- Jules Olitski: The New Hampshire Exhibits Autumn 2003By Lauren Poster
- Jules Olitski - The Late Paintings: A CelebrationBy Norman L. Kleeblatt
- Three American Painters, Kenneth Noland, Jules Olitski, Frank Stella: Fogg Art Museum, 21 April-30 May 1965By Michael Fried
- Revelation: Major Paintings by Jules OlitskiBy Jules Olitski
- Jules OlitskiBy Kenworth Moffett
Important Art by Jules Olitski
This "stain painting" exemplifies Olitski's early work as a member of the Color Field movement. To create its bold, simple composition, Olitski poured diluted paint onto a large canvas measuring nearly nine feet in height. The vibrant, unmodulated pigment has soaked into the fabric of the canvas; although there is no brushwork, the artist's hand is still evident in the carefully plotted arrangement of curved and circular shapes. Since the diluted polymer paints dried quickly, and no changes could later be made, the artist's handling of his medium needed to be skillful and purposeful.
For the transitional works that fell between his early stain paintings and his well-known spray paintings, Olitski used rollers to apply very thin layers of paint to the canvas. This superimposition of colors resulted in varying effects of density - for example, the dark area at the top of the canvas where green overlaps red. The edges of the canvas were masked while the large fields of color were rolled onto the canvas. After uncovering those edges, the artist added a yellow streak to the left side and three colored dots along the right margin. This combination of techniques marked a newly experimental phase in his art. Olitski later remarked, "That the paintings I was doing with rollers, such as Tin Lizzie Green, would lead to the spray gun couldn't have been foreseen by me. But they did."
In his breakthrough works of 1965 through 1966, Olitski began using high-powered spray guns to apply paint to canvas. This technique produced seamless layers of sheer color that seem to flow into one another without any evidence of the artist's hand. In these works, Olitski's goal was to capture the effect of the pure color floating in the air, as though he were defying the limits of the two-dimensional canvas (and of gravity itself). The work's title refers to "Prince Patutsky," a nickname that Olitski's stepfather had given him in his childhood. Olitski used this name for several works of his works from the mid-1960s. Here, its juxtaposition with the word "paradise" and the painting's bright palette may indicate a feeling of pure joy, untethered to earthly difficulties.