Louise Fishman, ‘Homage to the Mountains No. 120’, 2011, Goya Contemporary/Goya-Girl Press
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Louise Fishman

Homage to the Mountains No. 120, 2011

Watercolor monotype
22 5/8 × 16 1/2 in
57.5 × 41.9 cm
.
Contact For Price
Have a question? Visit our help center.
About the work
Goya Contemporary/Goya-Girl Press
Baltimore

Frame size: 26 3/4 x 20 1/2 inches. Frame included in price.

Medium
Signature
Hand-signed by artist, Signed Louise Fishman central bottom of print
Frame
Included
Series
Homage to the Mountains
Image rights
Courtesy Goya Contemporary Gallery
Louise Fishman
American, b. 1939
Follow

Abstract painter Louise Fishman is drawn to personal experience, stories, and political activism. Through the 1960s, she produced primarily Minimalist-inspired, grid-like paintings. In the early 1970s, in pursuit of a more definitively feminine practice, she gave up abstract painting, which was considered the hotbed of art world machismo, to explore sculptural processes like sewing and knitting, which were traditionally defined as “women’s work.” Returning to painting in 1973, she produced a series called “Angry Women,” which announced the expressive brushwork and muddy pigment that are hallmarks of her mature style. In 1988, a trip to Eastern Europe, where she visited two concentration camps, reinforced the dark, mysteriously emotive quality of Fishman’s vigorously worked paintings, including her 1989 series of eight paintings, “Remembrance and Renewal,” in which she mixed ashes and beeswax into her paints.

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Louise Fishman, ‘Homage to the Mountains No. 120’, 2011, Goya Contemporary/Goya-Girl Press
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Save
View
View in room
Share
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About the work
Goya Contemporary/Goya-Girl Press
Baltimore

Frame size: 26 3/4 x 20 1/2 inches. Frame included in price.

Medium
Signature
Hand-signed by artist, Signed Louise Fishman central bottom of print
Frame
Included
Series
Homage to the Mountains
Image rights
Courtesy Goya Contemporary Gallery
Louise Fishman
American, b. 1939
Follow

Abstract painter Louise Fishman is drawn to personal experience, stories, and political activism. Through the 1960s, she produced primarily Minimalist-inspired, grid-like paintings. In the early 1970s, in pursuit of a more definitively feminine practice, she gave up abstract painting, which was considered the hotbed of art world machismo, to explore sculptural processes like sewing and knitting, which were traditionally defined as “women’s work.” Returning to painting in 1973, she produced a series called “Angry Women,” which announced the expressive brushwork and muddy pigment that are hallmarks of her mature style. In 1988, a trip to Eastern Europe, where she visited two concentration camps, reinforced the dark, mysteriously emotive quality of Fishman’s vigorously worked paintings, including her 1989 series of eight paintings, “Remembrance and Renewal,” in which she mixed ashes and beeswax into her paints.

Louise Fishman

Homage to the Mountains No. 120, 2011

Watercolor monotype
22 5/8 × 16 1/2 in
57.5 × 41.9 cm
.
Contact For Price
Have a question? Visit our help center.
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Other works from Goya Contemporary/Goya-Girl Press
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