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Lot Essay
In Noir #2, American Abstract Expressionist Sam Francis approaches painting with a melodic hand and a joyous propensity for color. Francis was among the first post-war painters to gain international acclaim. Although he channeled colors across all spectrums, Francis believed that black “burns with the possibility of all colors” (S. Francis quoted in Sam Francis, exh. Cat., Albright-Knox Art Gallery, Buffalo, 1972, p. 19). Noir #2 is a precursor to his Black series, a collection of paintings that juxtaposed vivid bursts of color with deep black hues. Enticingly elusive and measuring over five feet tall, the painting engages viewers at eye level, inviting them to look closer and discover hidden details.
As its name suggests, Noir #2 is dominated by the color black: intensely dark cells of paint mingle together; on top of this, thin black drips of paint descend the canvas. However, there is far more beneath the surface. Francis created the Black series works by “by painting the entire canvas white. As other colors are added, it becomes less intense. I add black to bring back the intensity” (S. Francis, quoted in Ibid, p. 19). In contrast to the overlaying rich black hues, Noir #2’s blue undertones appear even brighter.
Pontus Hulten, former director of the Moderna Museet and Centre Pompidou, noted that Francis viewed color as akin to “lava, molten stone, having all its attributes of great heat and risk in handling, even its unpredictability” (P. Hulten, quoted in Sam Francis, exh. Cat., Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, p. 28) Much like lava under molten rock, color pulses beneath the dark surface of Noir #2. Vibrant blues, intercepted with hints of red and green, appear even more striking against the painting’s black finish.
Francis masterfully created compositions that harmoniously blended black with underlying colors. In keeping with his curiosity towards astronomy, he believed that “light and dark are constellations of each other” and “an increase in light gives an increase in darkness” (S. Francis, quoted in Ibid, p. 39). In the present work, winding blue shapes recall free-flowing streams, contributing to the sense of motion and raw energy that the painting exudes. Francis was equally inspired by water and fire – he frequently drew upon the Zen Buddhist concept of the primary natural elements (earth, water, fire, and air). His fascination with water also stemmed from his connection to Monet’s Water Lilies series. The series went on view at the Paris-based Musée de l'Orangerie in 1953, the same year Francis painted Noir #2. Similarly to the Orangerie’s Water Lilies paintings, Noir #2 contrasts rich, dark hues with sensuous shades of blue. Once stating “I make the late Monet pure”, Francis saw himself as building upon Monet’s work (S. Francis, quoted in Sam Francis: Paintings 1947-1990, exh. Cat., Los Angeles, 1999, p. 20).
Francis began painting with watercolors after tuberculosis left him hospitalized for three years. During that time, figurative artist David Park would visit Francis and show him authentic Picasso pieces from Charlotte Mack’s collection, furthering his interest in painting. With little to do in his bedridden state, Francis became captivated by the movement of light across the hospital’s ceiling. He was intrigued by “quality of light itself, not just the play of light. But the substance of which light is made” (S. Francis, quoted in P. Selz, Sam Francis, New York, 1975, p. 34). Francis’ deep fascination with light and darkness remained throughout his artistic career. In the early 1950s, Francis adopted a light color scheme, creating a series of airy paintings in gray, white, and pale green. However, by 1953 Francis was utilizing the color black to its full potential.
In an homage to the style of watercolor paintings, Francis frequently dripped acrylic paint onto his drying canvases. He acted in conversation with Jackson Pollock’s iconic drip paintings. Francis’ strategy also aligned with fellow California-based artists such as John Grillo, Hassel Smith, and Fred Kahn, who employed dripped paint in their work.
While formally known as an Abstract Expressionist, Sam Francis’ work defies easy categorization. Following his move to Paris in 1950, Francis quickly fell into the city’s art crowd, making acquaintances with artists and critics such as Georges Duthuit, the son-in-law of French Impressionist Henri Matisse. Francis was particularly shaped by Matisse and Pierre Bonnard’s work and followed the two French artist’s vigorous embrace of color.
