Bernstock Judith E., Joan Mitchell, New York, Hudson Hills Press, 1988
→Nochlin, Linda (ed.), The Paintings of Joan Mitchell, exh. cat., Whitney Museum of American Art, New York; Birmingham Museum of Art; Modern Art Museum of Fort Worth; Phillips Collection, Washington, D.C., (2002–2004), New York/ Berkeley/Los Angeles/London, Whitney Museum of American Art/University of California Press, 2002
Joan Mitchell, Galerie Nationale du Jeu de Paume, Paris, 22 June–11 September 1994; Musée des Beaux-Arts, Nantes, 24 June–26 September 1994
→Joan Mitchell, Young Museum, San Francisco, 1 November 2006–31 December 31 2007
→Joan Mitchell Retrospective: Her Life and Paintings, Kunsthaus Bregenz, 18 July–25 October; Museum Ludwig, Cologne, 14 November 2015–22 February 2016
Peintre états-unienne.
Joan Mitchell is one of the greatest American painters of the 20th century, the equivalent of her abstract expressionist contemporaries, Jackson Pollock (1912-1956) and Mark Rothko (1903-1970), though she hated any kind of labelling in art. She was the daughter of a poet and a doctor who was also an amateur artist, and hesitated for a while between poetry and visual arts. In the wake of her cultivated parents, she studied at the Francis W. Parker School in Chicago, where her art teacher introduced her to Oskar Kokoschka. At the School of the Art Institute of Chicago, she attended classes given by German artist Robert Von Neumann (1888-1978) and Louis Ritman (1889-1963), a Russian painter who had spent time at Giverny. Choosing a kind of self-imposed creative isolation, she spent most of her career in Vétheuil, a village located above the Seine, which she claimed she found “by accident,” only a few kilometres from Giverny, two places “invented” by Claude Monet (1840-1926), who, she said, had less of an influence on her work than Paul Cézanne (1839-1906) or Vincent Van Gogh (1853-1890).