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Brice MardenBrice Marden in London (hand signed) Gagosian Gallery poster Minimalist abstract2017
2017
About the Item
Brice Marden in London (Hand signed), 2017
Offset lithograph poster. Hand signed by Brice Marden
Signed in black marker by Brice Marden on the front
39 × 27 inches
Unframed
Provenance: Acquired directly from Gagosian Gallery by the present owner. (only a small number were signed by the artist for the exhibition)
This offset lithograph poster, hand signed by Brice Marden, was acquired directly from Gagosian gallery before they sold out. It was published on the occasion of the Gagosian exhibition "Brice Marden in London" from October 4–December 22, 2017, Grosvenor Hill, London
"I kept putting the same color on—the same color, the same color—but every time I put it on it was different. Each time it was this whole new light/color experience. It was not a revelation, but a whole wonderful new experience. . . . To me, it involves harnessing some of the powers of the earth. Harnessing and communicating."
—Brice Marden
BRICE MARDEN BIOGRAPHY:
Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation.
—Brice Marden
Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color.
Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966.
A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings (1973–74)—five permutations of the primary trio—which were united for the first time since their making at Gagosian, 980 Madison Avenue, New York, in 2013.
In the 1980s Marden began to incorporate organic, intersecting lines, creating rhythmic patterns over fields of color. Exploring these winding lines, he experimented with blank space, erasure, and references to the natural world. He sought to create a mystical experience through the creation of elusive abstract spaces. As his many themes and techniques have overlapped, Marden brought them together in cohesive, often multipart works, which he has described as his “summation paintings.” Among them is The Propitious Garden of Plane Image, Third Version (2000–06), held in the collection of the Museum of Modern Art in New York, where he had his first comprehensive retrospective in 2006.
In his later years Marden continued his exploration of the qualities of monochrome. This engagement with muted colors informed his calligraphic drawings and works on canvas, such as the Nevis Stele paintings (2007–15), inspired by Chinese stone carvings from the late eighth century. In 2017 he turned his gaze to the expansive possibilities of terre verte (green earth), an iron silicate clay pigment, which he first used in the Grove Group. These paintings incorporate many different brands of terre verte, each a variation on the indefinable hue. Marden thinned his slow-drying paint and applied it gradually to the canvas in many successive layers, leaving a visible residue of the painting process at the lower edge of each canvas.
-Courtesy of Gagosian Gallery
- Creator:Brice Marden (1938, American)
- Creation Year:2017
- Dimensions:Height: 39 in (99.06 cm)Width: 27 in (68.58 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745210609792
Brice Marden
Acclaimed American artist Brice Marden has long been working in abstract mode, creating lush, monochromatic multiple-panel paintings and notebooks full of mesmerizing drawings that are imbued with the lyricism of calligraphy. He’s been deemed a master of minimalism.
“Ultimately, I’m using the painting as a sounding board for the spirit,” Marden has said. “You can be painting and go into a place where thought stops — where you can just be and it just comes out.”
Marden received his BFA from Boston University College of Fine Arts in 1961 and his MFA from Yale University’s School of Art in 1963. Afterward, the Bronxville, New York, native moved back to New York City. There, he was exposed to the work of Jasper Johns while he was working as a guard at the Jewish Museum and later Robert Rauschenberg’s art when he became Rauschenberg’s studio assistant.
Apart from these iconic artists and the Abstract Expressionist movement, Marden’s inspirations are numerous and broad-ranging: trips to the Hydra islands in Greece since the early 1970s (he now keeps a home there), Baroque masters like Francisco Goya and Chinese stone carvings from the late eighth century. Each of these influences yielded a milestone in Marden’s career, whether he created a revered series of paintings or incorporated a new technique or approach in a practice that has been otherwise evolving for years.
Marden is also known for experimenting with the tools he uses to paint his networks of colorful, rhythmic lines. Sometimes he replaces brushes with sticks, dipping their ends in ink and making art that references Chinese calligraphy. In his early days, Marden was also known to paint with kitchen spatulas. His dedication to gesture and line is at the heart of his practice.
Marden’s work can be found in the collections of the Tate Britain, the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., and other institutions.
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