Beschreibung:

Lot DetailsAlex Katzb. 1927East Madison #3
oil on board32 by 32 in.81.3 by 81.3 cm.Executed in 1960.Condition reportThis work is in good condition overall. There are textural variations to the surface including splintering to the wood that is inherent to the artist's chosen media and results in raised particles of paint. There is evidence of wear and handling with associated erosion to the board at the corners. Scattered drip accretions are present throughout the surface. There are three linear scratches in the upper left quadrant and a minor linear scuff slightly to the upper right exterior of the trompe-l'oeil visible under close inspection. There is tape to the perimeter of the board. Under ultraviolet light inspection, several of the aforementioned drip accretions fluoresce lightly but there is no evidence of restoration. Framed.
Framed dimensions: 33¼ by 33⅜ in. (84.5 by 84.8 cm.)
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceAcquired directly from the artist by the present ownerExhibitedNew York, Museum of Modern Art, Recent Landscapes by Eight Americans, September 1964 - May 1966Salt Lake City, Utah Museum of Fine Arts; San Diego, The Art Gallery; St. Paul, Minnesota Museum of Art; Hartford, Wadsworth Atheneum, Alex Katz January 1971 - December 1971, no. 11, p. 64, illustrated in black and whiteLong Island City, The Institute for Contemporary Art/P.S.1 Museum, Alex Katz Under the Stars: American Landscapes 1951–1995, April - June 1998Catalogue noteWhile best known for his large-scale portraiture, Alex Katz has been prolific in his landscape works throughout his practice, marking some of the most important turning points in his oeuvre. Unlike his contemporaries experimenting with abstract expressionism, Katz was fascinated with the technical side of his painting and drawing practices. While attending the Skowhegan School of Painting and Sculpture in Maine, Katz developed a passion for the light and scenery of the area as he was encouraged to compose landscape works en-plein-air. The darker, imposing light of the East Coast continues to inspire Katz to the present-day, analyzing the way in which the light can drastically alter one’s perspective of the same scene.
After the artist met his wife, Ada, he reached a turning point in his practice as he began to paint portraits of his wife and other friends within his social scene. Admiring the scale of the works of the abstract expressionists as well as the visually polished graphics of the pop artists, Katz created large-scale figurative paintings, utilizing a unique wet-on-wet painterly style. By layering color fields before they dry, the artist finishes his compositions in one sitting, creating paintings that have a noticeably vibrant appearance. While Katz is known for these grand portraits, his practice has always included landscape works ranging from those depicting coastal Maine to urban New York City skylines.
The present work, East Madison #3 (1960), combines many of the most recognizable features of Alex Katz’s artistic practice. The center of the composition is reflective of his work with landscapes. He paints a characteristically serene scene that captures the light of a certain point in the day, while the trompe d’oeil that encircles the composition is unique. The atypical pink coloring surrounding the imagery distorts the viewer’s perspective, making it seem as if one is looking through a telescope, like a glimpse into a different life. These singular color planes can be seen in both the abstract expressionists and the pop artists; the present work provides a greater understanding into how Alex Katz was influenced by these groups.