Richard Pousette-Dart (American, 1916-1992) Eye of the Square Signed and dated "Pousette-Dart 67," with labels from ACA Galleries, New York, Obelisk Gallery, Inc., Boston, and Randall Beck Gallery, Boston, and with the artist's stamp on the reverse. Oil on board, 23 x 31 in. (58.4 x 78.7 cm), framed. Condition: Good. N.B. Born in St. Paul, Minnesota, in 1916, Richard Pousette-Dart would eventually move to New York to take part in the vanguard art culture taking place there. He was a first-generation Abstract Expressionist, part of a group including Jackson Pollock and Willem de Kooning that Life magazine called the "Irascibles." He had his first solo exhibit in 1941 at the Artists' Gallery in New York City and continued to exhibit around the city. After 1951, Pousette-Dart moved to the New York countryside and very rarely came into Manhattan. His style progressed from the 1930s, when he painted in a manner reminiscent of both surrealism and cubism, through the forties and fifties, when abstracted forms executed in heavy impasto were scattered across the canvas. By the 1960s, the separate forms are eschewed in favor of an all-over layering of thick globs of color, as exemplified in the work presented here.
Richard Pousette-Dart (American, 1916-1992) Eye of the Square Signed and dated "Pousette-Dart 67," with labels from ACA Galleries, New York, Obelisk Gallery, Inc., Boston, and Randall Beck Gallery, Boston, and with the artist's stamp on the reverse. Oil on board, 23 x 31 in. (58.4 x 78.7 cm), framed. Condition: Good. N.B. Born in St. Paul, Minnesota, in 1916, Richard Pousette-Dart would eventually move to New York to take part in the vanguard art culture taking place there. He was a first-generation Abstract Expressionist, part of a group including Jackson Pollock and Willem de Kooning that Life magazine called the "Irascibles." He had his first solo exhibit in 1941 at the Artists' Gallery in New York City and continued to exhibit around the city. After 1951, Pousette-Dart moved to the New York countryside and very rarely came into Manhattan. His style progressed from the 1930s, when he painted in a manner reminiscent of both surrealism and cubism, through the forties and fifties, when abstracted forms executed in heavy impasto were scattered across the canvas. By the 1960s, the separate forms are eschewed in favor of an all-over layering of thick globs of color, as exemplified in the work presented here.
.jpg "Quelle: Christie's")
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
