{"id":402821,"date":"2022-11-04T14:00:00","date_gmt":"2022-11-04T18:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=402821"},"modified":"2022-11-06T11:57:30","modified_gmt":"2022-11-06T16:57:30","slug":"wolf-kahn-gray-foliage","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wolf-kahn-gray-foliage\/","title":{"rendered":"This Wolf Kahn Pastel Is the Epitome of Beauty at Its Most Essential"},"content":{"rendered":"
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Gray Foliage<\/em>, 2007, by Wolf Kahn<\/a><\/figcaption><\/figure><\/div>\n\n\n

The New York art gallery Miles McEnery<\/a> recently joined 1stDibs, and as I was looking through its storefront on the site, I was excited to see that in addition to the many notable contemporary<\/a> artists it represents, it also handles the estates of a few seminal American creators. Among them is the colorist Wolf Kahn<\/a> (1927\u20132020), whose Gray Foliage<\/a><\/em>, a luminous 2007 pastel, particularly caught my eye. <\/p>\n\n\n\n

Kahn\u2019s landscapes, such as Gray Foliage<\/em>, “perfectly evoke the beauty and sensations of the natural world,” says Sarah Durning Cope, senior director at Miles McEnery. “And they do so through a filter that blends realism<\/a> and Color Field<\/a> that is uniquely Kahn’s own.”<\/p>\n\n\n\n

When I was a kid, my grandparents\u2019 house was filled with large-scale abstract art<\/a>, which I didn\u2019t really get. But there was one smallish painting that hung over the dresser in their bedroom that somehow spoke to me. <\/p>\n\n\n

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This 1950s Wolf Kahn<\/a> work once hung in the bedroom of Freund’s grandparents. It depicts the abstract artist Emily Mason<\/a>, whom Kahn later married.<\/figcaption><\/figure><\/div>\n\n\n

It depicted a woman at a table, absorbed in the objects scattered across its surface and lit from behind by a generous wall of windows. What fascinated me most about the work was the tabletop\u2019s dominating bouquet of flowers, which were brought to vivid life through colored pigment applied in varying degrees of thickness. Some blooms were rendered in what seemed a watery wash, which made them almost blend into the background; others were realized in a heavy impasto that culminated in one glorious pink peony.<\/p>\n\n\n\n

That painting was by the evocatively named (to my boyhood ear) Wolf Kahn, done before he settled into his signature reductive style. Years later, I had the pleasure of visiting him in his New York studio, where he told me he\u2019d made the work in the 1950s when he was living in Italy. The sitter was his then girlfriend, the artist Emily Mason<\/a>, daughter of abstract painter Alice Trumbull Mason. (They eventually wed and were married for more than 60 years.) <\/p>\n\n\n\n

At the time of our meeting, I was the editor of Art+Auction<\/em> magazine and had assigned a story about the trajectory of Kahn\u2019s career and the state of his market. This was consistently robust even though he hadn\u2019t enjoyed the same critical embrace as some artists in his orbit, among them Abstract Expressionist<\/a> Hans Hofmann<\/a> (his first great teacher), Milton Avery<\/a> (a sometime painting partner) and his longtime friend Wayne Thiebaud<\/a> (whom Kahn described to me as \u201cCalifornia\u2019s most famous living artist\u201d). <\/p>\n\n\n

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As editor of Art+Auction<\/em>, Freund commissioned an article examining Kahn’s enduring success, which appeared in the magazine’s February 2008 issue.<\/figcaption><\/figure><\/div>\n\n\n

\u201cKahn has always been a colorist,\u201d Annette Grant wrote in her profile, which ran in the February 2008 issue of Art+Auction<\/em>, \u201cemploying a palette for his depictions of mountains, rocks, rivers, oceans, fields and the buildings associated with them \u2014 especially barns \u2014 that is so ravishing that nature at its gaudy best pales beside its hues.\u201d <\/p>\n\n\n\n

At a time when artists like Jeff Koons<\/a>, Damien Hirst<\/a> and Julian Schnabel<\/a> were grabbing critics\u2019 and curators\u2019 attention, Grant\u2019s description made Kahn\u2019s work sound almost quaint. \u201cA defining fact of Kahn\u2019s career, and the careers of other artists at his level,\u201d she continued, \u201cis that our culture has made a commitment to the edgy and the iconoclastic at the expense of the beautiful.\u201d <\/p>\n\n\n\n

But times, I think, have changed. Among the lessons we\u2019ve learned during these past few difficult years of pandemic, climate crisis and political discord is that beauty and nature matter more than ever, and that if our homes are to be sanctuaries from an often harsh outside world, then we should fill them with objects and art that soothe the soul and nurture the imagination<\/a>. <\/p>\n\n\n\t

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\n\t\t\t\t\t\tSee More Wolf Kahn Art on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tShop All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

The New York art gallery Miles McEnery recently joined 1stDibs, and as I was looking through its storefront on the site, I was excited to see that in addition to the many notable contemporary artists it represents, it also handles the estates of a few seminal American creators. Among them is the colorist Wolf Kahn 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