Ici - Joan Mitchell
Archival giclée
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Description
A powerful late-career diptych by Joan Mitchell, featuring energetic brushwork and a bold palette of blue, yellow, and orange.
Ici, painted in 1992, represents the final period of Joan Mitchell's career. This large-scale diptych displays the artist's characteristic approach to gestural abstraction, where memory and physical sensation dictate the application of paint. Mitchell, who spent much of her later life in Vétheuil, France, often drew upon the sensory experience of her surroundings, though she rejected the label of a painter of nature. Instead, she focused on the emotional resonance of colour and the rhythmic movement of the brush.
The composition is divided into two panels, creating a sense of expansion across the white ground. The application of paint varies from thick, impasto-like strokes to thin, translucent washes that drip down the surface. Cobalt blue, cadmium yellow, and fiery orange dominate the visual field, interacting with smaller passages of violet and green. The energy of the work is contained within the tension between these aggressive, sweeping marks and the open, unpainted areas of the canvas.
Mitchell's technique involves a deliberate balance of control and spontaneity. She often worked with a sense of urgency, allowing the physical act of painting to dictate the final form. In Ici, the viewer observes the history of the artist's process, as layers of colour overlap and intersect. The work avoids a singular focal point, encouraging the eye to move across the entire surface. This piece captures the intensity of Mitchell's late style, where her command of colour and gesture reached a state of refined, yet raw, expression.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Ici - Joan Mitchell
Artist Biography
Joan Mitchell
She grew up in Chicago, the daughter of a dermatologist and a poet. She was a competitive figure skater and diver. The athleticism transferred to her painting: she worked standing, moving around the canvas, using her whole body. She studied at the School of the Art Institute of Chicago and moved to New York in 1949, joining the Cedar Bar circle of de Kooning, Kline, and Pollock.
She moved to France in 1959, first to Paris and then to Vetheuil, the village on the Seine where Monet had lived. The coincidence was not accidental. She painted landscape-derived abstractions that have the luminosity and colour sensitivity of Impressionism executed at Abstract Expressionist scale. La Grande Vallee, a series of large paintings from the 1980s, is a sustained meditation on landscape, memory, and loss.
She drank heavily, was difficult personally, and made no concessions to the market or to critics. She sold well in Europe before America caught up. The retrospective at the Whitney in 2002, three years before her death, confirmed what her collectors had known for decades: she was one of the best painters of the second half of the twentieth century.
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