J. P. SILVER over BLACK, WHITE, YELLOW & RED 1948 Canvas Print

-----------------------------------------------------------------------------------J. P. (American, 1912-1956) - PAINTING (Silver over Black, White, Yellow and Red) - 1948 - Action painting - Abstract Expressionism - Oil, Enamel and Aluminium paint on canvas - 𝑯𝒊-𝑹𝒆𝒔 𝑫𝒊𝒈𝒊𝒕𝒂𝒍𝒍𝒚 𝑹𝒆𝒎𝒂𝒔𝒕𝒆𝒓𝒆𝒅 𝑽𝒆𝒓𝒔𝒊𝒐𝒏 --------𝑷𝒂𝒊𝒏𝒕𝒊𝒏𝒈 (𝑺𝒊𝒍𝒗𝒆𝒓 𝒐𝒗𝒆𝒓 𝑩𝒍𝒂𝒄𝒌, 𝑾𝒉𝒊𝒕𝒆, 𝒀𝒆𝒍𝒍𝒐𝒘 𝒂𝒏𝒅 𝑹𝒆𝒅)" 𝒇𝒓𝒐𝒎 𝟏𝟗𝟒𝟖 𝒆𝒙𝒆𝒎𝒑𝒍𝒊𝒇𝒊𝒆𝒔 𝑱. 𝑷.'𝒔 𝒊𝒄𝒐𝒏𝒊𝒄 𝒑𝒐𝒖𝒓𝒊𝒏𝒈 𝒕𝒆𝒄𝒉𝒏𝒊𝒒𝒖𝒆, 𝒂 𝒉𝒂𝒍𝒍𝒎𝒂𝒓𝒌 𝒐𝒇 𝑨𝒃𝒔𝒕𝒓𝒂𝒄𝒕 𝑬𝒙𝒑𝒓𝒆𝒔𝒔𝒊𝒐𝒏𝒊𝒔𝒎'𝒔 𝑨𝒄𝒕𝒊𝒐𝒏 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈. 𝑱. 𝑷.'𝒔 𝒖𝒏𝒄𝒐𝒏𝒗𝒆𝒏𝒕𝒊𝒐𝒏𝒂𝒍 𝒂𝒑𝒑𝒓𝒐𝒂𝒄𝒉 𝒊𝒏𝒗𝒐𝒍𝒗𝒆𝒅 𝒄𝒓𝒆𝒂𝒕𝒊𝒏𝒈 𝒍𝒂𝒓𝒈𝒆 𝒄𝒂𝒏𝒗𝒂𝒔𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒇𝒍𝒐𝒐𝒓, 𝒖𝒕𝒊𝒍𝒊𝒛𝒊𝒏𝒈 𝒗𝒂𝒓𝒊𝒐𝒖𝒔 𝒕𝒐𝒐𝒍𝒔 𝒔𝒖𝒄𝒉 𝒂𝒔 𝒃𝒓𝒖𝒔𝒉𝒆𝒔, 𝒔𝒕𝒊𝒄𝒌𝒔, 𝒂𝒏𝒅 𝒕𝒖𝒓𝒌𝒆𝒚-𝒃𝒂𝒔𝒕𝒆𝒓𝒔 𝒕𝒐 𝒅𝒊𝒔𝒑𝒆𝒓𝒔𝒆 𝒑𝒂𝒊𝒏𝒕. 𝑻𝒉𝒊𝒔 𝒔𝒑𝒆𝒄𝒊𝒇𝒊𝒄 𝒑𝒊𝒆𝒄𝒆, 𝒘𝒊𝒕𝒉 𝒔𝒊𝒍𝒗𝒆𝒓 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒊𝒏𝒈 𝒃𝒍𝒂𝒄𝒌, 𝒘𝒉𝒊𝒕𝒆, 𝒚𝒆𝒍𝒍𝒐𝒘, 𝒂𝒏𝒅 𝒓𝒆𝒅 𝒉𝒖𝒆𝒔, 𝒑𝒓𝒐𝒗𝒊𝒅𝒆𝒔 𝒊𝒏𝒔𝒊𝒈𝒉𝒕 𝒊𝒏𝒕𝒐 𝒉𝒊𝒔 𝒎𝒆𝒕𝒊𝒄𝒖𝒍𝒐𝒖𝒔 𝒄𝒐𝒏𝒕𝒓𝒐𝒍 𝒐𝒗𝒆𝒓 𝒑𝒂𝒊𝒏𝒕𝒆𝒓𝒍𝒚 𝒆𝒇𝒇𝒆𝒄𝒕𝒔. 