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Edward Clark - Important Art

American Painter

Edward Clark Photo

Born: May 6, 1926 - New Orleans, Louisiana

Important Art by Edward Clark

The below artworks are the most important by Edward Clark - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Untitled (1955)

In this photograph, Clark stands in front of his painting Concord, which was the largest work Clark completed in Paris.

The City (1952)

The City stands as one of Clark's first major experiments in abstraction. The painting evolved while he was working on a realistic representation of the city; dissatisfied with his results, he proceeded to "destroy" the image with his brush but found he liked the result of his destruction. Executed in an all-over manner, the colors almost appear to be in dialogue with one another.

Untitled (1957)

Although not the first, this work is amongst Clark's early experimentations with shaped paintings. Like many of Clark's works, this piece is large in scale, measuring 46 by 55 inches

Big Egg (1968)

This painting is among Clark's early experiments with oval forms. Present is a strong horizontality that is emphasized by Clark's placement of warm and cool colors in individual fields.

Untitled: Paris Series 1988 (1988)

In this work Clark's departure from the Color Fields of the 1950s in favor of more dynamic tubular forms is evident. Unlike the Color Fields that were more discrete, with minimal intermingling of colors and forms, Clark juxtaposed his shapes and mixed his colors in a way that suggests a dialogue with one another.

Pink Wave (2006)

A more recent work, Pink Wave reveals Clark's continued interest in the significance of action and gesture and the presence of the artist's hand.

Related Artists and Major Works

Mural (1943)

By: Jackson Pollock

Mural is an early tour de force in Pollock's career, a transition between his easel paintings and his signature drip canvases. This 'all over' painting technique was assimilated from a variety of sources: Picasso, Benton and Siqueiros, as well as Native American sand painting. Measuring nearly 8 x 20 ft, this was Pollock's first large-scale work, and was commissioned for Peggy Guggenheim's apartment. Although influenced by his earlier work in this format, Pollock struggled to control the composition. He incorporated decorative patterns in thinly brushed paint to achieve an intimate pattern within the grand scale. An apocryphal story exists that it was painted in one day and one night, though this is impossible given the quantity of layers in the picture.

Four Darks in Red (1958)

By: Mark Rothko

In 1969, Rothko exhibited ten paintings at the Sidney Janis Gallery; Four Darks in Red were among those shown. With its dark, restricted palette, the picture exemplifies Rothko's late-period gravitation towards reds and browns. It established a prototype for the dark red/brown/black palette and horizontal composition that he would later use in the uninstalled Seagram Building paintings. Although the imagery of pictures like Four Darks in Red seems far distant from that of Slow Swirl at the Edge of the Sea (1944), Rothko believed that the rectangles merely offered a new way of representing the presences or spirits that he tried to capture in those earlier works. "It was not that the figure had been removed," he once said, "..but the symbols for the figures... These new shapes say.. what the figures said." In this way, Rothko imagined a kind of direct communion between himself and the viewer, one which might touch the viewer with a higher spirituality.


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