Ellsworth
Kelly

This work, measuring 282 x 211 cm, achieved Kelly's current auction record at Christie's New York in November 2019. Red Curve VII (1982) was created during Kelly’s most sought-after period, when his artistic style had fully matured in its bold exploration of form and colour relationships. The work’s appeal comes from its distinctive dynamic tension, drawn from its rich colour contrast and monumental scale; it forms part of his first Red Curve series, which began in the late 1970s. At this point in the series, Kelly’s work was at its most confident and refined, playing striking red forms against pristine white backgrounds. Kelly went on to produce another three Red Curve series, extending into the 2000s.

The October 2020 sale of Red Curve V (1982) at Christie’s New York was a testament to Kelly’s appreciating value, especially in the face of global market uncertainty. The painting had previously sold for £2.3M in May 2014, making the 2020 sale an increase of 50% in just six years. Like its series companion Red Curve VII (1982), this work demonstrates Kelly’s desire to free colour from the confines of traditional artistic practice; however, in this piece, Kelly goes as far as to separate the painting from its background. The curved edge of the canvas and its monumental size of 230 x 380 cm draw viewers' attention to the three-dimensional physical form of the artwork, while the smooth, suppressed brushstrokes aim to preserve the purity of the colour.

Blue Panel (1986) achieved this impressive result at Sotheby's New York in May 2018. Like Kelly’s Red Curve paintings, the composition is deceptively simple. The single, vibrant shade of blue covering the unusually shaped canvas makes the colour itself the subject of the painting. The gentle tilt of the canvas and soft curve in its edges are perfect examples of Kelly’s ability to change and activate the space in which his work is exhibited.