𝑻𝒉𝒆 𝒔𝒖𝒓𝒇𝒂𝒄𝒆 𝒔𝒉𝒐𝒘𝒄𝒂𝒔𝒆𝒔 𝒑𝒐𝒖𝒓𝒆𝒅 𝒍𝒊𝒏𝒆𝒔 𝒂𝒏𝒅 𝒔𝒎𝒂𝒍𝒍 𝒑𝒂𝒊𝒏𝒕 𝒅𝒓𝒐𝒑𝒔 𝒐𝒏 𝒅𝒂𝒓𝒌 𝒓𝒆𝒅 𝒇𝒂𝒃𝒓𝒊𝒄, 𝒄𝒐𝒎𝒎𝒆𝒓𝒄𝒊𝒂𝒍𝒍𝒚 𝒅𝒚𝒆𝒅. 𝑻𝒉𝒆 𝒔𝒆𝒒𝒖𝒆𝒏𝒄𝒆 𝒐𝒇 𝒄𝒐𝒍𝒐𝒓𝒔, 𝒊𝒏𝒄𝒍𝒖𝒅𝒊𝒏𝒈 𝒈𝒓𝒆𝒚 𝒂𝒏𝒅 𝒘𝒉𝒊𝒕𝒆 𝒍𝒊𝒏𝒆𝒔, 𝒃𝒐𝒍𝒅 𝒃𝒍𝒂𝒄𝒌 𝒄𝒖𝒓𝒗𝒆𝒔, 𝒊𝒏𝒕𝒆𝒓𝒕𝒘𝒊𝒏𝒊𝒏𝒈 𝒘𝒉𝒊𝒕𝒆, 𝒂𝒏𝒅 𝒅𝒆𝒍𝒊𝒄𝒂𝒕𝒆 𝒑𝒐𝒖𝒓𝒊𝒏𝒈𝒔 𝒐𝒇 𝒚𝒆𝒍𝒍𝒐𝒘, 𝒔𝒊𝒍𝒗𝒆𝒓, 𝒔𝒄𝒂𝒓𝒍𝒆𝒕, 𝒂𝒏𝒅 𝑰𝒏𝒅𝒊𝒂𝒏 𝒓𝒆𝒅, 𝒂𝒅𝒅𝒔 𝒄𝒐𝒎𝒑𝒍𝒆𝒙𝒊𝒕𝒚. 𝑶𝒊𝒍 𝒇𝒓𝒐𝒎 𝒄𝒐𝒏𝒄𝒆𝒏𝒕𝒓𝒂𝒕𝒆𝒅 𝒃𝒍𝒂𝒄𝒌 𝒂𝒏𝒅 𝒘𝒉𝒊𝒕𝒆 𝒑𝒂𝒊𝒏𝒕 𝒔𝒆𝒆𝒑𝒆𝒅 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒇𝒂𝒃𝒓𝒊𝒄, 𝒄𝒓𝒆𝒂𝒕𝒊𝒏𝒈 𝒔𝒉𝒂𝒅𝒐𝒘-𝒍𝒊𝒌𝒆 𝒂𝒓𝒆𝒂𝒔 𝒐𝒇 𝒅𝒂𝒓𝒌𝒆𝒓 𝒓𝒆𝒅. 𝑱. 𝑷. 𝒔𝒕𝒓𝒂𝒕𝒆𝒈𝒊𝒄𝒂𝒍𝒍𝒚 𝒑𝒍𝒂𝒄𝒆𝒅 𝒅𝒓𝒐𝒑𝒔 𝒐𝒇 𝑰𝒏𝒅𝒊𝒂𝒏 𝒓𝒆𝒅 𝒘𝒊𝒕𝒉𝒊𝒏 𝒕𝒉𝒆𝒔𝒆 𝒂𝒓𝒆𝒂𝒔, 𝒊𝒏𝒕𝒓𝒐𝒅𝒖𝒄𝒊𝒏𝒈 𝒂 𝒓𝒆𝒑𝒐𝒖𝒔𝒔𝒐𝒊𝒓 𝒆𝒇𝒇𝒆𝒄𝒕 𝒂𝒏𝒅 𝒆𝒏𝒍𝒊𝒗𝒆𝒏𝒊𝒏𝒈 𝒕𝒉𝒆 𝒅𝒊𝒎𝒆𝒏𝒔𝒊𝒐𝒏𝒂𝒍𝒊𝒕𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒂𝒓𝒕𝒘𝒐𝒓𝒌. 𝑪𝒐𝒏𝒕𝒓𝒂𝒓𝒚 𝒕𝒐 𝒕𝒉𝒆 𝒏𝒐𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂𝒓𝒃𝒊𝒕𝒓𝒂𝒓𝒚 𝒅𝒓𝒊𝒑𝒑𝒊𝒏𝒈, 𝑱. 𝑷. 𝒎𝒆𝒕𝒊𝒄𝒖𝒍𝒐𝒖𝒔𝒍𝒚 𝒄𝒐𝒏𝒕𝒓𝒐𝒍𝒍𝒆𝒅 𝒉𝒊𝒔 𝒑𝒂𝒊𝒏𝒕𝒆𝒓𝒍𝒚 𝒆𝒇𝒇𝒆𝒄𝒕𝒔, 𝒂𝒍𝒊𝒈𝒏𝒊𝒏𝒈 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒊𝒅𝒆𝒂 𝒐𝒇 𝑨𝒄𝒕𝒊𝒐𝒏 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈. 