Joan Mitchell's later works, particularly from the 1980s until her death in 1992, signify a period of profound creativity and exploration in her career. These years were marked by her production of canvases that vibrated with energy, emotion, and an evolved abstract expressionist style that continued to engage deeply with nature and her personal experiences.
Mitchell's work during this time reflects a mature artist who had fully come into her own, showcasing an exceptional command over color, form, and space. Her paintings from the late 1970s through the 1980s, such as the poignant Chez ma soeur (1981), a tribute to the time spent at her sister's home in Santa Barbara, highlight her ability to convey emotional depth and the subtleties of her relationship with the natural world. This period was also characterized by her engagement with music, as seen in Wood, Wind, No Tuba, which displayed her fascination with the translation of musical scores into visual form, described as "percussive, vocal, and flamboyant" (David Zwirner).
The influence of her surroundings, after moving to Vétheuil, a country estate near Monet's Giverny, became even more pronounced in her work. This scenic relocation inspired a shift towards grand evocations of nature built around vibrant blocks of color, as evidenced in pieces like La Grande Vallée XIV (For a Little While) (1983), part of a series that stands as a high point in her career. These works are imbued with a lush, poetic environment, suggesting dense flowered bushes and evoking a sense of profound emotional depth (The Art Story).
Despite facing challenges, including being overshadowed by her male contemporaries in the abstract expressionist movement, Mitchell's later works have gained significant recognition and value in the art market. This period of her career saw her exploring large-scale, multi-panel paintings that engage with the landscape in a way that is both immediate and memory-infused, moving beyond the literal to capture the essence and emotion of her subjects (Artsy).
Mitchell's later years were not just a continuation of her artistic journey but an amplification of her lifelong dialogue with painting. Her work from this era is marked by a fearless exploration of color and form, a testament to her enduring passion for nature, and a reflection of her complex inner world. This body of work has solidified her place as a significant figure in post-war American art, ensuring her legacy continues to be celebrated and reevaluated within the broader canon of modern painting.