From French Impressionism to Zen Buddhism, Sam Francis’ eclectic collection of personal and artistic influences represents his broad, global presence – he resided in California, New York, Paris, and Tokyo at various points in his life. Francis’ emotive, philosophical work uses darkness to strengthen his vivid colors. Noir #2 exemplifies this quality. Vibrant blue emerges from the work’s black exterior, resulting in an energetic painting that projects a state of motion.
As its name suggests, Noir #2 is dominated by the color black: intensely dark cells of paint mingle together; on top of this, thin black drips of paint descend the canvas. However, there is far more beneath the surface. Francis created the Black series works by “by painting the entire canvas white. As other colors are added, it becomes less intense. I add black to bring back the intensity” (S. Francis, quoted in Ibid, p. 19). In contrast to the overlaying rich black hues, Noir #2’s blue undertones appear even brighter.
Pontus Hulten, former director of the Moderna Museet and Centre Pompidou, noted that Francis viewed color as akin to “lava, molten stone, having all its attributes of great heat and risk in handling, even its unpredictability” (P. Hulten, quoted in Sam Francis, exh. Cat., Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, p. 28) Much like lava under molten rock, color pulses beneath the dark surface of Noir #2. Vibrant blues, intercepted with hints of red and green, appear even more striking against the painting’s black finish.
Francis masterfully created compositions that harmoniously blended black with underlying colors. In keeping with his curiosity towards astronomy, he believed that “light and dark are constellations of each other” and “an increase in light gives an increase in darkness” (S. Francis, quoted in Ibid, p. 39). In the present work, winding blue shapes recall free-flowing streams, contributing to the sense of motion and raw energy that the painting exudes. Francis was equally inspired by water and fire – he frequently drew upon the Zen Buddhist concept of the primary natural elements (earth, water, fire, and air). His fascination with water also stemmed from his connection to Monet’s Water Lilies series. The series went on view at the Paris-based Musée de l'Orangerie in 1953, the same year Francis painted Noir #2. Similarly to the Orangerie’s Water Lilies paintings, Noir #2 contrasts rich, dark hues with sensuous shades of blue. Once stating “I make the late Monet pure”, Francis saw himself as building upon Monet’s work (S. Francis, quoted in Sam Francis: Paintings 1947-1990, exh. Cat., Los Angeles, 1999, p. 20).
Francis began painting with watercolors after tuberculosis left him hospitalized for three years. During that time, figurative artist David Park would visit Francis and show him authentic Picasso pieces from Charlotte Mack’s collection, furthering his interest in painting. With little to do in his bedridden state, Francis became captivated by the movement of light across the hospital’s ceiling. He was intrigued by “quality of light itself, not just the play of light. But the substance of which light is made” (S. Francis, quoted in P. Selz, Sam Francis, New York, 1975, p. 34). Francis’ deep fascination with light and darkness remained throughout his artistic career. In the early 1950s, Francis adopted a light color scheme, creating a series of airy paintings in gray, white, and pale green. However, by 1953 Francis was utilizing the color black to its full potential.
In an homage to the style of watercolor paintings, Francis frequently dripped acrylic paint onto his drying canvases. He acted in conversation with Jackson Pollock’s iconic drip paintings. Francis’ strategy also aligned with fellow California-based artists such as John Grillo, Hassel Smith, and Fred Kahn, who employed dripped paint in their work.
While formally known as an Abstract Expressionist, Sam Francis’ work defies easy categorization. Following his move to Paris in 1950, Francis quickly fell into the city’s art crowd, making acquaintances with artists and critics such as Georges Duthuit, the son-in-law of French Impressionist Henri Matisse. Francis was particularly shaped by Matisse and Pierre Bonnard’s work and followed the two French artist’s vigorous embrace of color.
From French Impressionism to Zen Buddhism, Sam Francis’ eclectic collection of personal and artistic influences represents his broad, global presence – he resided in California, New York, Paris, and Tokyo at various points in his life. Francis’ emotive, philosophical work uses darkness to strengthen his vivid colors. Noir #2 exemplifies this quality. Vibrant blue emerges from the work’s black exterior, resulting in an energetic painting that projects a state of motion.