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Ellsworth Kelly
Orange/Green

1970

$15,000

About

An original signed lithograph on Special Arjomari paper by American artist Ellsworth Kelly (1923-2015) titled “Orange/Green”, 1970. Hand pencil signed by Kelly lower right and numbered lower left. Limited edition: 75/75, (there were also 9 artist's proofs). Printed in 2 runs from 2 plates: 1 orange and 2 green. Printed and published by Gemini G.E.L., Los Angeles, CA. Collaboration and supervision: Kenneth Tyler. Proofing and processing: Kenneth Tyler, George Page, Ron McPherson, Stuart Henderson. Edition printing: George Page, assisted by Ron Adams. Gemini G.E.L blindstamp/chopmark lower right. On verso: inscribed in pencil: "EK70-335", Gemini G.E.L. ink stamp. Reference: "The Prints of Ellsworth Kelly: A Catalogue Raisonne" - (Axsom No. 64, page 72); Waldman 1971, No. 65, page 273. Provenance: private collection - Los Angeles, CA; private collection - Chicago, IL; acquired directly from the publisher Gemini G.E.L., Los Angeles, CA. The work is floated within a silver bolted metal frame. Framed size: 44” x 32.5”. Sheet size: 41.5” x 30.25”. Some light wear and skinning to edges of the sheet. Some light cosmetic wear to framing. It is otherwise in very good condition with strong colors and clean paper. “Orange/Green” is related to a series of four bisected-parallelogram paintings of 1967-68 that begins with 'Black White', 1967 (EK#400; Coplans 1973, pl. 199). The lithograph is a color variation of Axsom cat. No. 78. The ten lithographs of this series were the artist's first prints to be published by Gemini G.E.L. in Los Angeles. They are related to eight other lithographs that Kelly initiated at Gemini in early 1970 but that he completed at various intervals between 1970 and 1972. The 'Series of Ten Lithographs' and the affiliated eight prints (cat. Nos. 74, 75, 77-79,81-83) are, as a group, derived from the curvilinear shapes and figure-ground compositions that Kelly had cultivated since his return to New York from Paris in 1954, he now pursued strict geometric form and solid-color panel painting. Although this new direction entailed an elaboration of the joined, rectilinear panel paintings that he had evolved in France, it also led to the invention of more eccentrically shaped polygonal canvases. Ellsworth Kelly (May 31, 1923 – December 27, 2015) was an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and minimalism. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employed bright colors. He lived and worked in Spencertown, New York.

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About the Artist

Ellsworth Kelly

Ellsworth Kelly was one of the key figures in postwar American art, exercising major influence on the fields of Pop art, minimalism, Color-Field, and hard-edge painting. Widely known for his brightly colored geometric compositions, he was among the first artists, alongside his contemporary Frank Stella, to use irregularly shaped canvases. Although highly abstract, Kelly’s paintings are precise expressions in color and form of his sensory experience of the world. His works, both two- and three-dimensional, are in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and displayed at such sites as the UNESCO headquarters in Paris. Kelly grew up in the town of Newburgh, New York, near the Oradell Reservoir. He was an avid birder as a child and loved the colorful illustrations of naturalist John James Audubon. Encouraged to study art by a high school teacher, he enrolled at the Pratt Institute in Brooklyn, remaining there until 1943, when he was inducted into the army. During World War II, he served along with scores of other artists, in a unit known as the Ghost Army, where he learned the elements of camouflage while creating ersatz trucks and tanks intended to mislead Axis forces. When the war was over, Kelly took advantage of the G.I. Bill to study painting at the School of the Museum of Fine Arts, Boston, drawing inspiration from the museum's collections, and, later, at the École nationale supérieure des Beaux-Arts, in Paris. While in France, he immersed himself in the varied artistic movements and styles represented there and befriended Americans avant-gardists, such as composer John Cage and choreographer Merce Cunningham, as well as the German-French Surrealist Jean Arp and Romanian sculptor Constantin Brâncuși. Upon his return to the United States, in 1954, he found himself at odds with the dominant style of the period, Abstract Expressionism, which favored a dynamic and energetic application of paint in a loose manner. Like Stella, Kelly was interested in formal precision and explorations of color. Following an exhibition of his work at the Betty Parsons Gallery in 1956, Kelly’s work was included in the "Young America 1957” show at the Whitney Museum of American Art. During the 1960s, Kelly played with color and form to tease out and celebrate the tension between a painting’s subject and its background. In one of his most famous works, the 1963 Red Blue Green, for example, two shapes, one red, one blue, both contrast and resonate with a green background that extends to the edge of the canvas on both sides, appearing at moments to be the work’s primary shape. To explore this relationship between form and ground further, Kelly began using nontraditional, shaped canvases, as in the monochromatic 1966 Yellow Piece, from, whose two curved corners draws the eye to the wall behind it, as though the gallery wall itself were part of the composition. A lithograph from the same period, Blue and Orange consists of two shapes in the title’s complementary colors facing off against one another with a tension that makes them appear almost animated. Kelly made drawings and prints throughout his career, using plants and flowers as his primary source of inspiration. Like his paintings, his drawings tend to be relatively flat in perspective, but they are rarely abstract. This 1993 drawing of an oak leaf is clearly representational, but rendered with very minimal color and line. In the mid-1960s, he produced the series “Suite of Twenty-Seven Lithographs” with the Paris-based Maeght Éditeur. Later, collaborating with Gemini G.E.L., he created very large-scale works, such as 1988’s Purple/Red/Gray/Orange, which is 18 feet long and might be one of the biggest lithographs ever made. Kelly produced 140 sculptures, including the aluminum White Curves, created for the Fondation Beyeler, in Riehen, Switzerland, in 2002. In his three-dimensional works, as in his paintings, Kelly used form, color and light to play with perceptions of surface and depth, inviting viewers to look closely and see the world in a new way.
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