Details
Artist
Styles
Lithograph in colors, on PTI #120 Waterleaf paper. Signed and numbered in pencil. Published by The Litho Shop, Inc., Santa Monica. Literature: Connie Lembark L278.// A radiant lithograph from Sam Francis's celebrated late period, Untitled (SF-329) is alive with explosive passages of colour — scarlet, cobalt, emerald, and cadmium yellow — thrown across the luminous white surface of PTI waterleaf paper. The composition exemplifies Francis's signature ability to balance exuberant gesture with vast, breathing expanses of open space, channelling the light of the California coast into pure chromatic energy.
Untitled (SF-329) (L. L278), 1988
form
Medium
Size
114.9 x 71.2 cm
- Inches
- Centimeters
Edition
Range
- USD
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Details
Artist
Styles
Lithograph in colors, on PTI #120 Waterleaf paper. Signed and numbered in pencil. Published by The Litho Shop, Inc., Santa Monica. Literature: Connie Lembark L278.// A radiant lithograph from Sam Francis's celebrated late period, Untitled (SF-329) is alive with explosive passages of colour — scarlet, cobalt, emerald, and cadmium yellow — thrown across the luminous white surface of PTI waterleaf paper. The composition exemplifies Francis's signature ability to balance exuberant gesture with vast, breathing expanses of open space, channelling the light of the California coast into pure chromatic energy.
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Sam Francis
Untitled (from The Fresh Air School Portfolio), 1972
Limited Edition Print
Lithograph
EUR 1,500 - 2,000
What is Tachisme?
Tachisme is a French abstract painting style that gained popularity between 1940 and 1950, often seen as the European counterpart to Abstract Expressionism. However, there are stylistic differences between the two. Tachisme, which emerged from Art Informel, rejected geometric abstraction in favor of more intuitive and spontaneous expression. It was a reaction against the structured forms of Cubism and is closely related to Informalism. Tachisme emphasizes gestural brushwork, irregular forms, and a focus on the process of painting itself.
