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Friedel Dzubas Lithograph, Abstract, Blue, Orange, Green, Signed
About the Item
Friedel Dzubas Lithograph, Abstract, Blue, Orange, Green, Signed. Large color lithograph printed on heavy Authenticated brand wove paper and floating inside a period 1970's plexibox. Signed in pencil Friedel Dzubas 1976 and numbered 121/144 in the lower center right.
Friedel Dzubas, (1915-1994)
Biography from Hollis Taggart Galleries:
A color-field painter associated with the Abstract Expressionist circle, including Jackson Pollock, Clement Greenberg, and Helen Frankenthaler, Dzubas was integral to the development of the stain painting technique for which Frankenthaler, Morris Louis, and Kenneth Noland became renowned. Born in 1915 in Berlin, Dzubas attended KönigstadtischeObrealschule, where his drawing teacher cultivated his interest in art. He also viewed the collection of modern art at the Nationalgalerie and especially liked the work of Eduard Munch and Vincent van Gogh. In 1939 Dzubas, who was working for a Berlin painting company, fled Nazi Germany and settled in New York, where he was employed as a busboy, deliveryman, and house painter. Something of a wanderer, Dzubas’ life would be characterized by frequent moves. In 1940, he went to Chicago to work as a designer, returning to New York in 1945 after another short stint as an advertising art director in Ohio.
Living on West Tenth Street, Dzubas worked as a book designer and became involved in avant-garde artistic and literary circles. In 1948 he met Clement Greenberg who introduced him to Jackson Pollock and Katherine Dreier. That same year he participated in his first group exhibition at Weyhe Gallery. The following year he became a member of the Eighth Street Club, an Abstract Expressionist group that included Willem de Kooning, Franz Kline, and Ad Reinhardt among others. While Dzubas’ early paintings evoked Paul Klee and the Surrealist works of William Baziotes, by 1949 he was experimenting with soaking paint into sheets of canvas.
In 1951 Greenberg introduced Dzubas to Helen Frankenthaler, with whom he would share a studio space the following year. In 1952 he received his first solo exhibition at Tibor de Nagy, which was positively received. Dzubas did not create his next major series until 1960 when he began working on large canvases in a black and white calligraphic style. In 1963 he reincorporated color into his compositions employing softer, deeper, hues from mustard to rouge and placing these forms within expanses of white canvas. Around 1968 Dzubas began employing an extreme horizontal format, with canvases several inches high and as much as twenty feet long.
Throughout the sixties and seventies, Dzubas was honored with several prestigious teaching appointments and grants, including two Guggenheim fellowships, a National Endowment for the Arts Painting Fellowship, and Artist-in-Residence appointments at the Institute for Humanistic Studies in Aspen, Dartmouth College, and Cornell University. He moved to Ithaca, New York in 1969 and would continue to teach at Cornell intermittently through 1974. That same year he had his first museum exhibition at the Museum of Fine Arts, Houston, and received a retrospective exhibition from the Hirshhorn Museum and Sculpture Garden, Washington, D.C in 1983. From 1976 to 1993 he taught at the School of the Museum of Fine Arts, Boston. Dzubas died in Auburndale, Massachusetts on December 10, 1994.
- Creator:Friedel Dzubas (Artist)
- Dimensions:Height: 33 in (83.82 cm)Width: 72 in (182.88 cm)Depth: 1.5 in (3.81 cm)
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1976
- Condition:Refinished. Additions or alterations made to the original: A new strainer was added to the existing plexibox - with center bars for support. De-framing, cleaning & refitting of plexibox with archival 3/16 inch foam core backing board. Wear consistent with age and use. Lithograph is in very good condition. The print was removed from the frame and examined. A slight wave to the paper because of the size and medium. A couple minute specs on the inside surface of plexibox.
- Seller Location:New York, NY
- Reference Number:1stDibs: LU956935244442
Friedel Dzubas
Friedel Dzubas was born April 20, 1915 in Berlin and studied at the Prussian Academy of Fine Art and under Paul Klee while in Düsseldorf from 1936 to 1939. In 1939, Dzubas fled Germany for London and the United States where he later became a citizen. In 1948, he he answered art critic Clement Greenberg's anonymous advertisement for a summer roommate. It was the height of the Abstract Expressionist Movement in New York, and through Greenberg Dzubas met Willem de Kooning, Jackson Pollock, Adolph Gottlieb and Barnett Newman. Later, in the early 1950s, Dzubas shared a studio with Helen Frankenthaler, associating with some of the younger generation of abstract painters in New York including Jules Olitski and Kenneth Noland. In the early 1950s, he began exhibiting his work in New York. In the 1960s, he started experimenting with color field painting. Dzubas' mature paintings since the 1960s assimilate his early interest in German Romanticism and Expressionism into post-war American abstraction. "He abandoned oil paint for Magna acrylic in 1965 when he found he could achieve with a brevity of gesture the brilliance and luminosity of oil paint applied in thin veils of color. He could thus effect the richness and variation of traditional glazed tones using a more expressive, immediate process. By the early 1980s, Dzubas abandoned his preliminary preparations of sketching and priming, thereby inviting spontaneity and accident into his painting process. Although he typically coated his canvas with a gesso primer before painting, he began to apply it so thinly that the pigment was almost immediately absorbed into the ground, making it impossible for him to revise and rework his compositions. Dzubas' change in technique reveals a thoroughly modernist sensibility: "I like that risk," he explained. "I think, to a certain degree, I have to make it mechanically difficult and unreliable for myself. If I can predict the effect too much, then I probably am not supposed to be doing it. I function better if my footing is not too sure, so to speak." The rich, velvety hues of Grade's reds, greens, and blues appear radiant in places. Dzubas heightened his color drama -- a drama characterized as quintessentially Baroque by some critics-- by varying the density of his paint. His rectangular forms appear to ebb and flow in an orchestrated movement across the surface of the picture plane." (Megan Bahr) A retrospective of Dzubas' work was shown at the Museum of Fine Art, Houston in 1974 and at the Museum of Fine Art, Boston the following year. In 1983, Dzubas was honored with an exhibition at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (ASKART)
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