Loom II

Painted in 1976, Loom II represents the bridge between Joan Mitchell's dramatic Abstract Expressionist paintings from the 1950s and her love of the French countryside that inspired her works of the 1960s. With its chromatic vibrancy and energetic execution, Loom II exhibits the exquisite and enticing all-over painting technique characteristic of New York Abstract Expressionism. Yet, in both its composition and execution, this particular work displays the elegance and accomplishment that Mitchell experienced after she left New York and moved to the more tranquil and agreeable surroundings of France. The luxurious landscape of Vétheuil, part of the estate once owned by Claude Monet, greatly inspired innovating paintings such as My Landscape II of 1967 and the so-called sunflower pictures, which display her delving into color and light. In Loom II, painted the same year she joined the Galerie Fourcade, Mitchell builds her composition with rich blues and greens, accessorized with hints of red paint. She cradles this abstract landscape in soft white that she paints around the canvas's edges. These ostentatious yet assertive strokes of white paint reflect the effects of various light sources upon the budding greenery along the Seine. In this regard, Mitchell is reciting the philosophy of Impressionism; the spirit of Claude Monet lingers in the countryside. Mitchell's intimate relationship to the countryside of Vétheuil and her exploration into light and perception reflect a similar sensibility in Monet's The Seine at Vétheuil of 1880. Mitchell illuminates her cool color tones with white highlights and demonstrates her skillful layering as flecks of red and orange peer through like colorful flowers dancing upon the meadow. Much like Monet, Mitchell abstracts her vision of the countryside but with it, adds deep emotion and sense of joy with every stroke.

However, Loom II also shows the transition in Mitchell's work that was taking place at the time. The dense, flat space of Abstract Expressionism returns as the composition pushes further out to its edges than in previous paintings of this period. Mitchell has reopened her investigation into dealing with space in Loom II and her application of rich, textural blues and greens are layered in such a way that gives depth to the canvas. Reviving her "New York School" style, Mitchell's concern with space has always been rooted in the impact of her native city. There is a clear similarity between Loom II and Mitchell's Untitled works from 1951 and 1952, all of which nod to another Abstract Expressionist master, Willem de Kooning. His expressive influence can be seen here, yet Mitchell displays a kind of lyrical modification to the violence in his approach through curved lines that contain pockets of space or in the case of Loom II, pockets of color.