Frank Stella, ‘Point of Pines’, Christie's

Frank Stella (b. 1936)

Point of Pines

signed, dated and dedicated 'For Ileana Frank Stella '60 "Point of Pines"' (on the reverse of the backing board)

metal foil collage on masonite

7 x 9 1/2 in. (17.7 x 24.1 cm.)

Executed in 1960.

Signature: signed, dated and dedicated 'For Ileana Frank Stella '60 "Point of Pines"' (on the reverse of the backing board)

Princeton University, The Art Museum; The University of Texas at Austin, Archer M. Huntington Art Gallery and Minneapolis, The Walker Art Center, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s, February 1985-March 1986, pp. 89 and 111, no. 60 (illustrated).

L. Rubin, Frank Stella, Paintings 1958 to 1965: A Catalogue Raisonné, New York, 1986, pp. 92-93, no. 63 (illustrated).

The Estate of Ileana Sonnabend, acquired directly from the artist

By descent from the above to the present owner

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