(1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved and enduring figures in the Color-Field movement.

Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland nearly rejected printmaking until later in his career. And once Noland began collaborating with the printmakers at Tyler Graphics (and other studios) he was more interested in using their applications to make unique one-of-a-kind artworks. 

This unique and intimately-scaled monotype is an excellent example of Noland's signature forms and aesthetic from the late 1970s/early 1980s. The chevron was a frequently employed motif of his, first debuting around 1963 and realized repeatedly through the years in different styles and medium. 

Here, Noland dissolves the strict geometric lines of his signature chevron or pointed "V", overwhelming the structure with color that appears to be either smeared, splattered or scraped. Lavender, pale rose, mauve, cornflower, chartreuse, ocean blue, ivory and pearl shift into and out of each other, yet avoiding the clear-cut stacked triangular outline of his signature chevron arrangement. 

Noland's chevrons are some of the most iconic and desirable works in the 20th-century art canon. This piece is a fine example of one of Noland's creations that showcases his ingenuity and mastery of color.

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"Chevron"

1983

Monotype on Japanese handmade paper mounted on board

Signed and dated by the artist, bottom right

8.25"H 12.25"W (Work, deckled edges)

17.5"H 21.75"W (Framed)

Very good condition.