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CLAUDE MONET - Prairie, Ciel Nuageux - oil on canvas - 23 1/2 x 39 1/2

CLAUDE MONET

BARNETT NEWMAN - Galaxy - oil on canvas - 24 x 20 in.

BARNETT NEWMAN

FRIDA KAHLO - Still Life ("I Belong to Samuel Fastlicht") - oil on masonite - 11 1/4 x 14 1/8 in.

FRIDA KAHLO

AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

AD REINHARDT

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

CLAUDE MONET

DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.

DIEGO RIVERA

CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

Alongside Monet and Renoir, Sisley was a founding member of Impressionism and remained true to the principles of pure color, rendering fleeting moments and capturing the essence of atmosphere throughout his career. Unlike many of his contemporaries who traversed varied subjects of industrial urbanism, rural locals and figures, Sisley was enamored with the French countryside and focused almost entirely on this subject. <br> <br>Painting en plein air, directly onto a primed canvas outdoors, Sisley rarely reworked his paintings back in his studio. This mode of painting brings an immediacy to his work, particularly in “Printemps a Veneux.” He painted this piece in April of 1880 in Veneux-Nadon, a small village along the west bank of the Seine river. Sisley had settled in this area three months prior, focusing on painting the snow-covered landscape. As Spring began to bloom, Sisley was charmed by the environment in which he found himself and his paintings took on a renewed sense of exuberance. <br> <br>Cerulean skies with plush white clouds prevail in many of Sisley’s paintings. The crisp Spring air rustling the leaves of the orchard in which Sisley placed his easel shifts the light across the grove, creating delightful patterns of shadow. The atmosphere of “Printemps a Veneux” is palpable. The large scale of the canvas is rare in Sisley oeuvre and enhances the immersive feeling. <br> <br>Two years after Sisley painted this work, Impressionist champion and patron Paul Durand-Ruel acquired the painting from the artist and was so delighted with it that he kept it in his private collection for decades. Three years after Sisley’s death, Durand-Ruel finally exhibited “Printemps a Veneux” in an important 1899 Impressionist exhibition in his Parisian gallery.

ALFRED SISLEY

WILLEM DE KOONING - Woman in a Rowboat - oil on paper laid on masonite - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.

WINSLOW HOMER

FRIDA KAHLO - Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.

FRIDA KAHLO

FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in. .

FRANCIS PICABIA

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme. <br> <br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906. <br> <br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK FRIESEKE

JOAN MIRO - Oiseau, Insecte, Constellation - oil on canvas - 50 3/4 x 38 1/8 in.

JOAN MIRO

"Tête de Femme" is based upon one of Miró’s most utilized themes. He characterized his sculptures as being from the ‘truly phantasmagoric world of living’ which is, undoubtedly, intended as a term of endearment. Yet "Tête de Femme" seems to evince something less monstrous or grotesque and instead presents in more sobering light as a free-standing, monolithic presence suggesting essential nature, if not a monumental one. Its attributions are fixed, intrinsic, and suggestive of its innateness; a strikingly austere design that adheres to Miró’s resistance to a classic bourgeois concept of ideal beauty. While it does not suggest a simple ‘female figure’ designation, there is plenty of referential material in the curves, domed protrusions, and a central depression suggesting a birthing matrix that in sum, evokes a celebration of fecundity and the creation of life. In any event, any tether to representational reality is a tenuous one, yet one that is calculated to stimulate the imagination and evoke unconscious primordial references and long-forgotten mythologies. <br> <br>Likely, Miro viewed this lustrous surface as fair compensation for its absence of color for which he is so well known. The impression is one that never suggests the sculptures of Miró are in any way derived from his painting, yet nor are they a complete deviation from that form of expression. Ultimately, it provides strong evidence that Miró was as engaged and involved in an intense dialogue with free-standing form as he ever was as a younger man working as a painter. "Tête de Femme" is cast in an edition of four, one of which was installed at the Yorkshire Sculpture Garden 2012 landmark exhibition "Miró: Sculptor."

JOAN MIRO

By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a bold experiment in balance, form, and color in the third dimension. <br> <br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection. It is registered in the archives of the Calder Foundation, New York, under application number A08148. <br> <br> <br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."

ALEXANDER CALDER

"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within." <br>-Henry Moore <br> <br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.

HENRY MOORE

An exemplary work from Picasso’s Neo-Classical period, La communiante avec missel belongs to a rare series. Picasso revisited the theme of children receiving communion a few times and in a few styles, from this solemn classic version to the dynamic fragmentation of Cubism. A Neo-Classical example comparable to this piece is in the collection of the Musée Picasso in Paris. <br> <br>While this time period after World War I saw many artists looking to tradition, a return to order as a reaction against the destruction of war, Picasso’s Neo-classicism was not so much a refuge, but a vehicle by which he could explore new themes and ideas. In La communiante avec missel, we see certain hallmarks of Picasso: the visual weight that the girl carries and the statuesque features of her face. These elements are softened by the curved lines the artist has used for her body and dress. In Picasso’s hands, the painting is a meditation of youth and religion marking the rites of passage.

