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Executed in 1990, Saint Paul

Medium
Signature
Hand-signed by artist, Signed lower left, Paul Jenkins Signed, titled and dated on the reverse and on the stretcher
Frame
Included

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
LINESLeslie Feely
2019
Important Works on Paper from the Post War EraLeslie Feely
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Phenomena like Byron, 1990

Oil on canvas
29 1/10 × 23 3/5 in
74 × 60 cm
.
£42,500
Location
London
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Executed in 1990, Saint Paul

Medium
Signature
Hand-signed by artist, Signed lower left, Paul Jenkins Signed, titled and dated on the reverse and on the stretcher
Frame
Included

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)
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Series by this artist

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