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Leon Polk SmithLeon Polk Smith (1906–1996) - Serigraphy on Fabriano paper - 19831983
1983
$2,114.14
£1,614.07
€1,800
CA$2,985.01
A$3,275.68
CHF 1,710.90
MX$39,164.41
NOK 21,671.63
SEK 20,212.88
DKK 13,712.35
About the Item
Serigraphy on Fabriano paper, edited in 1983.
Limited edition of 125 pieces, numbered as 46/125 in lower left corner.
Signed in pencil by artist in lower right corner.
Paper size: 68 x 68 cm
Very good conditions, never been framed.
This work comes from the folder: “Exacta - dal costruttivismo all’arte sistematica, 1918-1885” edited by Fausta Squatriti for Galleria Fumagalli.
A regular certificate of authenticity and publication will be included.
We offer professional packaging and tracked shipping with DHL Express courier,
(shipping time: 24 hours for European countries and 4 to 6 days for America and other non-eu countries ) Shipping costs are included.
- Creator:Leon Polk Smith (1906-1996, American)
- Creation Year:1983
- Dimensions:Height: 26.78 in (68 cm)Width: 26.78 in (68 cm)
- Medium:
- Period:
- Condition:Very good conditions.
- Gallery Location:Varese, IT
- Reference Number:1stDibs: LU1938217212792
Leon Polk Smith
Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting, which includes such artists as Bourgoyne Diller, Fritz Glarner, Al Held, and Ellsworth Kelly. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. His visual vocabulary was influenced by such historical figures as Hilla Rebay, both an abstract painter and the first director of the Solomon R. Guggenheim Museum, and the Dutch De Stijl painter Piet Mondrian. However, many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape and Native American art forms of his youth. Polk Smith’s exploration of non-objective imagery in the late 1950s put him at the forefront of movements including Color Field, Minimalist, and Hard Edge painting. Robert Buck, former director of the Brooklyn Museum, described Polk Smith as “an influential pioneer in the development of American Modernism”, adding, “He created a new vocabulary in painting that has had a far-reaching influence on subsequent generations of artists.”
One of Smith’s earliest and most successful forays into printmaking came in 1968 when he received a grant to work at June Wayne’s Tamarind Lithography Workshop in Los Angeles. Smith would create sixteen untitled prints at Tamarind. These bold and vibrant prints incorporate a variety of his painting motifs, many of which relate to his Correspondence Series of 1960-1967, with their interplay of organic forms on solid color backgrounds. Prints would continue to be an important aspect of Smith’s creative output. The artist would go on to make over 50 print editions in this country and Europe.
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