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                                     Cavallon holding GC 53 alongside artists Clyfford Still, Hans Hofmann, Jules Olitski and Harry Bertoia
                                        
                                    
                                    Cavallon holding GC 53 alongside artists Clyfford Still, Hans Hofmann, Jules Olitski and Harry Bertoia 
                            
                            
                        
                            
                            
         Cavallon holding GC 53 alongside artists Clyfford Still, Hans Hofmann, Jules Olitski and Harry Bertoia
                                        
                                    
                                    Cavallon holding GC 53 alongside artists Clyfford Still, Hans Hofmann, Jules Olitski and Harry Bertoia 
                            
                            Giorgio Cavallon Italian-American, 1904-1989
                                GC 53, 1962-63
                            
                                    Oil on canvas
22 1/4 x 18 1/4 in.
56.5 x 46.4 cm.
56.5 x 46.4 cm.
Signed and dated "Giorgio Cavallon 62-63" lower right, signed, titled and dated again "Giorgio Cavallon 1962-63 GC 53" verso
                                    Further images
Provenance
A.M. Sachs Gallery, New YorkB.C. Holland, Chicago
Acquired from the above by the previous owner
                                   Twentieth-century American art critic and poet Frank O'Hara described Cavallon's process: “Colors move slowly, from the palette table to the canvas; the range of hues is at first bright, and...
                        
                    
                                                    Twentieth-century American art critic and poet Frank O'Hara described Cavallon's process: “Colors move slowly, from the palette table to the canvas; the range of hues is at first bright, and a “drawing-in-paint emphasis” is retained. As the painting progresses, hues increase in intensity; there is a panorama of juxtaposed masses with a strong dramatic center of black. Then whites are added, the whole canvas becoming illuminated from within” (O'Hara, Art chronicles, 1954-1966, 103).
                    
                    
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