𝑬𝒍𝒆𝒎𝒆𝒏𝒕𝒔 𝒕𝒉𝒂𝒕 𝒔𝒐𝒂𝒌𝒆𝒅 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝒇𝒂𝒃𝒓𝒊𝒄 𝒂𝒑𝒑𝒆𝒂𝒓 𝒂𝒔 𝒊𝒇 𝒘𝒉𝒊𝒕𝒆 𝒘𝒆𝒓𝒆 𝒖𝒏𝒅𝒆𝒓 𝒃𝒍𝒂𝒄𝒌, 𝒆𝒎𝒑𝒉𝒂𝒔𝒊𝒛𝒊𝒏𝒈 𝒉𝒊𝒔 𝒄𝒂𝒓𝒆𝒇𝒖𝒍 𝒂𝒆𝒔𝒕𝒉𝒆𝒕𝒊𝒄 𝒃𝒂𝒍𝒂𝒏𝒄𝒊𝒏𝒈. 𝑻𝒉𝒆 𝒗𝒆𝒓𝒕𝒊𝒄𝒂𝒍 𝒃𝒍𝒂𝒄𝒌 𝒆𝒍𝒆𝒎𝒆𝒏𝒕𝒔 𝒔𝒖𝒈𝒈𝒆𝒔𝒕 𝒂 𝒍𝒆𝒇𝒕-𝒕𝒐-𝒓𝒊𝒈𝒉𝒕 𝒂𝒑𝒑𝒍𝒊𝒄𝒂𝒕𝒊𝒐𝒏, 𝒘𝒉𝒊𝒍𝒆 𝒕𝒉𝒆 𝒘𝒉𝒊𝒕𝒆𝒔, 𝒖𝒑𝒐𝒏 𝒄𝒍𝒐𝒔𝒆 𝒆𝒙𝒂𝒎𝒊𝒏𝒂𝒕𝒊𝒐𝒏, 𝒓𝒆𝒗𝒆𝒂𝒍 𝒕𝒆𝒏𝒔𝒊𝒐𝒏, 𝒓𝒆𝒔𝒐𝒍𝒗𝒆𝒅 𝒃𝒚 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒛𝒊𝒏𝒈 𝒕𝒉𝒆𝒊𝒓 𝒅𝒆𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒐𝒑𝒑𝒐𝒔𝒊𝒕𝒆 𝒆𝒅𝒈𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔. 𝑱. 𝑷.'𝒔 𝒇𝒍𝒐𝒐𝒓-𝒃𝒂𝒔𝒆𝒅 𝒂𝒑𝒑𝒓𝒐𝒂𝒄𝒉, 𝒂𝒌𝒊𝒏 𝒕𝒐 𝑵𝒂𝒕𝒊𝒗𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒔𝒂𝒏𝒅 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈, 𝒊𝒏𝒗𝒐𝒍𝒗𝒆𝒅 𝒘𝒐𝒓𝒌𝒊𝒏𝒈 𝒂𝒍𝒐𝒏𝒈 𝒃𝒐𝒕𝒉 𝒍𝒐𝒏𝒈 𝒔𝒊𝒅𝒆𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔. 