Description: MiltonResnick(American, 1917-2004)Straw, 1982oil on panelsigned and dated verso.
Provenance: Sotheby's label verso.
Biography from Levis Fine Art:
The 1940's and 50's allowed for the freedom of artistic license. Resnick, along with de Kooning, Kline, Pollock, de Pavia, Guston and others, continued to develop their artistic sensibilities using the "Club" as a forum for dialogue, theory and philosophical critique. In 1950 Life magazine published an article on Jackson Pollock crowning him as the King of modern art world, a battle which pitted him against de Kooning and would divide the artist community into two camps. Resnick, refusing to pick sides, continued on his own personal search for honesty within his art. As such, his work during the next several decades represented tremendous growth and personal insight.
By the mid-1960's Resnick showed more interest in texture than color, as his palettes turn arguably more monochromatic. By the mid 70's and into the 80's, his works progressively combine a darker, more complex color palette with significantly smaller and more repetitive brushstrokes, creating monochromatic, heavily laden paintings with just a glimpse or "key" of contrasting color. His 1980's works were so heavily laden with layers of sculptured paint that he used wax-impregnated, thick honeycomb boards to withstand the weight of the paint
Jack Tworkov described Resnick's oeuvre as relating much to Soutine "…[both Resnick's and Soutine's] passion is not for the picture as a thing, but for the creative process itself. It is meant to have impact on the soul….it is the unpremeditated form the picture takes as a result of the struggle to express motive, to capture the sequence of ephemeral experience, the tragic anxiety, the constant brooding over being and not-being, over bloom and decay, over life and death. It is not technique, but process".
Throughout his career, Resnick was obsessed with the viscosity of the paint, the fervor of total detachment of the recognizable, and the transient ability of sustaining snapshots of utter honesty within a painting. For these reasons, he remains a testament to the aesthetic philosophies which captured and dominated our nation during the mid-20th century.
40"H x 30"W (image), 41 1/4"H x 31 1/2"W (frame).