Untitled (paris), 1954,
Ink on paper, SIGNED/Dated-"Paul Jenkins 54" (lower left),
Original period frame, © Estate of Paul Jenkins,
21 × 14 in. (53.3 × 35.6 cm.)
Condition:
Excellent- no issues.
Provenance:
Hemphill Collection, NY
- Medium
- Signature
- Hand-signed by artist, Signed/Dated in Ink (lower left)-"Paul Jenkins 54"
- Certificate of authenticity
- Included
- Frame
- Included
An important figure in the New York School, Paul Jenkins contributed to the development of abstract expressionism in New York and abroad with his intuitive, chance-based approach to painting. Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife. Jenkins’s diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning—artists who shared his instinctual working method. “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it,” the artist once said.
- Collected by major museums
- Tate, Museum of Modern Art (MoMA)
- 2021
- IMPACT, Leslie Feely
- 2019
- Important Works on Paper from the Post War Era, Leslie Feely
- 2017
- Between Tachisme and Abstract Expressionism: Bluhm, Francis, Jenkins, Hollis Taggart
Untitled (Paris), Ink on Paper, Estate of Paul Jenkins., 1954
Learn more.
Untitled (paris), 1954,
Ink on paper, SIGNED/Dated-"Paul Jenkins 54" (lower left),
Original …
- Medium
- Signature
- Hand-signed by artist, Signed/Dated in Ink (lower left)-"Paul Jenkins 54"
- Certificate of authenticity
- Included
- Frame
- Included
An important figure in the New York School, Paul Jenkins contributed to the development of abstract expressionism in New York and abroad with his intuitive, chance-based approach to painting. Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife. Jenkins’s diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning—artists who shared his instinctual working method. “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it,” the artist once said.
- Collected by major museums
- Tate, Museum of Modern Art (MoMA)