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November 1978, 1978

Oil on canvas
30 × 40 in
76.2 × 101.6 cm
Bidding closed
About the work
Provenance
HA
Heritage Auctions

Framed: 32.2in x 42.2in x 3.5in

Framed: 32.2in x 42.2in x 3.5in

Signature
Signed and dated on the stretcher: Sylvia Plimack Mangold "November 1978"
Image rights
Courtesy of Heritage Auctions
Sylvia Plimack Mangold
American , b. 1938
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Sylvia Plimack Mangold’s meticulously observed oil, acrylic, and watercolor paintings are dominated by two subjects: the floors of interior spaces and the trees on her property. The style and concerns of her early works placed them in dialogue with those of the Minimalists; though diverging from the Minimalists in her exploration of three-dimensional space in painting, rather than flat surfaces, her images of diffuse light on wooden ground and rulers lying on a linoleum floor occupy a space between representation and abstraction. From the early 1980s, Mangold began to paint sensitive landscape images that she sometimes framed by what appears to be masking tape adhered to the picture plane, but upon closer inspection is Mangold’s illusionistic painting of tape. She also focused her eye on individual trees, returning to the same subjects repeatedly for decades—tightly cropped compositions of individual elm, maple, locust, and pink oak trees depicted from unusual vantage points.

navigate left
navigate right
Save
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view
View in room
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view
View in room
share
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About the work
Provenance
HA
Heritage Auctions

Framed: 32.2in x 42.2in x 3.5in

Framed: 32.2in x 42.2in x 3.5in

Signature
Signed and dated on the stretcher: Sylvia Plimack Mangold "November 1978"
Image rights
Courtesy of Heritage Auctions
Sylvia Plimack Mangold
American , b. 1938
Follow

Sylvia Plimack Mangold’s meticulously observed oil, acrylic, and watercolor paintings are dominated by two subjects: the floors of interior spaces and the trees on her property. The style and concerns of her early works placed them in dialogue with those of the Minimalists; though diverging from the Minimalists in her exploration of three-dimensional space in painting, rather than flat surfaces, her images of diffuse light on wooden ground and rulers lying on a linoleum floor occupy a space between representation and abstraction. From the early 1980s, Mangold began to paint sensitive landscape images that she sometimes framed by what appears to be masking tape adhered to the picture plane, but upon closer inspection is Mangold’s illusionistic painting of tape. She also focused her eye on individual trees, returning to the same subjects repeatedly for decades—tightly cropped compositions of individual elm, maple, locust, and pink oak trees depicted from unusual vantage points.

November 1978, 1978

Oil on canvas
30 × 40 in
76.2 × 101.6 cm
Bidding closed
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