Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)
Frank Stella, ‘Purple Series’, 1972, Los Angeles Modern Auctions (LAMA)

In his early work, Frank Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. In a lovely muted shade of purple, the nine shapes–triangle, square, pentagon, hexagon, and so forth–have bands without beginning or end, like continuous circuits.

Gemini G.E.L. #51.77-#51.85

Published and printed by Gemini G.E.L., Los Angeles

Sheets each: 16" x 22"

This lot has a 25% buyer's premium.

Signature: Each signed with edition and date in pencil with Gemini G.E.L. blind stamp lower right margin of sheet

Publisher: Published and printed by Gemini G.E.L., Los Angeles

Literature: Axsom, Richard H. The Prints of Frank Stella: A Catalogue Raisonné: 1968-1982. New York: Hudson Hills Press, 1983. #65-#72.

Los Angeles County Museum of Art

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