PABLO PICASSO

RICHARD PRINCE - Untitled (Cowboy) - c-print - 61 x 91 in.

RICHARD PRINCE

ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.

ROBERT RAUSCHENBERG

CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.

CAMILLE PISSARRO

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life. <br> <br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

N.C. WYETH

TAKASHI MURAKAMI - Want to Hold You - acrylic and platinum leaf on canvas mounted on board - 59 x 59 in.

TAKASHI MURAKAMI

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre. <br> <br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

HENRY MOORE

ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.

ADOLPH GOTTLIEB

EXHIBITIONS  | 

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Our Most Viewed Art for the Month
CURRENT

Our Most Viewed Art for the Month

October 14 - November 14, 2021
Subtle Opulence
CURRENT

Subtle Opulence

September 8, 2021 - March 31, 2022
All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
CURRENT

All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

August 9, 2021 - February 28, 2022
Sculpture for the Senses: Outdoor Sculpture
CURRENT

Sculpture for the Senses: Outdoor Sculpture

August 4 - December 31, 2021
Elaine and Willem de Kooning: Painting in the Light
CURRENT

Elaine and Willem de Kooning: Painting in the Light

August 3 - October 31, 2021
California Here We Come: The California Impressionists
CURRENT

California Here We Come: The California Impressionists

July 12, 2021 - January 31, 2022
A Beautiful Time: American Art in the Gilded Age
CURRENT

A Beautiful Time: American Art in the Gilded Age

June 24 - December 31, 2021
Kahlo x Rivera
CURRENT

Kahlo x Rivera

June 21 - October 31, 2021
James Rosenquist: Potent Pop
CURRENT

James Rosenquist: Potent Pop

June 7 - November 30, 2021
Everyone Needs a Fantasy: Pop Art in America
CURRENT

Everyone Needs a Fantasy: Pop Art in America

June 7 - November 30, 2021
It Was Acceptable in the 80s
CURRENT

It Was Acceptable in the 80s

April 27 - October 31, 2021
Mercedes Matter: A Miraculous Quality
CURRENT

Mercedes Matter: A Miraculous Quality

March 22 - December 31, 2021
Moore! Moore! Moore! Henry Moore and Sculpture
CURRENT

Moore! Moore! Moore! Henry Moore and Sculpture

March 3 - October 31, 2021
Following Surrealism: Conceived with Fire
CURRENT

Following Surrealism: Conceived with Fire

March 2 - December 31, 2021
American Eye: Selections from the Pardee Collection
CURRENT

American Eye: Selections from the Pardee Collection

February 28 - October 31, 2021
Herb Alpert: The Coffee Paintings
CURRENT

Herb Alpert: The Coffee Paintings

December 22, 2020 - October 31, 2021
Andy Warhol Polaroids: Me, Myself, & I
CURRENT

Andy Warhol Polaroids: Me, Myself, & I

December 10, 2020 - December 31, 2021
Andy Warhol Polaroids: Ars Longa
CURRENT

Andy Warhol Polaroids: Ars Longa

December 10, 2020 - December 31, 2021
Andy Warhol Polaroids: All That Glitters
CURRENT

Andy Warhol Polaroids: All That Glitters

December 10, 2020 - December 31, 2021
Andy Warhol Polaroids: Bring It to the Runway
CURRENT

Andy Warhol Polaroids: Bring It to the Runway

December 10, 2020 - December 31, 2021
Maurice Golubov
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Maurice Golubov

October 1, 2020 - October 31, 2021
Pattern and Decoration: Feminism and Friendship
CURRENT

Pattern and Decoration: Feminism and Friendship

September 14, 2020 - October 31, 2021
Carlos Luna: Recent Works
CURRENT

Carlos Luna: Recent Works

August 11, 2020 - October 31, 2021
Max Pellegrini: Silence and Fantasy
CURRENT

Max Pellegrini: Silence and Fantasy

July 30, 2020 - October 31, 2021
The Rest So Beautiful: Contemporary Art and China
CURRENT

The Rest So Beautiful: Contemporary Art and China

May 12, 2020 - October 31, 2021
Jewish Modernism Part 2: Figuration from Chagall to Norman
CURRENT

Jewish Modernism Part 2: Figuration from Chagall to Norman

April 30, 2020 - October 31, 2021
An Invisible State: Asian American Artists and Abstraction
CURRENT

An Invisible State: Asian American Artists and Abstraction

April 23, 2020 - December 31, 2021
Jewish Modernism Part 1: Abstraction from Gottlieb to Schnabel
CURRENT

