Where Promoting And Encouraging The Arts Is A Way Of Life
Friday, July 8, 2016
Final Weekend of Abstract Expressionism Exhibit
Paul Jenkins (American, 1923 - 2012)
Phenomena Prayer Rug, 1974
acrylic on canvas, 30 1/4 x 43 7/8 in.
“Abstractions are extractions from nature. Concentrates of nature.”
▪ Paul Jenkins, monograph, 1985.
Anatomy of a Cloud,
Phenomena Prayer Rug,
1974, is featured in the exhibition,
The New York School:
, at Cavalier Galleries in Greenwich, CT open through July 10
Born in Kansas City, Missouri in 1923, Jenkins became drawn to New York and the
opportunities available for upcoming artists. He was a student of
Art Students League.
Inspired by the eccentric paint application of
, Jenkins himself became a leading
with his norm-
defying approach to paint.
By observing his works, it is evident that Paul Jenkins’s artistic mission remained
the same despite his experimentation with different mediums. Jenkins’s “singular
use of color and flow” was a steady technique throughout his career. His works
have gained widespread recognition with their sporadically-flowing, vibrant fields
of color. Each of his works display a unique and calculated universe showing
natural forces at work. Unlike Pollock’s unconsciously-made splotches of
canvas, Jenkins’s works require the careful manipulation of paint by
flow as it is poured unto the canvas.
This emphasis on timing was inspired by his experience in high school working
at a ceramics factory. His work parallels the experience of a ceramist controlling
the timing of firing his work in the kiln with Jenkin’s experience manipulating the
paint through the natural force of gravity.
He transitioned from oil paints and enamel in the 1950s to acrylic paints in
This new medium allowed Jenkins to manipulate his canvas more.
This choice resulted in a more minimalist approach, in addition to more translucency
in his works where the white of the canvas was more apparent to viewers. He began
the titles of his works with
, leaving them open to broad interpretation.
Each canvas was grounded in its own world engaging the viewer with his or her
memories with no specific reference to nature, yet Jenkins pieces did refer to the
natural world in some way.
His pieces in the 1970s are said to be a culmination of his mastery of the medium
where he gave himself permission to play with color and flow in order to
the viewer’s imagination.
1974, is said to “recall elements
1950s works with its all-over composition and turbulent movement. Granular white
veils now replace chrysochrome to provide accents of light. This painting has an
quality with evocations of natural forces of weather and sedimentation.”
His works abstractly imitate the forces of nature: wind, water, clouds, rocks, and plant
Bearing resemblance to
Georgia O’ Keefe
with their jewel toned fields of color and
abstract forms, his paintings attain a status all their own. They contain a brand of
substance and vivacity associated with mysticism and reflection. In fact, Jenkins had
an ongoing interest in Eastern religions and with philosophers such as
and this fascination he infused in his works all his life in order to make the viewer
contemplate his or her own inner self.
Jenkins work is exhibited in countless renowned American museums such as
Museum of Modern
Whitney Museum of Art
American Art Museum
The National Gallery of Art
The Solomon R. Guggenheim Museum
Museum of Art,
Museum of Fine Arts
Museum of Contemporary Art
; and the
Butler Institute of American Art
Image of Paul Jenkins applying painting to his canvases
Please contact the gallery for additional details:
Final Week to view the exhibition in Greenwich, CT
Over the Hills
acrylic on canvas, 66 1/4 x 70 3/4 in.
acrylic on canvas 62 1/2 x 63 1/4 in.
oil on canvas, 52 x 42 in.
oil on canvas 70 x 60 in.
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