W ithin superlative collections, each individual artwork represents not only its conceptual ambition and aesthetic characteristics, it also remains as the material vestige and objectified legacy of a cultural history. The works that comprise Seeing in Color: Abstraction from a Distinguished North American Collection represent touchstone moments from significant artistic movements from the latter half of the twentieth century. Assembled by an individual with a superb eye and distinguished taste for the very best examples of abstract art, together, these works provide a prodigious and singular narrative of art history’s trajectory over the past half century.
The revolutionary artistic innovation that took place across North America and Europe in the post-war decades, spanning diverse strains of Abstract Expressionist, Lyrical Expressionist, and Color Field movements, defines the very heart of this collection. The revelatory interrelationships presented here between the dynamic gestures of Joan Mitchell and Gerhard Richter; the immersive color of Hans Hofmann; the muscular abstractions of John Chamberlain, and the technical investigations explored by Morris Louis underscores just how restrictive and insufficient traditional categories can be.
Ultimately, the defining narrative of the collection is its commitment to exemplars of twentieth-century abstraction, which presents an art historical narrative that celebrates some of the past century’s most revered artists. Informed by rare intelligence, a discerning eye, and an instinctive passion for color and form, Seeing in Color: Abstraction from a Distinguished North American Collection represents the pioneering spirit and exuberant ambition of post-war painting and sculpture.