Paul Jenkins

Phenomena, Yonder Near


Not on display

Paul Jenkins 1923–2012
Acrylic paint on canvas
Support: 2946 × 1613 mm
frame: 2971 × 1639 × 47 mm
Presented by David Kluger through the American Federation of Arts 1972

Catalogue entry

Paul Jenkins born 1923

T01572 Phenomena Yonder Near 1964

Inscribed 'P. Jenkins' b.r. and 'Paul Jenkins "Phenomena Yonder Near" New York 1964' on top turnover of canvas
Acrylic on canvas, 116 x 63 1/2 (294.5 x 161.5)
Presented by David Kluger through the American Federation of Arts 1972
Prov: Purchased by David Kluger, New York, from the artist 1965; on loan to the Tate Gallery 1965-72
Repr: Art News, LXV, November 1966, p.54 in colour; Albert Elsen, Paul Jenkins (New York 1973), pl.127 in colour

Painted in the artist's studio in New York. The artist writes (18 March 1973) that he considers it one of the very best paintings he made in 1964. 'During this same period I did a series of paintings for the film done on me, The Ivory Knife. "Phenomena Yonder Near" was a painting that I started during the filming and finished some months later. To me it has always been the image of the archetype of that which is near and that which is far in the instantaneous psychic moment. Now if anyone can actually paint such a feeling, idea, or image remains possibly for history to decide. It is a presumption on my part but after all, that is one of the expanding possibilities of Abstract painting: that which makes something felt which is not explicitly seen. I also feel that this painting is a good example of classic movement which embraces dignity and not romantic aspiration of say John Martin or the histrionics of G?ricault. But, of course, as Keith Sutton has said, "I sail close to the winds" and in so doing prepare myself for those who think I involve myself solely in risk.'

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.374-5, reproduced p.374

You might like