Oil No. 4, 1968
The Artist, New York, NY (registered under studio archive number FSPA-68-0004).
B. Adams, et al., Fanny Sanín: The Concrete Language of Color and Structure, Seattle, WA, 2019, p. 111 (illus. fig. 13).
Born in Bogotá, Fanny Sanín is considered a preeminent master among the Colombian abstractionists. Her early work in the gestural abstract style relates to that of contemporaries Lee Krasner and Joan Mitchell, but she is best known for her mature manner which is defined by hard-edge geometry and flat planes of colour. As a student, Sanín explored a range of media including sculpture, architectural drawing, set design and printmaking, but she ultimately dedicated herself to painting. She believes that this medium allows her to delve most deeply into pure abstraction, devoid of figurative representation. As part of her methodical artistic process, Sanín typically produces multiple preparatory studies as well as mixing her own hues.
An early period of study in England introduced Sanín to the work of Ellsworth Kelly, Morris Louis, Barnet Newman, Kenneth Noland, Mark Rothko and Frank Stella, among others; she cites Kelly, along with Wassily Kandinsky and Henri Matisse as particular influences. Sanín’s work has also been compared to that of fellow Latin American artists Carmen Herrera and Lygia Clark.