{"id":88908,"date":"2025-04-02T16:20:37","date_gmt":"2025-04-02T20:20:37","guid":{"rendered":"https:\/\/nmwa.org\/?p=88908"},"modified":"2025-04-02T16:22:12","modified_gmt":"2025-04-02T20:22:12","slug":"marking-joan-mitchells-centenary","status":"publish","type":"post","link":"https:\/\/nmwa.org\/blog\/from-the-collection\/marking-joan-mitchells-centenary\/","title":{"rendered":"Marking Joan Mitchell\u2019s Centenary"},"content":{"rendered":"\n<p>While <a href=\"https:\/\/nmwa.org\/art\/artists\/joan-mitchell\/\" target=\"_blank\" rel=\"noreferrer noopener\">Joan Mitchell<\/a> (1925\u20131992) garnered considerable fame as a prominent member of the \u201csecond generation\u201d of New York School painters, this designation (which she disdained) leads audiences to overlook the fact that the artist spent the majority of her career in France, at first Paris, and later in V\u00e9theuil, a village near Monet\u2019s house and studio in Giverny. Bilingual after decades abroad, Mitchell elected to anoint herself with an offbeat French idiom, \u201c<em>mauvaise herbe<\/em>\u201d\u2014signifying a weed\u2014although, in her usage, she reversed its negative meaning, emphasizing a weed\u2019s beauty and ability to flourish in unlikely circumstances. Her purposeful misinterpretation of this phrase neatly conveys Mitchell\u2019s unruly personality and the continual \u201cout of place\u201d feeling she could never overcome.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" src=\"https:\/\/nmwa.org\/wp-content\/uploads\/2020\/01\/Mitchell-Joan.jpg\" alt=\"A black-and-white studio portrait of a light-skinned older woman with dark bobbed hair. She wears sunglasses, a light-colored turtleneck sweater, a striped scarf, and a watch. She stands with arms folded and holding a lit cigarette between her left index and middle fingers.\" class=\"wp-image-3059\" srcset=\"https:\/\/nmwa.org\/wp-content\/uploads\/2020\/01\/Mitchell-Joan.jpg 500w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/01\/Mitchell-Joan-300x300.jpg 300w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/01\/Mitchell-Joan-150x150.jpg 150w\" \/><figcaption class=\"wp-element-caption\">Photo by Timothy Greenfield-Sanders; Courtesy of the photographer, greenfieldsanders.com<\/figcaption><\/figure><\/div>\n\n\n<p>These presentiments trace back to Mitchell\u2019s wealthy Chicago childhood. She was the second daughter of Marion Strobel, a poet whose promising career was stymied by her authoritarian and patriarchal husband, who expressed keen disappointment that Joan was not a son. Her resultant dis-ease continued into adulthood, leading her to live and work in Europe and, after 1959, to limit her extended forays back to New York and its misogynistic art world milieu. Her transatlantic artistic identity did turn fraught\u2014for France, Mitchell wryly explained, her art was too American (i.e., violent) and, for Americans, too French, her paintings downgraded as decorative.<\/p>\n\n\n\n<p>Mitchell\u2019s fierce sensuality and predilection for risk became subsumed into passionate compositions beginning in Paris, followed by the exquisitely poetic, oversized canvases she produced after moving into a more peaceful life in Normandy. In V\u00e9theuil, Monet, C\u00e9zanne, Van Gogh, and Matisse seemed like \u201ccolleagues\u201d to her, and Mitchell developed a deeply considered visual dialogue with their unmistakably French approaches to space and color.<\/p>\n\n\n\n<p>The National Museum of Women in the Arts is fortunate to own two exemplary oil paintings\u2014<em><a href=\"https:\/\/nmwa.org\/art\/collection\/sale-neige\/\" target=\"_blank\" rel=\"noreferrer noopener\">Sale Neige<\/a> <\/em>(1980) and <em><a href=\"https:\/\/nmwa.org\/art\/collection\/orange\/\" target=\"_blank\" rel=\"noreferrer noopener\">Orange<\/a> <\/em>(1981)\u2014demonstrating a transition toward the renewal of Mitchell\u2019s later work. <em>Sale Neige<\/em>, whose title seems to\u2014but doesn\u2019t really\u2014refer to dirty snow, exemplifies the strikingly atmospheric landscape-based abstractions, evocative of nature\u2019s ever-changing temperaments, that Mitchell developed by the eighties. In the prominent upper area of this edge-to-edge, hardly \u201cdirty\u201d composition, downward strokes of white, tinted with pinks, lavenders, and lighter blue, partially reveal a scaffolding of black lying underneath. Below, more thickly applied, colorfully accentuated horizontal and vertical scrawls are punctuated by gravitational drips, suggesting a receding natural topography through complementary touches of lilac, cobalt blue, and dazzling yellow.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"2468\" height=\"3000\" sizes=\"auto, (max-width: 2468px) 100vw, 2468px\" src=\"https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-2468x3000.jpg\" alt=\"A vertical, abstraction features broadly painted strokes of pale gray, lavender, and cobalt in the upper two-thirds of the canvas. The colors continue in the lower third, along with touches of green, black, and other hues, but the expressive brushwork becomes denser and chaotic.