Frank Stella, ‘Eccentric Polygon’, 1974, Caviar20

We are pleased to be offering another dynamic example of Frank Stella's iconic "Eccentric Polygons."

Created in 1974, it is one of his last series before he transitions to the exuberant, Baroque-busy style that defined his aesthetic to this day.

This series of prints were inspired by the "Polygon" paintings created during 1965-1967. Each form was created in four different color combinations. Aesthetically there is a subtle but significant difference between the canvases and the prints. Like many of Stella's multiples, there is a trompe d'ceil effect; the sections of color appear to have been sketched in with a crayon yet bound in with a sharp outline. The canvases, on the other hand, had dense flat colors.

This example, with its emerald green structure and paprika diamond, is called "Effingham" after a small city halfway between Indianapolis and St. Louis. All of the "Eccentric Polygons" have curious names, but actually come from small towns and locations where Stella and his father would go fishing during his youth.

Signature: Signed, numbered and dated 1974 by the artist.

About Frank Stella

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

American, b. 1936, Malden, Massachusetts, based in New York and Rock Tavern, New York