228

Wolf Kahn
(German/New York, b. 1927)

"Valley of the Connecticut River at Northfield, Massachusetts," 1982

oil on canvas
signed lower center, handwritten title, date, and "Meredith Long, Houston, Texas" label with artist and title en verso.
Framed.
53" x 74", framed 54-1/2" x 75-1/2"

Provenance: Estate of Margaret "Pat" Breen, Houston, Texas.

Notes: I encountered Wolf Kahn's paintings for the first time by total chance, while vacationing in Southwest New Hampshire. One day, we took a day trip to Brattleboro, Vermont and in the historic Union train station, we happened upon an exhibition of his large-scale landscapes.
Both my husband and I stood in the middle of that quaint space, mesmerized by the swirling, sun-drenched colors and my mind, searching for familiarity and connections to art movements, was immediately drawing parallels with such great Abstract Expressionists as Willem de Kooning and Mark Rothko, though the colors and shapes were arranged in such a way that you recognized the New England landscape in every canvas, some dominated by barns and some without any human interference.
This particular vision of the landscape genre was to my eyes something entirely unique, teetering on the edge between abstraction and representation. One could say that Kahn's work is a synthesis of his abstract training by Hans Hoffman, influences of Old Master painters Titian and Rembrandt, as well as the Post-Impressionism of Matisse.
In an interview given in 2014 for Hyperallergic, John Seed questions Kahn's consistent devotion to representational art, although his lifelong connection has been to many abstract painters, both through his teachers and his wife, the artist Emily Mason, who herself was a daughter of the first generation Abstract Expressionist painter Alice Trumbull Waters. Wolf Kahn's response was to quote his teacher/mentor Hans Hoffmann, "There is no such thing as representational painting and abstract painting: there is only intelligent painting and stupid painting."
Wolf Kahn's painting is most certainly intelligent, with the clever use of bands of expressive, vibrant color arranged in compositions that draw in the viewer, basking in the fields of light.
--Jelena James


  • Condition: **In generally very good condition. No signs of past restorations. A few small brown accretions lower left and dark mark upper right corner. Small white mark/abrasion mid-right (green). Any other seeming surface imperfections appear to be hand/intent of the artist. Frame with surface marks, nicks and abrasions.

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