In Joan Mitchell: Bedford Series (Bedford: Tyler Graphics, 1981), Barbara Rose (author of American Art Since 1900 and Autocritique: Essays on Art and Anti-Art, 1963-1987) suggests that Joan Mitchell attempted to "translate her painterly vision into a print medium" and adds that her collaboration with Ken Tyler "is clearly a triumph for both." Rose goes on to describe the scene at the studio: "Mitchell is a painstaking and careful worker. No snap decisions. She works on her lithographs as she paints, revising, considering, criticizing the work in a process that takes time. 'Ken,' she says, 'I want to try a color like the color of dying sunflowers.' Her instructions are precise but not literal. What she has in mind is a sensation, not an objection or even a place. Mitchell, with her roots in American action painting and the romantic subjective esthetic of the New York School, paints an inner vision. The 'landscapes' she paints are expressions of emotions felt, not of things seen. Joan Mitchell's lithographs are an extension of her recent painting." All 10 of the lithographs are illustrated in this publication.

See also Jane Livingston, The Paintings of Joan Mitchell (Berkeley: University of California Press, 2002), the text published on the occasion of a major traveling retrospective that opened at the Whitney Museum of American Art in June 2002 and traveled over the next two years to The Birmingham Museum of Art, the Modern Art Museum of Fort Worth, and then to the Phillips Collection in Washington D.C. This work included full-page color reproductions of Bedford I and Bedford II.

Selected Bibliography: John Ashbery, Joan Mitchell 1992 (NY: Robert Miller Gallery, 1993); Judith E. Bernstock, Joan Mitchell (NY: Hudson Hills/Herbert F. Johnson Museum of Art, 1988); John Cheim, Joan MItchell: ". . .  my black paintings . . ." 1964 (NY: Robert Miller Gallery, 1994); James Harithas, Joan Mitchell: 'My Five Years in the Country' - An exhibition of forty-nine paintings (Syracuse: Everson Museum of Art, 1972); Klaus Kertess, Joan Mitchell (NY: Abrams, 1997); Klaus Kertess, Joan Mitchell Pastel (NY: Robert Miller Galery, 1992), Jane Livingston, The Paintings of Joan Mitchell (Berkeley: University of California Press, 2002); Richard Marshall, Joan Mitchell (Valencia: IVAM, 1997); Richard D. Marshall, Joan Mitchell: The Last Paintings (NY: Cheim & Read, 2011); Joan Mitchell. Catalogue Exposition Galerie nationale du Jeu de Paume (Paris: Galerie nationale du Jeu de Paume, 1994); Suzanne Page et al, Joan Mitchell: Choix de Peintures 1970-1982 (Paris: ARC, 1982); Alfred Paquement, ed. Joan Mitchell (Paris: Galerie nationale du Jeu de Paume, 1995); Sandro Parmiggiani, ed. Joan Mitchell: La pittura dei Due Mondi / La peinture des Deux Mondes (Ginevra/Milano, 2009); Barbara Rose, Joan Mitchell: Bedford Series (Bedford: Tyler Graphics, 1981); Marcia Tucker, Joan Mitchell (NY: Whitney Museum, 1974); Michel Waldberg, Joan Mitchell (Paris: La Difference, 1999: a massive monograph—347 pp. with 252 color illustrations—that is the most important monograph on Mitchell so far, still available only in French and selling for about Please call or email for current pricing information!).