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Joan Mitchell
A sweeping retrospective exploring the oeuvre of an incandescent artist, revealing the ways that Mitchell expanded painting beyond Abstract Expressionism as well as the transatlantic contexts that shaped her
Joan Mitchell (1925–1992) was fearless in her experimentation, creating works of unparalleled beauty, strength, and emotional intensity. This gorgeous book unfolds the story of an artistic master of the highest order, revealing the ways she expanded abstract painting and illuminating the transatlantic contexts that shaped her. Lavish illustrations cover the full arc of her artistic practice, from her exceptional New York paintings of the early 1950s to the majestic multipanel compositions she made in France later in her career. Signature works are represented here along with rarely seen paintings, works on paper, artist’s sketchbooks, and photographs of Mitchell’s life, social circle, and surroundings.
Featuring scholarly texts, in-depth essays, and artistic and literary responses, this book is organized in ten chronological chapters. Each chapter centers on a closely related suite of paintings, illuminating a shifting inner landscape colored by experience, sensation, memory, and a deep sense of place. Presenting groundbreaking research and a variety of perspectives on her art, life, and connections to poetry and music, this unprecedented volume is an essential reference for Mitchell’s admirers and those just discovering her work.
Published in association with the San Francisco Museum of Modern Art
Exhibition San Francisco Museum of Modern Art
(September 4, 2021–January 17, 2022)
Baltimore Museum of Art
(March 6–August 14, 2022)
Fondation Louis Vuitton
(October 5, 2022–February 27, 2023)
Joan Mitchell (1925–1992) was fearless in her experimentation, creating works of unparalleled beauty, strength, and emotional intensity. This gorgeous book unfolds the story of an artistic master of the highest order, revealing the ways she expanded abstract painting and illuminating the transatlantic contexts that shaped her. Lavish illustrations cover the full arc of her artistic practice, from her exceptional New York paintings of the early 1950s to the majestic multipanel compositions she made in France later in her career. Signature works are represented here along with rarely seen paintings, works on paper, artist’s sketchbooks, and photographs of Mitchell’s life, social circle, and surroundings.
Featuring scholarly texts, in-depth essays, and artistic and literary responses, this book is organized in ten chronological chapters. Each chapter centers on a closely related suite of paintings, illuminating a shifting inner landscape colored by experience, sensation, memory, and a deep sense of place. Presenting groundbreaking research and a variety of perspectives on her art, life, and connections to poetry and music, this unprecedented volume is an essential reference for Mitchell’s admirers and those just discovering her work.
Published in association with the San Francisco Museum of Modern Art
Exhibition San Francisco Museum of Modern Art
(September 4, 2021–January 17, 2022)
Baltimore Museum of Art
(March 6–August 14, 2022)
Fondation Louis Vuitton
(October 5, 2022–February 27, 2023)
- GenresArtNonfiction
384 pages, Hardcover
Published January 5, 2021
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Displaying 1 - 9 of 9 reviews
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September 24, 2021This exhibit convinced me that Joan Mitchell might be nothing less than my favorite abstract painter. Her work bridges the gap between pure abstraction and, if not representation, association more profoundly than other artist’s work that I’ve seen.
Mitchell was the most meditative and minimalist of the major American abstractionists. Her early and late work is sparse, often leaving much of the canvas naked, but with extraordinary, almost lithographic lines of color. In her mid period, Mitchell turned towards well known abstract practices such as throwing paint at the canvas, and seemingly tried to force her style into being more aggressive and Pollock-esque . This period struck me as the least rewarding of Mitchell’s career. Fortunately, by the time she settled permanently in France, she returned to her more nuanced aesthetic.
Abstract expressionism is often described as the most definitely American genre of painting. This has always been a somewhat problematic take, as the artist most attributed with founding the genre is the German expat Hans Hoffman, who was one of Mitchell’s mentors. But Mitchell, who lived much of her life in France, and indeed in La Tour, where Monet resided in his later years, strikes me as the most European in sentiment of any of the major abstract painters, including Hoffman. This links Mitchell’s oeuvre with that of Richard Dieberkorn, whose indebtedness to Matisse has been well documented.
I’m quite fond of Dieberkorn’s abstract work. But his relation to Matisse always seems deliberate, like a talented student working, in a distinct way, towards the style of his master. With Mitchell, I felt no since of striving to reflect celebrated French painters such as Monet and Van Gogh, but simply that the landscapes of La Tour were shaping her instincts as an artist in ways that were recognizably similar to those of the afore mentioned French painters.
Another connection and distinction between Mitchell and Dieberkorn is the ways their work approaches landscape aesthetics. While both painter’s works are at times suggestive of nature and landscapes Dieberkorn eventually felt the need to revert to representation and figuration, though Mitchell did not. Perhaps Mitchell was, indeed, a kind of impressionist. For one senses, especially in the late paintings, that what she is depicting is the meeting place between subjectivity and world. In this sense, what her work most reminds me of is not that of other painters at all but of what Clarise Lispector achieved with prose in Aqua Vida: a description of the space in which place and consciousness act on and shape each other.
