Lynne Drexler
*Image courtesy of the Archives of American Art. Photo: Buckley Sander*

Lynne Drexler (1928–1999) transformed color into language. Although recognition came far too late, the American artist is now revered for her vibrant, color-intensive paintings that synthesize Abstract Expressionism with Post-Impressionist landscape traditions.

For much of her life, Drexler worked in relative obscurity. Today, her work commands significant posthumous recognition and critical acclaim, establishing her as one of the most compelling rediscoveries of mid-century American modernism.

Maine—and Monhegan Island in particular—served as a central source of inspiration for Drexler. The island’s rugged coastline, shifting light, and temperamental weather offered both solitude and subject, shaping the energy and rhythm of her work.

Paintings from this period are composed of the vitality of nature and the bold character of Monhegan’s landscapes, rendered through her distinctive language of abstraction. From the 1960s onward, she incorporated the island’s shapes and colors into her compositions, carrying these Maine memories back to her New York studio during the winter months, where they continued to inform her larger body of work.

Born near Newport News, Virginia, Drexler initially pursued drama, studying at the Richmond Professional Institute and graduating in 1949. Following an illness, she shifted her focus to visual art, taking courses at the College of William & Mary.

Encouraged by mentors who recognized her talent earlier, Drexler moved to New York in 1956 to study with Hans Hofmann, a pivotal experience in the development of her vibrant, color-driven approach to painting. She later studied at Hunter College under Robert Motherwell, who instilled in her the confidence to pursue a professional career as an artist.

As a student of both Hofmann and Motherwell, Drexler absorbed lessons in gesture, color theory, and compositional rhythm. Yet her work ultimately transcends these influences, evolving into a deeply personal visual poetry that balances structure with spontaneity, and intellect with expressive emotion.

Alongside Lots 4389 and 4379 —two colored pencil drawings on paper, each signed and dated—we are especially pleased to present Floral Supreme, an oil painting that exemplifies Drexler’s confident command of color and form.

**Lot 4377:** *"Floral Supreme", 1991, oil on canvas, signed, titled, and dated verso with paint, in the artist's hand, unframed, 21" x 11". Includes photo of Drexler circa 1992-93.*

Drexler’s inclusion in our Autumn Majestic sale, with her works offered on Sunday, November 9th, joins a distinguished group of artists with longstanding ties to Monhegan and Maine—including James Fitzgerald and several others—underscoring the region’s profound influence on the evolution of American art.

**Lot 4378:** *colored pencil on paper, signed on back and dated 1987*

**Lot 4379:** *colored pencil on paper, signed on back and dated 1987*

With multiple works by Drexler in the upcoming auction, these works offer an intimate look into her dynamic, color-rich studio practice. The drawings reveal the careful studies that underpinned her larger compositions, demonstrating how rhythm, form, and color were composed into her signature visual language.

The Autumn Majestic Auction will be held November 6–9, 2025, beginning daily at 11:00 a.m. EST. Phone and in-person registrations are limited. Please secure your participation by calling 207-354-8141 or submitting a Phone/Absentee Bid Form.

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