Installation view, Harold Ancart: Freeze, David Zwirner, London, 2018
Harold Ancart, 2019. Photo by Michelle Young
Frederic Edwin Church, The Iceberg, 1891. Carnegie Museum of Art, Pittsburgh
The first icebergs Ancart painted conformed, compositionally and chromatically, to the subject, but as he worked through the series the paintings became increasingly rich in texture and palette—the subject almost melting from a single block of white into an array of color. “The more the subject of the painting distills itself into shapes and color,” Ancart says, “the more powerful the poetic impact of the painting will be on the viewer.”
These works conjure associations with nineteenth-century Romantic landscapes by Frederic Edwin Church; the ambiguity between abstraction and figuration in the work of Philip Guston; and Josef Albers’s play on possibility and color combinations within a restricted format.
Josef Albers, Homage to the Square, 1971. Private collection