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Agnes MartinPaintings and Drawings: Suite of 10 Separate (Individual) lithographs on vellum 1991
1991
About the Item
AGNES MARTIN
Paintings and Drawings 1974-1990: Stedelijk Museum, Amsterdam, 1991
The complete set of 10 lithographs in colours, on vellum parchment paper, with full margins, the sheets loose (as issued) all contained in the original grey card portfolio with printed uppers. Mint condition.
11 3/4 × 11 3/4 inches (measurements of each print)
Edition of 2500
Also includes limited edition Deluxe monograph and Supplement
Publisher: Nemela & Lenzen GmbH, Monchengladback & Stedelijk Museum, Amsterdam, Printer: Lecturis, Eindhoven, in collaboration with Agnes Martin
Note: The measurements of approx. 11.75 square inches are for each of the ten (10) lithographs in the suite.
Limited Edition 2500 (unsigned and unnumbered, documented edition)
This listing includes all 10 lithographs
The present suite is the complete set of 10 lithographs in excellent condition, never framed, in the original sleeve, published in 1990 and sold on the occasion of the artist's 1991 retrospective at the Stedelijk Museum in Amsterdam. These lithographs, distinguished by their square format and reduced lines, transcribe pure and minimal expression. The suite of ten loose prints are housed in an elegant folding chemise. The lithographs are loose, not bound, so they can be framed individually and exhibited separately or as a suite. Each lithograph measures 12 square inches. The 10 lithographs are based upon Agnes Martin's paintings that were exhibited at the artist's Stedelijk Museum retrospective in 1990. Martin has said she believed music to be the highest art form, so it is not accidental that these poignant compositions are done on translucent vellum, similar to musical parchment. Known for her evocative works marked out in subtle pencil lines and pale color washes, Agnes Martin’s restrained style was underpinned by her conviction in the emotive and expressive power of art.
Ten (10) prints total in this suite
Provenance: Stedelijk Museum, Amsterdam
- Creator:Agnes Martin (1912-2004, American)
- Creation Year:1991
- Dimensions:Height: 11.75 in (29.85 cm)Width: 11.75 in (29.85 cm)Depth: 0.1 in (2.54 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214314842
Agnes Martin
Born on a farm in rural Saskatchewan, Canada, Agnes Martin immigrated to the United States in 1932 in the hopes of becoming a teacher. After earning a degree in art education, she moved to the desert plains of Taos, New Mexico, where she made abstract paintings with organic forms, which attracted the attention of renowned New York gallerist Betty Parsons, who convinced the artist to join her roster and move to New York in 1957. There, Martin lived and worked on Coenties Slip, a street in Lower Manhattan, alongside a community of artists—including Robert Indiana, Ellsworth Kelly, and Jack Youngerman—who were all drawn to the area’s cheap rents, expansive loft spaces and proximity to the East River. Harbor Number 1 (1957), one of Martin’s earliest New York paintings, combines the geometric abstraction of her earlier Taos work with the newfound inspiration of the harbor landscape, evident in her choice of blue-gray palette. Over the course of the next decade, Martin developed her signature format: six by six foot painted canvases, covered from edge to edge with meticulously penciled grids and finished with a thin layer of gesso. Though she often showed with other New York abstractionists, Martin’s focused pursuit charted new terrain that lay outside of both the broad gestural vocabulary of Abstract Expressionism and the systematic repetitions of Minimalism. Rather, her practice was tethered to spirituality and drew from a mix of Zen Buddhist and American Transcendentalist ideas. For Martin, painting was “a world without objects, without interruption… or obstacle. It is to accept the necessity of … going into a field of vision as you would cross an empty beach to look at the ocean.”1 In 1967, at the height of her career, Martin faced the loss of her home to new development, the sudden death of her friend Ad Reinhardt, and the growing strain of mental illness; she left New York, and returned to Taos, where she abandoned painting, instead pursuing writing and meditation in isolation. Her return to painting in 1974 was marked by a subtle shift in style: no longer defined by the delicate graphite grid, compositions such as Untitled Number 5 (1975) display bolder geometric schemes—like distant relatives of her earliest works. In these late paintings, Martin evoked the warm palette of the arid desert landscape where she remained for the rest of her life.
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