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Jane Freilicher, ‘Untitled Abstraction’, 1960, Tibor de Nagy
Jane Freilicher, ‘Untitled Abstraction’, 1960, Tibor de Nagy
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Jane Freilicher

Untitled Abstraction, 1960

Oil on Canvas
49 × 50 in
124.5 × 127 cm
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Location
New York
About the work
Jane Freilicher
American, 1924–2014
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A renowned colorist, Jane Freilicher was called “one of the last true scions of Giorgio Morandi” by critic Franklin Einspruch. Early in her career she adopted tenets of Abstract Expressionism and action painting, but since her shift to figuration decades ago she has engaged but one subject: still lifes, typically of flowers arranged on windowsills with a city or country vista in the background. Imbuing aspects of her earlier gestural style into her representational images, Freilicher is credited as one of the major proponents of “painterly realism,” a style that renders her still lifes viscerally powerful. In Bouquets (2011), for example, several vases and flower boxes assume an uncanny monumentality against the dark night sky, commanding their sill, according to New York Times critic Roberta Smith, “like immense, slightly anthropomorphic monoliths.”

Jane Freilicher, ‘Untitled Abstraction’, 1960, Tibor de Nagy
Jane Freilicher, ‘Untitled Abstraction’, 1960, Tibor de Nagy
Save
Save
View
View in room
Share
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Save
Save
View
View in room
Share
Share
About the work
Jane Freilicher
American, 1924–2014
Follow

A renowned colorist, Jane Freilicher was called “one of the last true scions of Giorgio Morandi” by critic Franklin Einspruch. Early in her career she adopted tenets of Abstract Expressionism and action painting, but since her shift to figuration decades ago she has engaged but one subject: still lifes, typically of flowers arranged on windowsills with a city or country vista in the background. Imbuing aspects of her earlier gestural style into her representational images, Freilicher is credited as one of the major proponents of “painterly realism,” a style that renders her still lifes viscerally powerful. In Bouquets (2011), for example, several vases and flower boxes assume an uncanny monumentality against the dark night sky, commanding their sill, according to New York Times critic Roberta Smith, “like immense, slightly anthropomorphic monoliths.”

Jane Freilicher

Untitled Abstraction, 1960

Oil on Canvas
49 × 50 in
124.5 × 127 cm
Sold
Location
New York
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