 3426:Further reading 3423: 3413: 3411: 3401: 3397: 3387: 3385: 3376: 3375: 3371: 3350: 3346: 3329: 3325: 3315: 3313: 3304: 3303: 3299: 3285: 3281: 3271: 3269: 3251: 3247: 3236:Wayback Machine 3226: 3219: 3209: 3207: 3199: 3198: 3194: 3184: 3182: 3172: 3168: 3155:Joan Mitchell, 3153: 3149: 3139: 3137: 3129: 3128: 3124: 3114: 3112: 3104: 3103: 3099: 3089: 3087: 3069: 3065: 3055: 3053: 3035: 3031: 3021: 3019: 3011: 3010: 3006: 2999: 2985: 2981: 2971: 2969: 2959: 2955: 2945: 2943: 2933: 2929: 2919: 2917: 2909: 2908: 2904: 2894: 2892: 2883: 2882: 2878: 2868: 2866: 2856: 2852: 2842: 2840: 2832: 2831: 2827: 2817: 2815: 2806: 2805: 2801: 2791: 2789: 2780: 2779: 2775: 2765: 2763: 2753: 2749: 2739: 2737: 2728: 2727: 2723: 2713: 2711: 2707: 2706: 2702: 2692: 2690: 2681: 2680: 2676: 2666: 2664: 2655: 2654: 2650: 2640: 2638: 2630: 2629: 2625: 2615: 2613: 2603: 2592: 2582: 2580: 2572: 2571: 2567: 2557: 2555: 2546: 2545: 2538: 2528: 2526: 2516: 2512: 2497: 2493: 2486: 2464: 2460: 2444:Wayback Machine 2437:"Joan Mitchell" 2435: 2428: 2415:Joan Mitchell, 2413: 2409: 2399: 2397: 2379: 2375: 2368: 2350: 2343: 2333: 2331: 2321: 2317: 2307: 2305: 2297: 2296: 2292: 2275: 2271: 2261: 2259: 2249: 2245: 2235: 2233: 2223: 2219: 2209: 2207: 2202: 2201: 2194: 2184: 2182: 2174: 2173: 2169: 2154: 2150: 2141: 2140: 2136: 2127: 2126: 2122: 2113: 2112: 2108: 2092: 2091: 2079: 2063: 2059: 2049: 2047: 2029: 2022: 1998: 1994: 1976: 1972: 1965: 1943: 1939: 1926:Leaving America 1923: 1919: 1897: 1893: 1883: 1881: 1873:exhibit-e.com. 1871: 1867: 1858: 1857: 1853: 1846: 1832: 1831: 1827: 1815: 1811: 1803: 1799: 1789: 1787: 1778: 1777: 1770: 1760: 1758: 1750: 1749: 1728: 1715:Joan Mitchell, 1713: 1706: 1696: 1694: 1686: 1685: 1681: 1671: 1669: 1662: 1646: 1642: 1626: 1625: 1613: 1597: 1593: 1573: 1572: 1560: 1546: 1545: 1541: 1531: 1529: 1514: 1505: 1490: 1486: 1477: 1476: 1472: 1462: 1460: 1452: 1451: 1442: 1422: 1421: 1409: 1395: 1394: 1379: 1366: 1362: 1355: 1335: 1328: 1317: 1313: 1300:Leaving America 1298:Joan Mitchell, 1297: 1293: 1286: 1270: 1266: 1256: 1254: 1245: 1244: 1237: 1230: 1211: 1190: 1186: 1129: 1104:Untitled (1960) 1097: 1029: 985:Maren Hassinger 896: 891: 846: 758:paintings. The 713:hip replacement 707:as a result of 701:Then, Last Time 666:Curie Institute 651:Jean-Max Albert 634: 591:Xavier Fourcade 536:, France, near 503: 474:Wallace Stevens 430:Jackson Pollock 364:New York School 354: 323:Jane Livingston 247: 205:New York School 186: 165: 136: 110: 105: 99: 95: 86: 76: 70: 68: 60: 48: 39: 28: 23: 22: 15: 12: 11: 5: 3828: 3818: 3817: 3812: 3807: 3802: 3797: 3792: 3787: 3782: 3777: 3772: 3767: 3762: 3748: 3747: 3742: 3737: 3732: 3727: 3722: 3717: 3710: 3703: 3702:External links 3700: 3699: 3698: 3691: 3677: 3671: 3664: 3647: 3626: 3605: 3581: 3560: 3537: 3511: 3488: 3472:Hickey, Dave. 3470: 3463: 3452: 3443: 3427: 3424: 3422: 3421: 3395: 3369: 3359:Bloomberg News 3344: 3323: 3297: 3279: 3245: 3217: 3192: 3166: 3147: 3122: 3097: 3063: 3029: 3004: 2997: 2979: 2953: 2927: 2902: 2876: 2850: 2825: 2799: 2773: 2747: 2721: 2700: 2674: 2657:"Simone Leigh" 2648: 2623: 2590: 2565: 2536: 2510: 2491: 2484: 2458: 2426: 2407: 2373: 2366: 2341: 2315: 2290: 2269: 2243: 2217: 2192: 2167: 2148: 2134: 2120: 2106: 2077: 2057: 2020: 1992: 1970: 1963: 1937: 1917: 1891: 1865: 1851: 1844: 1825: 1809: 1797: 1768: 1726: 1704: 1679: 1660: 1640: 1611: 1591: 1558: 1539: 1503: 1484: 1470: 1440: 1407: 1377: 1360: 1353: 1326: 1324:, Bentonville. 1311: 1291: 1284: 1264: 1253:. 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Hess 599:La Vie en Rose 542:Claude Monet's 502: 499: 494:Irving Sandler 453:Samuel Beckett 441:Stable Gallery 415:Sonia Gechtoff 399:Grace Hartigan 353: 350: 319:Hans Hofmann's 246: 243: 224:Irving Sandler 188: 187: 185: 184: 179: 173: 171: 167: 166: 164: 163: 162:Works on paper 160: 155: 150: 144: 142: 141:Known for 138: 137: 135: 134: 129: 124: 118: 116: 112: 111: 100: 98:(aged 67) 92: 88: 87: 77: 66: 62: 61: 58: 50: 49: 46: 26: 9: 6: 4: 3: 2: 3827: 3816: 3813: 3811: 3808: 3806: 3803: 3801: 3798: 3796: 3793: 3791: 3788: 3786: 3783: 3781: 3778: 3776: 3773: 3771: 3768: 3766: 3763: 3761: 3758: 3757: 3755: 3746: 3743: 3741: 3738: 3736: 3733: 3731: 3728: 3726: 3723: 3721: 3718: 3715: 3711: 3709: 3706: 3705: 3696: 3695:Joan Mitchell 3692: 3690: 3689:0-671-23109-X 3686: 3682: 3678: 3675: 3672: 3669: 3668:Joan Mitchell 3665: 3663: 3662:0-8478-2237-0 3659: 3655: 3652: 3648: 3646: 3642: 3639: 3635: 3631: 3627: 3625: 3621: 3618: 3614: 3610: 3606: 3604: 3600: 3597: 3593: 3588: 3587: 3582: 3580: 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