Alice Baber - 20th Century & Contemporary Art Day Sale, Morning Session New York Wednesday, November 15, 2023 | Phillips

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  • A little-known pioneer of Color Field painting, Alice Baber reflected the expansiveness of the world as she saw it through the basic building blocks of painting—color, light and shape. Untitled, 1972, relies on her signature rounded, organic forms to form an “X” across the canvas, a compositional arrangement found in many of her paintings. With her quintessential “sun colors,” the bright and varied hues create an illusion of light streaming across the canvas. Inspired by her summers in Illinois and winters in Florida, Baber’s paintings like the present one perfectly encapsulates what mattered most to the artist. “The days I remember are the days that are in color.”i“When I first conceive of a painting , I must feel it, I hear it, I taste it, and I want to eat it. I start from the driving force of color (color hunger); then comes to a second color to provide light, luminous light. It will be the glow to reinforce the first color.” — Alice Baber, 1972

     

    "Intimate Rhythms” of Color

     

    Transitioning from painting still lifes to depicting more abstract forms in the 1950s, Baber used the opacity of watercolor to inform her later signature technique in oil. Diluting paint to create different intensities of color, Baber would often wrap a linen rag around her fingers to create elegant dabs and irregular swathes of pigment across her canvases. She preferred oil to acrylic, as it took longer to dry and therefore allowed for more time to get the desired effect of washy halo-forms. Through an intentionally timed process, Baber placed her orbs of color around the canvas, creating a surface which is “composed of intimate rhythms reflecting the artist’s sensibilities.”ii Painted just a few years before she turned to a darker color palette, trading her warm tones for grays and blacks, the present work is a prime example of Baber’s own distinct Color Field practice.

     

    A detail of the present work.

     

    Like many painters of the time, Baber settled in New York City in the early 1950s with the dream of becoming an artist. She made ends meet by relying on her other talent—writing—while making contacts in the burgeoning art scene. By 1957, Baber was chosen to participate in the Stable Gallery’s sixth annual exhibition and in 1958, Baber had her first exhibition at the cooperative March Gallery, whose exhibitors included Elaine de Kooning. Following the March Gallery exhibition, Baber decided to move to Paris for half of each year, practicing alongside other Americans seeking a new European outlook including Joan Mitchell, Sam Francis, and her future husband Paul Jenkins. Here, Baber exhibited alongside fellow Color Field painter Helen Frankenthaler in 1959.

     

    In addition to her painting practice, Baber was an advocate for female artists, spearheading multiple exhibitions of women’s art during her lifetime. Despite the attention she received by her peers, however, Baber’s work was largely overlooked until recently. She passed away from cancer just ten years after the present work was created, at the young age of 54, unable to see some of her most prized works now held in the permanent collections of the Solomon R. Guggenheim Museum, New York, the Metropolitan Museum of Art, New York and the National Museum of Women in the Arts, Washington, D.C. Together with the stories of artists including Lynne Drexler, Emily Mason and other trailblazing female painters overshadowed by their male contemporaries, the resurgence of Baber’s work is helping to contribute to a more holistic and inclusive understanding of 20th century art history.

     

    i  Alice Baber, quoted in Susan W. Cutter, Alice Baber, Painter, New York, Women in the Arts, 1975, p. 7. 

    ii  Jonathan Ingersoll, quoted in Alice Baber – Color, Light and Image, exh. Cat., St. Mary’s College of Maryland Gallery, St. Mary’s, 1977, n.p.

    • Provenance

      Galerie Georges Fall, Paris
      Private Collection, Paris
      Acquired from the above by the present owner

Property from a Prominent Private Collection, New York

103

Untitled

signed "Baber" lower left; signed, indistinctly inscribed and dated "Baber Alice Baber...1972" on the reverse
oil on canvas
29 3/4 x 39 3/4 in. (75.6 x 101 cm)
Painted in 1972.

Full Cataloguing

Estimate
$40,000 - 60,000 

Sold for $95,250

Contact Specialist

Annie Dolan
Specialist, Head of Sale, Morning Session
+1 212 940 1288
adolan@phillips.com

20th Century & Contemporary Art Day Sale, Morning Session

New York Auction 15 November 2023