Denise Bibro Fine Art, NYC is pleased to announce the Solo virtual exhibition, Spring Equinox, a presentation of recent work by New York based-abstract expressionist painter Francine Tint.
Francine Tint was born in Brooklyn, NY. She studied at Brooklyn Museum School and Triangle Arts Workshop. Tint broke into the abstract expressionist movement when it was still very much a boys’ club. She continues to make color-based paintings at her studio in New York City.
Tint has been the proud recipient of grants and awards such as the Adolph and Esther Gottlieb Grant, two Pollock Krasner Grants, and a recent Honorable Mention from the Butler Institute. Tint’s work has been shown extensively both nationally and internationally; and is held in the permanent collections of over 28 museums, including the Portland Art Museum, the Heckscher Museum of Art, and the Krannert Art Museum. Recently at a traveling exhibition at Frostburg University Museum in Frostburg Maryland
Unplugged: Acrylic on Canvas 54 X 84
Voltaire in Love: Acrylic on Canvas 78 X 113
Tint studied painting at Pratt Institute, Brooklyn, NY as well as the Brooklyn Museum College, NY. Her work has been exhibited in over thirty solo shows in the United States and Europe and is in the permanent collections of numerous museums including the Clement Greenberg Collection at the Portland Art Museum, Portland, ME; the Krannert Art Museum, Chicago, IL; and the Neuberger Museum of Art, Harrison, NY. Tint’s work is in private and corporate collections including Pepsi Cola Co. and Mount Sinai Hospital, NYC.
High Rise: Acrylic on Canvas 57 X 91.5
Your paintings are a result of a process of disclosure, drawn from your own life events, dreams, and literature. Tell us about your work.
The surfaces of my paintings – all acrylics on canvas — are relatively flat, though frequently conveying the impression of deeper space by different degrees of thickness of the paint and layering some forms on top of others.
Working wet on wet, I paint in energetic, and assertive brushstrokes. Through short, sharp bursts of color, my art expresses a unique sense of contemporary life and personal experience.
Bloom: Acrylic on Canvas 41 X 54
Tell us about how you bring your own unique brand of “Color Feild painting?
I have been working long and hard to differentiate my work from its former context and time frame, doing my best to establish my own unique brand of Color Field painting. My extensive background as a costume designer has inspired me to experiment with the natural world and engage with pigment and movement without its dictating what the outcome may be. I trust that the organic interplay of my form and color decisions will take its place in the natural world no less than in the manmade.
“Francine Tint, long associated with Color Field painting, allows the natural to enter into her expansive engagement of pigment and movement without its dictating what the outcome may be. Tint trusts that, as she (like Pollock) is part of nature herself, the interplay of her form and color decisions will take its place in the natural world no less than in the manmade. Still, the breadth of certain of Tint’s canvases, roiling with color eruptions and lyrical flows, presents us with a kind of environmentalized drama that demands its own meteorology.” – Peter Frank, reviewed in Vasari 21
“Though abstract expressionism is an oft-imitated and commented upon style, Tint’s paintings remain distinctively her own, especially considering the field is largely male dominated.”
— Radical Acts of Beholding by Francine Tint,
Mary G. Hardin Center for Cultural Arts
Lifted Veil: Acrylic on Canvas 55 X 64
“The current paintings of Francine Tint express a variety of truths with a
great vigor and deftness of touch.”— Dominique Nahas, Art International
“Tint has remained true to her original convictions about what a painting can be […] Her strengths
have always been her idiosyncratic sense of color, her ability to draw energetically at large scale, and her refusal to make ingratiating pictures. In her recent work, her audacity is undiminished, her orchestration of hues more uninhibited than ever, and her drawing…even more unpredictable.” – Karen Wilkin, Art In America
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