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Signed and numbered by the artist. // Five Invocations II is a powerful lithograph by Paul Jenkins from 1997, presenting a vortex of rich, saturated colors that converge into a dark, almost mystical center. Brilliant yellows, fiery reds, deep blues, and emerald greens swirl around a dense core of mingled pigments, creating a composition that evokes both cosmic energy and intimate emotional depth. Jenkins’s mastery of controlled fluidity is evident in the way each chromatic layer interacts with its neighbors, producing luminous edges where colors meet and merge. The work demonstrates the artist’s lifelong exploration of phenomena — the behavior of light and color in motion — that established him as a vital figure in postwar abstraction.
Five Invocations II, 1997
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56 x 75 cm
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Details
Artist
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Signed and numbered by the artist. // Five Invocations II is a powerful lithograph by Paul Jenkins from 1997, presenting a vortex of rich, saturated colors that converge into a dark, almost mystical center. Brilliant yellows, fiery reds, deep blues, and emerald greens swirl around a dense core of mingled pigments, creating a composition that evokes both cosmic energy and intimate emotional depth. Jenkins’s mastery of controlled fluidity is evident in the way each chromatic layer interacts with its neighbors, producing luminous edges where colors meet and merge. The work demonstrates the artist’s lifelong exploration of phenomena — the behavior of light and color in motion — that established him as a vital figure in postwar abstraction.
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What is Postmodernism?
Postmodernism is an art movement that emerged as a reaction against authority and traditional boundaries, seeking to blur the lines between art and everyday life. It aimed to bridge the gap between the cultural elite and the general public by embracing eclectic mixtures of earlier conventions and styles. Postmodernist art often challenges established norms and celebrates diversity, irony, and pastiche, making it a movement that reflects the complexities of contemporary culture.
