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Large and frequently multi-paneled paintings by Joan Mitchell are renowned for their compositional rhythms, vibrant hue, and sweeping gestural brushstrokes. Her inspiration came from poetry, nature, and the terrain, and her goal was to express feelings rather than to produce a recognizable image. At a time when few women artists were appreciated, Mitchell's early success in the 1950s was remarkable. She described to herself as the "last Abstract Expressionist," and up until her passing in 1992, she produced abstract paintings.
Joan Mitchell's mature work featured a highly abstract, brilliantly colored, calligraphic style that matched aspects of ordered composition with a spirit of wild improvisation. It was inspired by the gestural painting of Willem de Kooning and Franz Kline.
Mitchell disapproved of the emphasis on flatness and the "all-over" method of composition that many of the most influential Abstract Expressionists used. She typically constructed her images in a way that conveyed impressions of a landscape, preferring to maintain a more traditional sense of figure and ground.
Interpretations of Mitchell's paintings, which critics frequently see as manifestations of fury and violence, have been significantly influenced by her abrasive demeanor. However, they have noticed poetry in her work just as frequently.