Mitchell was the most meditative and minimalist of the major American abstractionists. Her early and late work is sparse, often leaving much of the canvas naked, but with extraordinary, almost lithographic lines of color. In her mid period, Mitchell turned towards well known abstract practices such as throwing paint at the canvas, and seemingly tried to force her style into being more aggressive and Pollock-esque . This period struck me as the least rewarding of Mitchell’s career. Fortunately, by the time she settled permanently in France, she returned to her more nuanced aesthetic.
Abstract expressionism is often described as the most definitely American genre of painting. This has always been a somewhat problematic take, as the artist most attributed with founding the genre is the German expat Hans Hoffman, who was one of Mitchell’s mentors. But Mitchell, who lived much of her life in France, and indeed in La Tour, where Monet resided in his later years, strikes me as the most European in sentiment of any of the major abstract painters, including Hoffman. This links Mitchell’s oeuvre with that of Richard Dieberkorn, whose indebtedness to Matisse has been well documented.
I’m quite fond of Dieberkorn’s abstract work. But his relation to Matisse always seems deliberate, like a talented student working, in a distinct way, towards the style of his master. With Mitchell, I felt no since of striving to reflect celebrated French painters such as Monet and Van Gogh, but simply that the landscapes of La Tour were shaping her instincts as an artist in ways that were recognizably similar to those of the afore mentioned French painters.
Another connection and distinction between Mitchell and Dieberkorn is the ways their work approaches landscape aesthetics. While both painter’s works are at times suggestive of nature and landscapes Dieberkorn eventually felt the need to revert to representation and figuration, though Mitchell did not. Perhaps Mitchell was, indeed, a kind of impressionist. For one senses, especially in the late paintings, that what she is depicting is the meeting place between subjectivity and world. In this sense, what her work most reminds me of is not that of other painters at all but of what Clarise Lispector achieved with prose in Aqua Vida: a description of the space in which place and consciousness act on and shape each other.
May 26, 2021
This is a physically beautiful book, printed in Italy In conjunction with SMOMA and Yale. The printing is first rate and there are over 130 plates, many of which are fold-outs. It is very well worth the price.
I read every word in this book in fascination as Joan painted her feelings onto beautiful and ever changing canvases.
If you’re a painter, you must read this book as it’s more about her painting, techniques, colors and how she could project her feelings into any art form.
Read Ninth Street Women too, another excellent book, which is more about the socioeconomics and lifestyles in the 40s and 50s and the New York School, including Pollack, Kranser, Elaine and Bill DeKooning, Mitchell, Hartigan and Frankenthaler.
I read every word in this book in fascination as Joan painted her feelings onto beautiful and ever changing canvases.
If you’re a painter, you must read this book as it’s more about her painting, techniques, colors and how she could project her feelings into any art form.
Read Ninth Street Women too, another excellent book, which is more about the socioeconomics and lifestyles in the 40s and 50s and the New York School, including Pollack, Kranser, Elaine and Bill DeKooning, Mitchell, Hartigan and Frankenthaler.
May 26, 2021
The prints are stunning, fabulous (not an overstatement).
Some of the writing is excellent, other portions are pompous and repetitive.
After reading Ninth Street Women, I was surprised that her drinking and relationships were glossed over. Not that these things defined her, but they did seem to be big components of her life and who she became.
I will return to this book often. I loved every Joan quote and wish there had been more.
Some of the writing is excellent, other portions are pompous and repetitive.
After reading Ninth Street Women, I was surprised that her drinking and relationships were glossed over. Not that these things defined her, but they did seem to be big components of her life and who she became.
I will return to this book often. I loved every Joan quote and wish there had been more.
April 20, 2024
Didn’t read every word cover to cover, but found some sections to be interesting background for the paintings.
As much as I enjoyed all the photos, they fall flat compared to seeing Mitchell’s work in a museum; grateful for opportunities at the CMA
As much as I enjoyed all the photos, they fall flat compared to seeing Mitchell’s work in a museum; grateful for opportunities at the CMA
December 17, 2024
what a gorgeous and lovely book. an incredibly insight into joan mitchell’s life and artistic process, with such thoughtful essays scattered throughout. beautiful images for the plates, and beautiful writing to accompany it.
March 2, 2022
This is a wonderful review of her career...Great articles...lots of art...Highly recommend it.
January 9, 2023
really beautiful prints and essays cataloguing joan mitchell's life + career - a great book to come back to again and again 😌
February 26, 2024
Detailed examination of the life and work of Joan Mitchell, one of the "Ninth Street Women" of abstract expressionism (Lee Krasner, Grace Hartigan, Elaine de Kooning, and Helen Frankenthaler). I don't remember seeing her work before now or, if I have, being drawn to it. However, as I experiment with painting and exploring my own way of working with color, composition, etc., I find myself attracted to much of Mitchell's work. This is a good resource for future use.
July 23, 2024
This retrospective really gives Joan her (sun)flowers. Joan was the subject of my undergrad thesis for my Art History degree and this text is so special.
Displaying 1 - 9 of 9 reviews