\" class=\"wp-image-35072\" srcset=\"https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-2468x3000.jpg 2468w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-247x300.jpg 247w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-768x934.jpg 768w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-1264x1536.jpg 1264w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-1685x2048.jpg 1685w, https:\/\/nmwa.org\/wp-content\/uploads\/2020\/07\/1986.220-1-e1631284132864-510x620.jpg 510w\" \/><figcaption class=\"wp-element-caption\">Joan Mitchell, <i>Sale Neige<\/i>, 1980; Oil on canvas, 86 1\/4 x 70 7\/8 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; \u00a9 Estate of Joan Mitchell; Photo by Lee Stalsworth<\/figcaption><\/figure>\n\n\n\n<p>In conceptualizing <em>Sale Neige<\/em>, Mitchell recalled the silent and colorless winters of her Lake Michigan childhood: the white is \u201cin me,\u201d <a href=\"https:\/\/archive.org\/details\/originalsamerica00munr\" target=\"_blank\" rel=\"noreferrer noopener\">she always maintained<\/a>. <em>Orange <\/em>exemplifies the artist in a different frame of mind. Painting with a bolder brush, here her manipulation of vigorous strokes into a grid-like over-covering replaces, more brashly, land and sky references traditional in landscape painting. \u201cPeople always look for the horizon. I want to hold a surface in space,\u201d <a href=\"https:\/\/www.heffel.ca\/auction\/A2021s_PWC_17.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Mitchell explained of her nature-based abstractions<\/a>. This superimposition appears heavier, denser, and more textured at the top, a reverse compositional ploy Mitchell developed to represent emotional intensity in a structural way. Pentimenti below in glowing pastel hues, especially the pale greens and lavender of her V\u00e9theuil garden, subtly hint at deeper space.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-dominant-color=\"c58f50\" data-has-transparency=\"false\" style=\"--dominant-color: #c58f50;\" loading=\"lazy\" decoding=\"async\" width=\"2418\" height=\"3000\" sizes=\"auto, (max-width: 2418px) 100vw, 2418px\" src=\"https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-2418x3000.jpg\" alt=\"A vertical abstraction features broadly painted strokes of orange layered over shades of purple, teal, and green.\" class=\"wp-image-86998 not-transparent\" srcset=\"https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-2418x3000.jpg 2418w, https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-242x300.jpg 242w, https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-768x953.jpg 768w, https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-1238x1536.jpg 1238w, https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-1650x2048.jpg 1650w, https:\/\/nmwa.org\/wp-content\/uploads\/2025\/01\/2001.147_507-e1738172745595-500x620.jpg 500w\" \/><figcaption class=\"wp-element-caption\">Joan Mitchell, <em>Orange<\/em>, 1981; Oil on canvas, 63 1\/4 x 51 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Conservation funds generously provided in honor of Ed Williams by his family; \u00a9 Estate of Joan Mitchell; Photo by Lee Stalsworth<\/figcaption><\/figure>\n\n\n\n<p>White pigment patches scattered throughout <em>Orange <\/em>interject air, acting as rest stops for the viewer\u2019s eye. These sections serve to modify the overwhelming edge-to-edge markings in dissonant orange, a hue that Mitchell used frequently, its emotive permanence in her consciousness traceable back to childhood. The artist\u2014the centenary of whose birth is being celebrated in 2025\u2014<a href=\"https:\/\/www.joanmitchellfoundation.org\/joan-mitchell\/citations\/joan-mitchell-2\" target=\"_blank\" rel=\"noreferrer noopener\">insisted<\/a>, \u201cI paint from remembered landscapes that I carry with me and remembered feelings of them which of course become trans-formed.\u201d Further differentiating herself from the New York School, she chose to modify improvisation with clarity. \u201cI want to know what my brush is doing,\u201d she said. Her work also served a deeper purpose: \u201cPainting\u201d <a href=\"https:\/\/ia803200.us.archive.org\/22\/items\/joanmitchell00mitc\/joanmitchell00mitc.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">she confirmed<\/a>, \u201cis what allows me to survive.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In honor of the centenary of the birth of the acclaimed abstract artist, art historian Ellen G. Landau explores her two vibrant paintings in NMWA\u2019s collection.<\/p>\n","protected":false},"author":15,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[72],"tags":[1188],"class_list":["post-88908","post","type-post","status-publish","format-standard","hentry","category-from-the-collection","tag-joan-mitchell"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Marking Joan Mitchell\u2019s Centenary | Broad Strokes Blog | National Museum of Women in the Arts<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/nmwa.org\/blog\/from-the-collection\/marking-joan-mitchells-centenary\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marking Joan Mitchell\u2019s Centenary | Broad Strokes Blog | National Museum of Women in the Arts\" \/>\n<meta property=\"og:description\" content=\"In honor of the centenary of the birth of the acclaimed abstract artist, art historian Ellen G. 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