MARK KING VINTAGE UCLA & HOUSTON CHAMPIONSHIP BASKETBALL GAME OIL PAINTING 1968

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Location: Pasadena, California
Ships to: US,
Item: 226504477800

All returns accepted:ReturnsNotAccepted
Artist:Mark King
Unit of Sale:Single Piece
Signed By:Mark King
Size:Medium
Item Length:22 in
Region of Origin:California, USA
Framing:Framed
Year of Production:1968
Original/Licensed Reproduction:Original
Item Height:26 in
Style:Abstract,Figurative Art,Impressionism,Illustration Art
Features:One of a Kind (OOAK)
Culture:Sports Enthusiast
Handmade:Yes
Item Width:22 in
Time Period Produced:1960-1969
Signed:Yes
Period:Post-War (1940-1970)
Title:Ucla Bruins & Houston Cougars Championship Basketball Game 1968
Material:Canvas
Subject:Basketball,Championship Game
Type:Painting
Theme:Art,UCLA Bruins And Houston Cougars Championship Basketball Game,Events & Festivals,Sports
Production Technique:Oil Painting
Country/Region of Manufacture:United States

HISTORIC VINTAGE BASKETBALL NCAA CHAMPIONSHIP IMPRESSIONIST OIL PAINTING ON CANVAS BY ESTEEMED PORTRAIT PAINTER MARK KING. (American 1931-2014). THIS WORK DEPICTS THE CHAMPIONSHIP GAME OF THE CENTURY FEATURING THE UCLA BRUINS AND THE HOUSTON COUGARS PLAYING AT THE ASTRODOME IN HOUSTON TEXAS, 1968. THE PLAYERS ARE FROZEN IN A MOMENT OF FIERCE COMPETITION, LEAPING TOWARD THE HOOP WITH A DYNAMIC LEFT HOOK SHOT. THE BRUSHSTROKES BRING A SENSE OF MOVEMENT AND ENERGY TO THE SCENE, PERFECTLY CONVEYING THE FAST-PACED DRAMA OF THE GAME. A MUST-HAVE FOR ANY FANS OF THE SPORT. SIGNED BY MARK KING. EXCELLENT OVERALL CONDITION. THERE’S WEAR TO THE FRAME AS SHOWN. DIMENSIONS INCLUDING THE FRAME: 22” W x 26” H DIMENSIONS WITHOUT THE FRAME: 15” W x 13” H The game occurred on January 20, 1968, at the Astrodome in Houston, Texas. It was the first nationally televised college basketball game in primetime and was watched by a crowd of 52,693, the largest ever for a college basketball game at the time. The game is known as the “Game of the Century Elvin Hayes: The Houston forward scored 39 points, grabbed 15 rebounds, and blocked four shots. He made two free throws with 28 seconds left to win the game. Lew Alcindor: The UCLA star scored 15 points and grabbed 12 rebounds. He was injured in his left eye and was still bothered by the injury. Revenge: UCLA got revenge in the Final Four, beating Houston 101-69. Mark King (1931 – 2014) was active/lived in New York, California. Mark King is known as Impresssionist landscape and portrait artist. Mark King, a champion of Impressionism and the École de Paris was born in Bombay in 1931 to British parents. He is the product of an exotic and privileged upbringing in India, where he lived until the age of sixteen during the tumultuous last days of the British Raj. In 1948, following graduation from La Martiniere College in Calcutta, where his focus had been botany and art, King sailed to England to attend Bournemouth College of Art, having determined to pursue painting, sculpture, architecture, and theatre design. He subsequently spent seven years as a Resident scenic designer at the Oxford Playhouse Theatre. Still, in 1961, he decided to concentrate solely on painting and moved to Paris to study at the École des Beaux-Arts and the Louvre. When King lived in Paris and Italy during the 1960's, he was a plein-air painter, working outdoors in order to study and describe the effects of light and atmosphere like the Barbizon School and Impressionist painters before him. He moved to the United States in 1968 and worked almost exclusively in the studio. For subjects he knows intimately, like Paris street scenes, King draws from memory. For sporting subjects, on the other hand, the camera is an indispensable tool. He takes several photographs of a subject, condensing various views or themes into one composition. Small pencil sketches noting color and compositional motifs act as reminders of feelings and responses to events and vistas King admires. From these two sources, King produces preliminary drawings in gouache, devising structural and visual solutions for larger canvases, which he executes primarily in acrylic. King consciously handles gouaches like watercolor, blocking out the backgrounds of his drawings with thin washes, preferring thicker impasto for surface treatment. Several canvases are in process at once. King manipulates a palette knife ninety percent of the time, only using a brush for small details. He moves freely from one subject and medium to another, gaining energy as he tackles the physical and mental demands of each composition. King has carefully studied the old and modern masters from Cimabue and Massacio to Goya, Turner, Degas, and Bonnard. Fascinated with painting techniques, King meticulously layers colors, glazes, and shapes as substrate to the five or ten percent of the acrylic paint that floats on top and forms the finished composition. The underpainting filters through to the surface, creating depth and texture. Because of his alla prima approach, in which a painting is realized in a burst of inspiration and a single application of pigments, King relates, “It is not until the last ten to fifteen minutes before completion that I can see where the painting is going and catch the mood of the moment.” King follows in the footsteps of Courbet and the Impressionists, painting what he sees, such as the familiar streets, monuments, and quarters of Paris. King never fully defines the elusive faces and figures, which he often shows from behind, as if they, too, were silent observers like himself. Passionate about horses since his youth, King's animated depictions of polo and the fox hunt derive from personal experience. His interest in big game dates from India, where elephants and camels roam the streets, and tigers and other large cats can easily be seen in their natural habitat. In addition to King's fascination with the fauna of Central Asia, he has also retained a keen passion for the flora of the region as well as botany in general, which he incorporates into his compositions. Since his arrival in the United States, King became more interested in sports and capitalized on the drama and visual spectacle of ice hockey and horse racing, as well as his love of the out-of-doors by treating subjects like yacht racing, golf and tennis from a seascape or landscape point of view. Like the Impressionists, King uses his eye as a passive organ confronting the visual field. Objective and detached, he considers himself an “unobserved observer.”

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