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Paul Jenkins (1923 - 2012)
The diversity of his work springs from Jenkins’ wealth of eclectic influences. Some of his earliest works included what he called "interior landscapes" influenced by ancient natural forms like the caves he visited in the Ozark Mountains in his native-Missouri. Frequent student visits to the Frick Collection in New York fostered a love of the great masters: Bellini, Holbein, Vermeer, Rembrandt, de la Tour, Turner and Goya. In compliment, lingering student visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art in Kansas City evoked powerful sympathy for a monumental Chinese fresco of Buddha, polychrome sculptures of the enlightened Bodhisattva, the Buddhist goddess of mercy Kuan-Yin, Indian bronzes of Hindu god Shiva, and statues of meditative Buddhist lohans. Serving in the US Naval Air Corps during the Second World War, Jenkins painted watercolours of Japanese Kabuki dancers and read the ancient Chinese poetic teachings of the I Ching and Lao Tse Tung’s Tao Te Ching, described by him as "masterpieces in simplicity". Jenkins’ discovery of psychoanalyst Carl Jung’s book Psychology and Alchemy was as illuminating for his practice as were formative meetings with dancer Martha Graham, architect Frank Lloyd Wright, and Abstract Expressionist painters Mark Rothko, Jackson Pollock and Barnett Newman.
Concerned with colour and texture, nearness and distance, reality and mysticism, Jenkins’ work – so often associated with apparently random paint pouring - is a spiritual meditation on the nature of chance, balance, synchronicity, change and transformation. His ejection from an early art class in Kansas City for eating the still life appears instructive: "For me the pear is to be eaten and experienced, not painted”. Jenkins sought to reject the traditional Neo-Platonic approach to art as well as life in favour of a Taoist concern for the “present moment”. In this sense his paintings become spiritual reflections on the transitory present, life merely a rippled dance upon the water’s surface. The classic Taoist metaphor of moving water is, for example, explored in Jenkins’ Sea Escape (1951), a key work on paper using water as his “means and meaning".
Paul Jenkins (1923 - 2012) Phenomena Winter Harth Oil and sand on canvas
66 x 122 cm (26 x 48 inches)
Signed, titled and dated on the reverse, Paul Jenkins "Phenomena Winter Harth" 1978
Paul Jenkins (1923 - 2012) Phenomena like Byron Oil on canvas
74 x 60 cm (29¹/₈ x 23⁵/₈ inches)
Signed lower left, Paul Jenkins
Signed, titled and dated on the reverse and on the stretcher
Executed in 1990, Saint Paul
Paul Jenkins (1923 - 2012) Phenomena Once was Forever is Acrylic on canvas
194.5 x 121.5 cm (76 ⁵/₈ x 47 ⁷/₈ inches)
Signed, Paul Jenkins lower left; signed again, titled and dated, 1991 Paris on the reverse
Paul Jenkins (1923 - 2012) Phenomena Prism Shadow Acrylic on canvas
99 x 99 cm (39 x 39 inches)
Signed lower left, Paul Jenkins; signed again, titled and dated on the reverse
Executed in 1986
Paul Jenkins (1923 - 2012) Phenomena White of the Tiger Acrylic on canvas
97 x 130 cm (38 ¹/₄ x 51 ¹/₈ inches)
Signed lower left, Paul Jenkins
Titled and dated 1987 on the reverse