Brice Marden Art

Brice Marden Elevation Poster (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: 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...

Original exhibition poster for Brice Marden at Matthew Marks Gallery in 2002. Hand signed in ballpoint pen by Marden.

BRICE MARDEN Obama Letter, 2012 Etching, on wove paper Signed, dated and numbered from the edition of 150 From Artists for Obama Printed and publishe...

1998 Etching with aquatint on Somerset paper Sheet: 25 9/10 x 18 9/10 in. Edition of 45 Signed, dated, numbered and inscribed "III" in pencil Framed

Etching and aquatint on Somerset paper Edition of 45 Signed, dated and numbered in graphite (lower recto) Available from Matthew Marks Gallery, New York and Los Angeles

BRICE MARDEN Square, 1983 Screenprint in transparent black and black, on Japanese handmade Mino Kozo Kizuki paper Signed, titled, dated and numbered from an edition of 32 Co-publish...

Brice Marden "Attendants, Bears, and Rocks" Matthew Marks Gallery, New York, 2002 Exhibition poster 17 x 22 inches Signed recto Exhibition poster for "Attendants, Bears, and Rocks" ...

An original signed offset-lithograph exhibition poster on wove paper by American artist Brice Marden (1938-) titled "Attendants, Bears, and Rocks Poster", 2002. Hand pencil signed by...

Lithograph printed in colours. Signed in pencil, numbered from the edition of 45. Printed on Somerset Satin wove paper and published by Gemini G.E.L., Los Angeles, with their inkst...

Etching with lithograph printed in colours. Signed and dated in pencil, numbered from the edition of 45. Printed on Somerset Satin wove paper and published by Gemini G.E.L., Los Ang...

Publisher: Peter Blum Editions, NY; Printer: Jennifer Melby, NY; Edition size: 45; Catalog Raisonné: Lewison 40; Signed, dated, and numbered in pencil, lower margin

Etching and aquatint on Somerset paper Edition of 45 Signed, dated and numbered in graphite (lower recto)