MILTON RESNICK Untitled. Oil on canvas, 1984. 1020x1120 mm; 40x44 inches. Signed and dated in oil, verso. Ex-collection the Estate of Virginia Zabriskie, New York. Resnick (1917-2004) trained at the Pratt Institute, New York, where he studied commercial art, before transferring to the American Artists School to focus on painting. Among the first generation of the New York School artists, he was friends with Abstract Expressionists such as Arshile Gorky and Willem de Kooning (see lots 26 and 27). Resnick sought to dissolve form and image, employing the sculptural elements of the paint. He eclipsed the traditional modes of Abstract Expressionsim in the mid 1940s and created dense and heavily impastoed paintings that sometimes weighed more than 300 pounds. His foray into the materiality of paint was predictive of artists such as Cy Twombly (see lots 123 and 124) and Frank Stella (see lots 134 and 135) who focused on process and an "all-over" approach to developing a canvas.
MILTON RESNICK Untitled. Oil on canvas, 1984. 1020x1120 mm; 40x44 inches. Signed and dated in oil, verso. Ex-collection the Estate of Virginia Zabriskie, New York. Resnick (1917-2004) trained at the Pratt Institute, New York, where he studied commercial art, before transferring to the American Artists School to focus on painting. Among the first generation of the New York School artists, he was friends with Abstract Expressionists such as Arshile Gorky and Willem de Kooning (see lots 26 and 27). Resnick sought to dissolve form and image, employing the sculptural elements of the paint. He eclipsed the traditional modes of Abstract Expressionsim in the mid 1940s and created dense and heavily impastoed paintings that sometimes weighed more than 300 pounds. His foray into the materiality of paint was predictive of artists such as Cy Twombly (see lots 123 and 124) and Frank Stella (see lots 134 and 135) who focused on process and an "all-over" approach to developing a canvas.
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