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We proceed past Mitchell’s early “mature” paintings, in which she experimented with a non-objective style through applications of color against white backgrounds. Her brushstrokes and markings were at once concentrated, gestural, and spontaneous—developing techniques beyond those of Willem de Kooning and Arshile Gorky. We pause in front of paintings made in homage to friends and fellow artists. Hemlock, nodding to a poem by Wallace Stevens, appears like a dark thicket of gnarly branches. Ode to Joy (A Poem by Frank O’Hara), painted after the poet’s death, is a triptych filled with structured blocks of luminous color that suggest the uniqueness of their relationship. A Garden for Audrey, which appears near a series of garden scenes by Monet, resulted from the sudden death of her friend (Audrey Hess was the wife of Thomas Hess, editor of ARTnews magazine), and channels her grief into an abundance of wild floral beauty.

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Born in Chicago, Mitchell grew up comfortably and exposed to culture. Her mother, Marion Strobel, was a poet and the associate editor of Poetry magazine; her father, James Herbert Mitchell, was a dermatologist and amateur painter. They made the local social pages, and from outward appearance, Mitchell enjoyed a carefree childhood. But in the book Ninth Street Women, writer Mary Gabriel details the pressures and constant antagonism Mitchell felt from her father, who never fully accepted that Joan was not a boy. To compensate, she strove athletically, becoming a figure skater who competed successfully until an injury prompted her to shift focus. Immersing herself in art and poetry—from Cézanne and Matisse to Baudelaire and Rilke—she would have pursued both had her father not apparently forced her to choose, “so that she wouldn’t be mediocre.

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Mitchell went on to spend her formative years studying art at Smith College, followed by the Art Institute of Chicago, eventually receiving a fellowship that allowed her to spend a year in Paris, from 1948-49. She returned to France in 1955, where she met Riopelle, and by 1968, she had acquired a property near the town of Vétheuil, where the gardener’s cottage had once belonged to Monet. “She became herself in Vétheuil,” says Pagé, noting that having a larger atelier led to Mitchell painting on a larger scale (although not quite as large as Monet’s Grande Décorations in the Musée de l’Orangerie). And then, of course, she lived and breathed the landscape around her. Curiously, Mitchell would paint at night to loud music (from Verdi to Billie Holiday) in the company of her dogs. The morning after, in daylight, she would review the colors. Pagé tells me to look closely at a photo of Mitchell surrounded by paint containers; turns out, these were emptied cans of dog food.

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