Joan Mitchell

Martha Jackson Gallery, New York
Xavier Fourcade, Inc., New York
Acquired by the present owner from the above

This work is in very good condition overall. There is scattered evidence of fine and stable craquelure particularly in the heavily impastoed areas as well as a few associated paint losses. Under ultraviolet light inspection there is no evidence of inpainting. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Joan Mitchell's paintings are meditations on her emotional response to her surroundings. She was mesmerized by her local landscapes and often reacted by masterfully portraying the feelings which overcame her. She did not paint directly from nature but insisted on painting from memory. This enhanced her ability to plumb the depth of her emotional responses rather than present a more realist perception of her locale. Most often characterized as an Abstract Expressionist, Mitchell painted in a large format with heavily gestural and abstract strokes. The result was a unique aesthetic which set her apart from her contemporaries. Unlike the often spontaneous gestures of some Abstract Expressionist painters, Mitchell's brushstrokes were usually deliberate and calculated. Ardent colors and dramatic changes of light unleashed in turn a cacophony of emotive fervor which exploded onto her palette.

In Beaujolais, painted in 1966, heavy greens give way to saturated royal blues which enhance the reality of the centralized mass of unrestrained color. It seems that all the painterly techniques for which Mitchell is most famed – the dramatic brushstrokes, the calligraphic lines, feverish layering of paint– are intergrated here in this succulent bunch of grapes. With the juxtaposing of colors the central mass seems to vibrate with emotion and energy. Mitchell did not obsess over perfectly balanced compositions but instead sought harmony through her dynamic use of color. Her expressive use of pigment that enabled the artist to create a highly constructed surface that captured both emotions and memories. Beaujolais is a paramount example of Mitchell's work from the sixties as it is not a total abstraction but instead "the visual suggestion of something familiar or remembered," (Exh. Cat., Gagosian Gallery, Joan Mitchell, Beverly Hills, 2010, p. 9).