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Friedel DzubasUntitled (GT/FD 1982 W4) aka "Tondo" 1982
1982
About the Item
Friedel Dzubas (1915-1994) was a Berlin-born, American abstract painter and a key artist associated with both the New York School and the Color Field movement.
Dzubas studied art in Germany before fleeing the Nazi regime in 1939, settling in New York City. During the 1940s, Dzubas circulated with some of the leading abstract painters in the city's vital art scene. One of Dzubas' first major exhibitions took place at the 9th Street Art Exhibition in 1951, a groundbreaking and historical art exhibit featuring his legendary contemporaries. This exhibition acted as an informal debut of the New York School.
Dzubas worked in close proximity to, and was strongly influenced by the emerging color field painters. He shared a studio with Helen Frankenthaler as she began pouring and staining her canvases. The two evolved and each surpassed the techniques embraced by the Abstract Expressionists.
This work is exemplary of Dzubas' use and love of powerful colors. The painter did not delve into printmaking with the same intensity as his contemporaries. However like many of the leading American artists in the late 1970s and early 1980s he did experiment with cast pulp paper, a process in which paper is pulverized and pressed into moulds. The technique was embraced for its texture and the unique way in which colors were absorbed and presented.
This work is a fine example of the artist's abstract use of color and form, but is denser and more layered than his signature compositions.
Circular applications of peach, mauve, grape, robins egg blue, cherry, forest green and mint mingle within a larger circular composition. The dabbed impressionistic polka-dot effect provides layers of visual intrigue. It is also a reminder of Dzubas' eye for pairing colors in unique combinations.
Today Friedel Dzubas' works hang in the permanent collections of some of the most prestigious art institutions in the world; including, the Whitney Museum (NY), the Guggenheim (NY), the Smithsonian American Art Museum (NY), and the Albright-Knox (Buffalo).
Note: this work is sold unframed.
- Creator:Friedel Dzubas (1915-1994, German)
- Creation Year:1982
- Dimensions:Height: 32.75 in (83.19 cm)Width: 35 in (88.9 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Printed at the Garner Tullis Workshop (California) Very good condition Signed and dated in pencil by the artist.
- Gallery Location:Toronto, CA
- Reference Number:
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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