Untitled No 8304 John Fox

Acrylic and Charcoal on Paper
22 × 30 inches
55.88 × 76.2 cm
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Light pink acrylic brushed under and over areas of charcoal has created a rich surface permeated with light. The horizontal work on paper may be suggestive of fading sunlight filtered through Venetian architecture. This painting is representative of the important mid-career shift Fox made into non-figurative painting. In works from this period, 1972 to 1976, joyous colors gently overlap or nudge against each other, like colored air. Towards the mid 1970s, Fox’s paintings became more simplified and more dramatic. Geometric color shapes float one on top of the other and paint texture becomes more insistently sensuous. As the 1970s progressed, Fox’s remaking of architectural forms, evoking the palazzi of Venice, are increasingly seductive through his intensely colored tactile surfaces. From the late 1970s to the early 80s, he reinvented abstraction by using tape to construct a fantastic world of rectangles, circles and indefinable shapes that dance across the multi-colored surface. Fox’s late abstractions mesh the inner world of sensations with subtle references to landscape and the body, in a sophisticated celebration of the power and pleasure of painting. "I am a painter, that's all I've done for thirty years. I've never believed in talent, only in interest, and in work. Art is a terrifically long-term thing. You find out about yourself first. The rest comes later, sometimes much later."- John Fox Fox's early work was steeped in the traditions of modern Anglophone landscape painting such as that of his teacher Goodridge Roberts at the Montreal Museum of Fine Arts school as well as the intimiste interiors of Bonnard. In the early 1970s, in a dramatic departure Fox left figurative painting to explore the light filled colors and sensibilities of the Mediterranean.

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