𝑴𝒂𝒋𝒐𝒓 𝒅𝒆𝒔𝒊𝒈𝒏 𝒆𝒍𝒆𝒎𝒆𝒏𝒕𝒔 𝒕𝒚𝒑𝒊𝒄𝒂𝒍𝒍𝒚 𝒇𝒍𝒐𝒘 𝒇𝒓𝒐𝒎 𝒍𝒆𝒇𝒕 𝒕𝒐 𝒓𝒊𝒈𝒉𝒕, 𝒔𝒉𝒐𝒘𝒄𝒂𝒔𝒊𝒏𝒈 𝒂 𝒅𝒊𝒔𝒕𝒊𝒏𝒄𝒕𝒊𝒗𝒆 𝒑𝒊𝒓𝒐𝒖𝒆𝒕𝒕𝒆 𝒐𝒇 𝒑𝒂𝒊𝒏𝒕 𝒂𝒕 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕 𝒆𝒅𝒈𝒆, 𝒅𝒂𝒏𝒄𝒊𝒏𝒈 𝒂𝒄𝒓𝒐𝒔𝒔 𝒕𝒉𝒆 𝒄𝒂𝒏𝒗𝒂𝒔 𝒂𝒏𝒅 𝒓𝒆𝒂𝒄𝒉𝒊𝒏𝒈 𝒂 𝒔𝒕𝒚𝒎𝒊𝒆𝒅 𝒇𝒐𝒓𝒎 𝒂𝒕 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕 𝒆𝒅𝒈𝒆, 𝒓𝒆𝒇𝒍𝒆𝒄𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒂𝒓𝒕𝒊𝒔𝒕'𝒔 𝒇𝒓𝒖𝒔𝒕𝒓𝒂𝒕𝒊𝒐𝒏 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝒐𝒃𝒋𝒆𝒄𝒕𝒊𝒗𝒆 𝒍𝒊𝒎𝒊𝒕𝒂𝒕𝒊𝒐𝒏𝒔 𝒐𝒇 𝒉𝒊𝒔 𝒄𝒂𝒏𝒗𝒂𝒔. 𝑫𝒆𝒔𝒑𝒊𝒕𝒆 𝒍𝒊𝒎𝒊𝒕𝒂𝒕𝒊𝒐𝒏𝒔 𝒊𝒏 𝒆𝒅𝒖𝒄𝒂𝒕𝒊𝒐𝒏 𝒂𝒏𝒅 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆, 𝑱. 𝑷.'𝒔 𝒔𝒕𝒚𝒍𝒆 𝒂𝒏𝒅 𝒇𝒂𝒄𝒕𝒖𝒓𝒆, 𝒆𝒗𝒊𝒅𝒆𝒏𝒕 𝒊𝒏 𝒍𝒂𝒓𝒈𝒆-𝒔𝒄𝒂𝒍𝒆 𝒄𝒂𝒏𝒗𝒂𝒔𝒆𝒔, 𝒅𝒓𝒂𝒘𝒊𝒏𝒈𝒔, 𝒂𝒏𝒅 𝒎𝒊𝒙𝒆𝒅-𝒎𝒆𝒅𝒊𝒂 𝒘𝒐𝒓𝒌𝒔, 𝒇𝒐𝒓𝒎 𝒂 𝒄𝒍𝒐𝒔𝒆𝒅 𝒔𝒚𝒔𝒕𝒆𝒎 𝒕𝒉𝒂𝒕 𝒓𝒆-𝒂𝒔𝒔𝒊𝒎𝒊𝒍𝒂𝒕𝒆𝒔 𝒊𝒕𝒔𝒆𝒍𝒇. 𝑯𝒊𝒔 𝒑𝒂𝒊𝒏𝒕𝒊𝒏𝒈𝒔 𝒂𝒏𝒅 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒍𝒊𝒕𝒚 𝒉𝒂𝒗𝒆 𝒕𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆𝒅 𝒕𝒓𝒂𝒅𝒊𝒕𝒊𝒐𝒏 𝒂𝒏𝒅 𝒕𝒓𝒂𝒈𝒆𝒅𝒚, 𝒆𝒏𝒕𝒆𝒓𝒊𝒏𝒈 𝒎𝒐𝒅𝒆𝒓𝒏 𝒎𝒚𝒕𝒉𝒐𝒍𝒐𝒈𝒚 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒂 𝒉𝒆𝒓𝒐𝒊𝒄 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓 𝒂𝒏𝒅 𝒘𝒊𝒍𝒅, 𝒏𝒂𝒕𝒖𝒓𝒆-𝒊𝒏𝒔𝒑𝒊𝒓𝒆𝒅 𝒕𝒉𝒊𝒏𝒌𝒊𝒏𝒈.