PROPERTY FROM THE SAM FRANCIS FOUNDATION, SOLD TO BENEFIT EDUCATIONAL PROGRAMS INCLUDING THE ARTIST'S CATALOGUE RAISONNÉ PROJECT
In 1973, when the present work was executed, Francis had firmly established himself as one of the leading abstract painters of his generation. As a major retrospective of his work was touring the United States including stops at the Whitney Museum of American Art, New York and the Dallas Museum of Art, Francis chose to split his time between studios in California, Japan and Switzerland. It is during this pivotal year that Francis centered and purified his composition to the point of developing a formal grid (or matrix according to his preferred terminology) that, while rigid in its form, ranged from open and simple to more dense and dark in nature. He soon alternated between creating grid and beam paintings which, with tracks of paint intersecting at multiple points, maintained an underlying structure yet introduced a kinetic dynamism via their asymmetries and ability to open up larger swaths of space across the canvas. As curator and art historian William C. Agee states in his essay for the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 1946-1994 (Berkeley 2011, p. 105), "the matrix and random beam paintings account for some of the true high points in Francis' art, for he was working at this time with the greatest intensity and consistency since the late 1950s."
Francis' new approach to space and structure, which would allow colors to be expressed in an exciting new framework, would prove to be completely uncorrelated with the scale of the work. As Debra Burchett-Lere, Executive Director and President of the Sam Francis Foundation and Aneta Zebala, paintings conservator and contributor state in their forthcoming publication (scheduled for February 2019 release) with the Getty Conservation Institute, Los Angeles, Sam Francis: The Artist's Materials, "Untitled (1973) demonstrates a principal factor in Francis’ oeuvre—his ability to create a powerful impact regardless of the work’s size. Only 42 by 30 inches, this work carries just as much intensity and focused energy as a mural-sized painting over 20 feet tall, many times larger than Francis' body height. Francis noted that he usually decided on the size of a painting 'by a body feeling, a physiological relationship between me and the canvas...It has to do with the balance. If I don't feel like balancing my body against something bigger than me, I don't do it. Then I concentrate on something smaller'."
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