Attributed to Brice Marden, private collection, no coa medium: oil measurements:18"hX24"w no frame, mint condition Biography: Brice Marden is an American artist generally described as Minimalist, although his work Attributed to Brice Marden, private collection, no coa medium: oil measurements:18"hX24"w no frame, mint condition Biography: Brice Marden is an American artist generally described as Minimalist, although his work may be hard to categorize. He lives and works in New York City; Tivoli, New York; Hydra, Greece; and Eagles Mere, Pennsylvania. Marden’s early monochromatic paintings exist as single panels, diptychs and triptychs. In each of the four Red Yellow Blue paintings (1974), the artist painted slabs of dense yet nuanced color on three adjoined canvas panels, using oil paint mixed on the spot with melted beeswax and turpentine and applied with a knife and spatula. He gradually increased the number of panels, arranging them into post-and-lintel configurations.In 1977 Brice Marden was commissioned (after an invited art competition with artists Samuel Buri, Joseph Beuys, Alfred Jensen, Jasper Johns, Roy Lichtenstein, Penck, Robert Ryman, Antonio Tàpies und Jim Turrell) to design the windows lining the apse of the Basel Cathedral, a project that he labored on continuously from 1978 to 1985. Influenced in part by the Rothko Chapel, which the artist visited in 1972, Marden painted with the aim of fostering a heightened spiritual environment through abstraction. Occupying the space above the altar, these windows would be central to the ritual activity of the space, and the artist spent the next seven years honing his concept to address the spiritual weight of the installation context, culminating in a limited group of Window Study paintings. After preparing designs for stained-glass windows for Basel Cathedral, he became interested in expressing in his paintings the conditions of colour and light in architecture. The Basel commission saw the artist move away from the understated encaustic monochromes that dominated his output during the 1960s and 1970s to embrace a new, vibrant palette and set of linear compositional devices.