AIC 53rd Annual Meeting

Joan Mitchell (1925–1992), with her bold, intense colors and dynamic compositions, created some of the most lush and painterly surfaces of the 20th century. The question of how Mitchell painted has intrigued viewers, art historians, and conservators since the beginning of her career. Irving Sandler’s 1957 profile, which focused on the creation of her painting Bridge, was the first major article to delve into her process. In 1974, Marcia Tucker observed that "Mitchell is an artist whose work is less concerned with ideas or art issues than with the act of painting itself—with the gesture, physicality, and sumptuousness of the pigment she uses." Critics often note her background in figure skating, suggesting that her paintings should be viewed with an awareness of her talent for spinning and gliding. Mitchell is frequently described as a "painter's painter," implying that the tactile experience of brush on canvas is essential to fully understanding and appreciating her work.

Despite the importance of Joan Mitchell’s painting techniques to her lasting significance, there has yet to be a dedicated study of her methods and materials. Having examined and/or treated over one hundred of her paintings, the team at Modern Art Conservation has gained significant technical insights. Her work presents various challenges to the conservator, both when writing condition reports that accurately document and describe conditions that may be inherent to and even expected of her materials, as well as when devising effective and appropriate treatment strategies to ensure the longevity of her works. Many of our colleagues have encountered similar challenges, especially in recent years, as major exhibitions such as the Joan Mitchell Retrospective in 2021 and Monet – Mitchell in 2023 have been mounted and as Mitchell’s paintings continue to rise in value in the market.

This paper will explore Mitchell's choices of paints, tools, and supports and will examine her working methods throughout her career, situated within the context of the artistic communities and environments in which she lived. It will also address the ways her paintings continue to evolve and the conservation challenges this can present, with the goal of guiding future conservation efforts and ensuring that inherent changes do not distort the ongoing interpretation and appreciation of her work.