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Medium
Signature
Hand-signed by artist, Signed dated and titled twice on the reverse
Frame
Included
Series
Wind + Land Masks

An important figure in the New York School, Paul Jenkins contributed to the development of abstract expressionism in New York and abroad with his intuitive, chance-based approach to painting. Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife. Jenkins’s diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning—artists who shared his instinctual working method. “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it,” the artist once said.

Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions
2021
IMPACTLeslie Feely
2019
Important Works on Paper from the Post War EraLeslie Feely
2017
Between Tachisme and Abstract Expressionism: Bluhm, Francis, JenkinsHollis Taggart
View all

Phenomena Hadrian’s Keep, 1976

Acrylic on canvas
35 2/5 × 120 1/10 in
90 × 305 cm
.
€70,000
Ships from Treviglio BG, IT
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Treviglio BG
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Medium
Signature
Hand-signed by artist, Signed dated and titled twice on the reverse
Frame
Included
Series
Wind + Land Masks

An important figure in the New York School, Paul Jenkins contributed to the development of abstract expressionism in New York and abroad with his intuitive, chance-based approach to painting. Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife. Jenkins’s diaphanous streaks and gentle, fluid fields of color positioned him as an important figure in abstract expressionism, and he often exhibited in the same venues as Jackson Pollock and Willem de Kooning—artists who shared his instinctual working method. “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it,” the artist once said.

Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions (3)
More from this series
View series

Series by this artist

Other works by Paul Jenkins
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