Born in 1923 in California, Sam Francis is a representative of American abstract expressionism, and Action Painting. This movement is a pictorial creation resulting from spontaneous and immediate gestures.

An aviator during the Second World War, Sam Francis was injured in a plane crash and began painting during his recovery. Afterwards, he enrolled at the Berkeley School of Fine Arts, then took classes with the artist Clyfford Still. He made him discover the importance of simplifying forms and exploring color, in order to free himself from any form of figurative art.

In 1949 Sam Francis moved to Paris and attended the Fernand Leger Academy. He meets the art critic Pierre Schneider and the artists: Henri Matisse, Al Held, Joan Mitchell and Jean-Paul Riopelle.

Back in the United States, his interest in the representation of light led him to explore dripping, a technique initiated by the artist Jackson Pollock. Subsequently, his encounter with Mark Rothko prompted him to explore color and the decomposition of figures through the technique of dissolution.

In 1957, a trip to Tokyo enriched his pictorial research, which prompted him to develop vertical work that recalls the kakemono format and a simplification of forms evolving in space.

His works were represented from 1956 by the Martha Jackson Gallery in New York, 1964 by the Fournier Gallery in Paris, 1964 by the Galerie Fournier in Paris, 1965 by the Beyeler Gallery in Basel and in numerous private and public collections such as the Pompidou Center in Paris, the Tate Gallery in Paris, the Tate Gallery in London, the Tate Gallery in London, the London Tate Gallery, London, London, 1964, 1964, the Solomon R. Guggenheim Museum in Paris, 1964, by the Galerie Fournier in Paris, 1964, by the Galerie Fournier in Paris, 1964, by the Galerie Fournier, in Paris, 1965, and in numerous private and public collections such as the Pompidou Center in Paris, the Tate Gallery in London, the London, the Tate Gallery, London, London, London, Tate Gallery, London, London, London, London Fuji Museum in Japan.

Sam Francis' work has left a lasting impression on the art world, both through his technical mastery and through his exploration of color, gesture, and emotional expression. His innovative approach to non-figurative painting continues to inspire and captivate art lovers around the world.

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Born in California in 1923, Sam Francis is a representative of American abstract expressionism and action painting. This movement involves pictorial creation based on spontaneous and immediate gestures.

An aviator during the Second World War, Sam Francis was injured in a plane crash and began painting during his recovery. He continuously enrolled at the Berkeley School of Fine Arts, where he studied under the artist Clyfford Still. Still taught him the importance of simplifying forms and exploring color, in order to free himself from all forms of figurative art.

In 1949 Sam Francis moved to Paris and attended the Fernand Leger Academy. He plays the art critic Pierre Schneider and the artists: Henri Matisse, Al Held, Joan Mitchell and Jean-Paul Riopelle.

On his return to the United States, his interest in the representation of light led him to explore dripping, a technique pioneered by the artist Jackson Pollock. Later, his encounter with Mark Rothko led him to explore color and the decomposition of figures through the technique of dissolution.

In 1957, a trip to Tokyo enriched his pictorial research, leading him to develop a vertical work reminiscent of the kakemonoformat, and a simplification of shapes moving in space.

His works were represented from 1956 by the Martha Jackson Gallery in New York, 1964 by the Galerie Fournier in Paris, 1964 by the Galerie Fournier in Paris, 1965by the Galerie Beyeler in Basel and in numerous private and public collections such as the Centre Pompidou in Paris, the Tate Gallery in Paris, the Tate Gallery in London, the Tate Gallery in London, the London Tate Gallery, London, London, the London, Tate Gallery, London, London, 1964, 1964, the Solomon R. Guggenheim Museum in New York, the Solomon R. Guggenheim Museum in New York, the Solomon R. Guggenheim Museum in New York, the Moma in New York, the Tel Aviv Museum of Art in Israel and the Tokyo Fuji Museum in Japan.

Sam Francis' work has left a lasting imprint on the art world, as much for his technical mastery as for his exploration of color, gesture and emotional expression. His innovative approach to non-figurative painting continues to inspire and captivate art lovers around the world.

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“An increase in light causes an increase in darkness”

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Our work executed in 1963 is representative of the work of Sam Francis from the “Full Painting and Dripping” movement carried out in the early sixties in California.

Brightly colored, the yellow and blue masses are energized by a multitude of tasks and superimpositions of “veils of colors”, providing an impression of depth in the work. The artist strives to create a feeling of infinity, a space that

seems to never have a beginning or an end. It thus transcends the traditional notion of frame. The elements fill the entire pictorial space to allow depth to emerge.

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Our work, executed in 1963, is representative of the work of Sam Francis, who emerged from the 'Full Painting and Dripping' movement in California in the early 1960s.

The brightly coloured yellow and blue masses are enlivened by a multitude of spots and superimposed 'veils of colour', givingthe work an impression of depth. The artist strives to create a sensation of infinity, a space that never seems to have a beginningor an end. In this way, he transcends the traditional notion of the frame. The elements fill the entire pictorial space, allowing depth to emerge.

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‍ Museum reference:

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A similar work executed a year later is preserved at the Solomon R. Guggenheim Museum in New York. It features the same pictorial composition bringing the two works together in an identical quest for energy, escape and dynamism.

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A similar work, performed a year later, is now in the Solomon R.Guggenheim Museum in New York. It has the same pictorial composition, bringing the two works together in an identical quest for energy, escape and dynamism.

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