LOT DETAILS

Materials:

oil on canvas

Measurements:

107.99 in. (274.30 cm.) (height) by 144.02 in. (365.80 cm.) (width)

Exhibited:

Cologne, Galerie Michael Werner, Brice Marden, May - June 1989, n.p., illustrated New York, Dia Center for the Arts; Minneapolis, Walker Art Center; Houston, The Menil Collection; Madrid, Museo Nacional Reina Sofía; Bonn, Städtisches Kunstmuseum, Brice Marden Cold Mountain, October 1991 - June 1993, p. 13, illustrated in color Helsinki, Museum of Contemporary Art, Finnish National Gallery, Private, Public/Yksityien. Ars 95, February - May 1995, cat. no. 10, pp. 78-79, illustrated Zürich, Daros Collection at Daros Exhibitions Löwenbräu-Areal, Brice Marden, June 2003 - January 2004, cat. no. 15, illustrated in color.

Literature:

John Yau, Vogue, July 1989, p. 190, illustrated in color Sabine B. Vogel, ARTIS, November 1989, p. 37, illustrated in color Paul Gardner, ed., "What Artists Like About the Art They Like When They Don't Know Why: Pat Stein on Brice Marden," Art News, October 1991, p. 119, illustrated Klaus Kertess, Brice Marden Paintings and Drawings, New York, 1992, p. 135, illustrated in color Kay Larson, "Brice Marden: Different Strokes," Atelier, February 1992, p. 51, illustrated Octavia Zaya, "El proceso creativo: Entrevista con Brice Marden" Atlantica, Spring 1992, pp. 34-39, illustrated Brenda Richardson, "Heart Print: Brice Marden's 'Cold Mountain' Paintings," Tricycle: The Buddhist Review, Fall 1992, p. 61, illustrated Exh. Cat., Bern, Kunsthalle Bern, Brice Marden Paintings 1985 - 1993, 1993, fig 10, p. 36, illustrated in color Bijutsu Techo, January 1995, p. 206, illustrated in color Exh. Cat., New York, Matthew Marks Gallery, Brice Marden, October 1995, n.p. (text reference) Charles A. Riley II, Colour Codes, Modern Theories of Colour in Philosophy, Painting, and Architecture, Literature, Music, and Psychology, Hannover, 1995, p. 7 Paul Taylor, After Andy: Soho in the Eighties, Melbourne, 1995, pp. 73 and 78 Stephen Bann, "A Cold Coming: Brice Marden's Wager with Tradition," in Lynne Cook and Karen Kelly (eds.), Robert Lehman Lectures on Contemporary Art No. 1, New York, 1996, p. 2, illustrated Exh. Cat., Washington, D.C., National Gallery of Art, The Robert and Jane Meyerhoff Collection 1945 – 1995, 1996, p. 133 (text reference) Robert Hughes, American Visions: The Epic History of Art in America, New York, 1997, fig. 335, p. 556, illustrated Brenda Richardson, "Brice Marden: Lifelines," in Peter Fischer (ed.), Abstraction, Gesture, Ecriture: Paintings from the Daros Collection, Zürich, Berlin and New York, 1999, fig. 56, p. 93, illustrated and pp. 10 and 85.

Provenance:

Galerie Michael Werner, Cologne Thomas Ammann, Zurich Daros Collection, Zurich Mary Boone Gallery, New York Acquired by the present owner from the above