During the period between 1960 and 1964, Mitchell moved away from the all-over style and bright colors of her earlier compositions, instead using sombre hues and dense central masses of color to express something inchoate and primordial.
The marks on these works were said to be extraordinary: The paint flung and squeezed on to the canvases, spilling and spluttering across their surfaces and smeared on with the artist's fingers.
As marcas nesses trabalhos foram consideradas extraordinárias: a tinta se espalhou e correu pela tela, espirrando e crepitando pelas suas superfícies e borrando os dedos da artista.
As marcas nesses trabalhos foram consideradas extraordinárias: a tinta se espalhou e correu pela tela, espirrando e crepitando pelas suas superfícies e borrando os dedos do artista.