No one can deny the impact SamFrancis has made to the Contemporary non-objective abstract genre, his prolific body of work and well evolved styles firmly place him in Contemporary Art history. From his more serious amorphous shapes of the 1950’s to his sophisticated colorful splatter works into the 90’s he gives us a sense of confident impactful technique and emotion. I personally love his late 50’s and early 60‘s works on paper and canvas.
Sam Francis, in full Samuel Lewis Francis, (born June 25, 1923, San Mateo, California, U.S.—died November 4, 1994, Santa Monica, California), American painter and printmaker who was prominent among the group of painters known as the second generation of Abstract Expressionists.
Francis studied at the University of California at Berkeley in 1941–43. He joined the U.S. Army Air Corps and was injured in a plane crash. During his lengthy hospitalization he began to paint to distract himself, and he was soon engrossed. He painted his first abstract compositions in 1947. From 1950 to 1957 he lived and worked in Paris, where in 1952 he had his first solo exhibition. While living there, he was influenced by the works of the Tachist painters and Jackson Pollock.
Francis’s painting Blue on a Point (1958) exemplifies his lyrical and elegant approach during that period. His canvases typically present brilliant colours flowing in amorphous forms over unprimed canvas. He applied thinly textured paint with dripping and splashing techniques, creating areas of bright colour that formed powerful asymmetries. Together with artists such as Helen Frankenthaler, Morris Louis, and Joan Mitchell, Francis is generally credited with introducing a lyrical and sensual use of paint and colour to Abstract Expressionism. His 20-foot-long Basel Mural 1 (1956–58), with its rich blues, oranges, yellows, and reds and its evocative drips and splatters, seems positively jubilant. In the 1960s, perhaps in response to the minimalism then in full swing, Francis left much of his canvas unpainted, restricting his application of colour to the edges (Untitled, 1967), but he returned to a more lush and vibrant palette in the 1970s and ’80s and helped define a California school of modern abstract painting. Francis also was a noteworthy printmaker and publisher, establishing in 1970 the Litho Shop, a facility for print artists, and in 1984 Lapis Press, dedicated to producing artists’ books.