Sam Francis, ‘Untitled (SF64-121)’, 1964, Bernard Jacobson Gallery

Francis portrays a variety of cell-like forms floating in an open, and as it often seen, white space are in a state of motion and change. These forms are both cellular and atom-like, organic and non-organic forms that suggest we inhabit a constant state of becoming. The cellular forms refer back to Francis’ earlier training as a student of botany; much of his work refers to the botanist’s language of growth, flowering and decay.

Signature: Unsigned

New York, 'Chamberlain/Francis', Van Doren Waxter, July 11- September 27, 2013
Amsterdam, Stedlijk Museum. 'Sam Francis', September - November, 1968, illus.

Yau, John, Sam Francis, London, Bernard Jacobson Gallery, 2014. Illustrated in colour p. 31

Private Collection
by descent to Private Collection
Christie's, November 12, 2003
Private Collection

About Sam Francis

The painterly abstraction of Sam Francis is most often associated with the American Abstract Expressionist movement, but Francis also spent a great deal of time in Paris and became linked with the parallel movement of Art Informel in Europe. Francis’ most iconic works are characterized by saturated splashes of color that populate the edges of the canvas in order to emphasize the luminous white void in the center. This contrast between the vibrancy of Francis’ color palette and the austere white picture plane demonstrate the artist’s concern with relationships of space, color, and light, as opposed to the psychologically expressive tendencies of contemporaries such as Jackson Pollock.

American, 1923-1994, San Mateo, California, based in Paris and Santa Monica, California