She Painted for Decades in Obscurity on a Remote Island in Maine. Suddenly, Collectors Can't Get Enough of Lynne Drexler | Artnet News

century, who are related to the second movement of Abstract Expressionism, were so undervalued and under-circulated that it almost became a tempest when they started to be recognized,” said Michael Rancourt, who manages the Drexler estate, who has never before spoken to the press. Along with figures like Grace Hartigan and Yvonne Thomas, “Lynne is fortunate to be part of it.”, was deaccessioned by the Farnsworth Art Museum in Rockland, Maine.

Jackson wasn’t particularly interested in Drexler’s work. “She wasn’t acknowledged as a painter, certainly not as a great painter,” Rancourt said. “She was the child in the corner, basically.”, met Drexler while visiting Hultberg on the island in the early 1980s. She was unaware of Drexler’s Ab Ex phase. “She was a little angry at life,” Shapolsky recalled. “There were marital problems. At the time she was doing small paper pictures of nature for the tourists who came to the island.”.

She began a new series each year, selling the works for as little as $50 when tourists would arrive for the summer. She documented her output neatly in spiral-bound notebooks. Income from sales “barely covered her materials,” Rancourt said. As they were rolled out, the interplay of color blinded the small crowd. “No one on the island had seen these works before,” Bracy said. “There was so much excitement around it.”

One of those collectors is Saara Pritchard, a former rainmaker at Christie’s and Sotheby’s. Two years ago, in the depths of the pandemic, Pritchard spotted Drexler’s colorful canvases online. She was immediately hooked, going on a chase to acquire the best works she could afford, some for prices in the six figures.Pritchard was seduced by Drexler’s palette and determination. “She totally shunned the art world of New York because she felt so rejected by it, I guess,” Pritchard said.

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