Joan Mitchell (American, 1926-1992) is one of the most important American Artists of the twentieth century. Perhaps as a result of spending most of the last thirty years of her life in France, appreciation of Mitchell’s works lagged somewhat behind those of her contemporaries like Helen Frankenthaler and Robert Motherwell. Joan Mitchell's death at the early age of 66 from lung cancer leaves us to lament the absence of this "ecstatic and inventive colorist" (as John Russell calls her in his New York Time obituary), this "lyric poet in paint" (as Jed Perl describes her in Gallery Going: Four Seasons in the Art World). Perl’s review of a 1990 show quoted at length from the poet John Ashbery’s 1970 comment about Mitchell’s relation to nature that "one’s feelings about nature are at different removes from it. There will be elements of things seen even in the most abstracted impression; otherwise the feeling is likely to disappear and leave an object in its place. At other times feelings remain close to the subject, which is nothing against them; in fact, feelings that leave the subject intact may be freer to develop, in and around the theme and independent of it as well." Perl went on to comment that Mitchell might have been the only person working in an abstract ex-pressionist vein in 1990 who did paintings that were not objects, and concluded, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear."

Color plays a crucial role in Mitchell’s prints as well. In Tyler Graphics: The Extended Image, a book published to accompany a large show at the Walker Art Center, E. C. Goossen points out that "the Abstract Ex-pressionist generation out of which she came was forever searching for abstract subject matter with transcendent implications, even though it professed to believe that art was its own message. . . . But unlike those contemporary painters who ‘discover’ their subject in the process of painting, Mitchell works from an idea and builds on it." 

瓊·米切爾（美國(guó)，1926-1992）是二十世紀(jì)最重要的美國(guó)藝術(shù)家之一,。也許是因?yàn)樗诜▏?guó)生活的最后三十年的大部分時(shí)間,，米切爾作品的欣賞落后于她的同時(shí)代人如海倫弗蘭肯塔勒和羅伯特馬瑟威爾。Joan Mitchell在66歲時(shí)從肺癌中去世,，讓我們感到遺憾的是,，這種“狂喜和創(chuàng)造性的調(diào)色師”的缺席（正如John Russell在紐約時(shí)代的 ob告中所說(shuō)的那樣），這位“油畫(huà)中的抒情詩(shī)人”（作為Jed） Perl在Gallery Going：藝術(shù)世界的四季中描述了她）,。Perl對(duì)1990年節(jié)目的回顧引用了詩(shī)人約翰·阿什伯里1970年關(guān)于米切爾與大自然的關(guān)系的評(píng)論，即“一個(gè)人對(duì)大自然的感受與此不同,。即使在最抽象的印象中也會(huì)看到事物的元素;否則感覺(jué)很可能會(huì)消失并留下一個(gè)物體,。在其他時(shí)候感覺(jué)仍然接近主體，這對(duì)他們沒(méi)有任何意義;事實(shí)上,，讓主體保持完整的感覺(jué)可能更自由地在主題內(nèi)和周圍發(fā)展,。獨(dú)立于此?！?Perl接著評(píng)論說(shuō),，米切爾可能是1990年唯一一位抽象表現(xiàn)主義者，他做的畫(huà)作不是對(duì)象,，并得出結(jié)論：“最好的Mitchells是真正的文明體驗(yàn),。我們的胃口是集中和澄清的。

顏色在Mitchell的印花中也扮演著至關(guān)重要的角色,。在Tyler Graphics中：擴(kuò)展圖像EC Goossen在沃克藝術(shù)中心的一個(gè)大型展覽上發(fā)表了一本書(shū),，指出“她所帶來(lái)的抽象表現(xiàn)主義一代人正在尋找具有超越性含義的抽象主題，即使它自稱相信藝術(shù)是它自己的信息......但不像那些在繪畫(huà)過(guò)程中“發(fā)現(xiàn)”主題的當(dāng)代畫(huà)家,，米切爾從一個(gè)想法開(kāi)始工作,，并以此為基礎(chǔ)?！?/div>

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