Jewish Modernism Part 1: Abstraction from Gottlieb to Schnabel

April 23, 2020 - October 31, 2021
Still Life, Still
CURRENT

Still Life, Still

April 10, 2020 - October 31, 2021
The Cool School
CURRENT

The Cool School

March 30, 2020 - October 31, 2021
Alexander Calder: Bold Gouaches
CURRENT

Alexander Calder: Bold Gouaches

March 25, 2020 - December 31, 2021
Norman Zammitt: The Progression of Color
CURRENT

Norman Zammitt: The Progression of Color

March 19, 2020 - December 31, 2021
The Gloria Luria Collection
CURRENT

The Gloria Luria Collection

March 16, 2020 - October 31, 2021
The Land and the Body
CURRENT

The Land and the Body

March 13, 2020 - October 31, 2021
Jae Kon Park: Life and Root
CURRENT

Jae Kon Park: Life and Root

March 12, 2020 - December 31, 2021
Paul Jenkins: Coloring the Phenomenal
CURRENT

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - December 31, 2021
Irving Norman: Dark Matter
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Irving Norman: Dark Matter

November 27, 2019 - December 31, 2021
Andy Warhol: Wayward Allure
ARCHIVE

Andy Warhol: Wayward Allure

July 30, 2020 - September 30, 2021
Modern Prints
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Modern Prints

December 26, 2020 - June 19, 2021
Portraits: From the 19th Century to Today
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Portraits: From the 19th Century to Today

August 26, 2020 - April 30, 2021
Wonders of Impressionist and Modern Art in America and Europe
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Wonders of Impressionist and Modern Art in America and Europe

August 26, 2020 - April 30, 2021
Pop Figures: Mel Ramos and Tom Wesselmann
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Pop Figures: Mel Ramos and Tom Wesselmann

March 26, 2020 - April 30, 2021
Abstract Expressionism: Visions of the Sublime
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Abstract Expressionism: Visions of the Sublime

August 11, 2020 - January 31, 2021
The Radical Line
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The Radical Line

April 11, 2020 - January 31, 2021
Herb Alpert: Recent Works
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Herb Alpert: Recent Works

September 28 - December 13, 2020
Zúñiga x Castañeda
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Zúñiga x Castañeda

April 30 - November 30, 2020
Jewels of Impressionism and Modern Art
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Jewels of Impressionism and Modern Art

February 19 - October 31, 2020
Cool Britannia: The Young British Artists
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Cool Britannia: The Young British Artists

April 2 - September 30, 2020
Weekly Opportunities
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Weekly Opportunities

June 26 - August 31, 2020
Place and Paradise: Artists from Santa Barbara
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Place and Paradise: Artists from Santa Barbara

March 5 - August 31, 2020
Irving Norman Estate
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Irving Norman Estate

October 1, 2019 - August 31, 2020
The Californians
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The Californians

February 3 - August 31, 2020
Theophilus Brown and Paul Wonner: Seen Through Different Lenses
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Theophilus Brown and Paul Wonner: Seen Through Different Lenses

November 1, 2019 - July 31, 2020
Jackson Hole: Highlights from 1900 to Today
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Jackson Hole: Highlights from 1900 to Today

November 1, 2019 - July 31, 2020
Grace Hartigan: Late Works
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Grace Hartigan: Late Works

October 15, 2019 - July 5, 2020
Hassel Smith: The Measured Paintings
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Hassel Smith: The Measured Paintings

February 12 - April 20, 2020
Mesa Modern
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Mesa Modern

February 13 - February 29, 2020
Richard Diebenkorn
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Richard Diebenkorn

October 16, 2019 - February 29, 2020
Artsy Auction: Figure + Form
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Artsy Auction: Figure + Form

February 13 - February 27, 2020
The Californians
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The Californians

November 1, 2019 - February 14, 2020
Roland Petersen: 1961
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Roland Petersen: 1961

November 18, 2019 - January 31, 2020
Opulent Minimalism
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Opulent Minimalism

December 3, 2019 - January 31, 2020
Paul Jenkins and Robert Natkin
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Paul Jenkins and Robert Natkin

November 1 - December 27, 2019
Montecito Grand Opening
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Montecito Grand Opening

September 21 - November 30, 2019
Morris Louis - The Early Paintings
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Morris Louis - The Early Paintings

October 11 - November 30, 2019
SHE/HER: A New Look at a History of Art Since 1900
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SHE/HER: A New Look at a History of Art Since 1900

October 3 - November 17, 2019
On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger
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On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger

September 5 - November 2, 2019
Sam Francis: On View in Jackson Hole
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Sam Francis: On View in Jackson Hole

July 1 - October 15, 2019
Anselm Kiefer
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Anselm Kiefer

August 15 - September 30, 2019
Salvador Dali
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Salvador Dali

August 15 - September 30, 2019
Edward Hopper
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Edward Hopper

July 1 - September 30, 2019
Peter Shelton: A Thing You Bump Into
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Peter Shelton: A Thing You Bump Into

July 16 - August 31, 2019
Paul Jenkins: Phenomenal
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Paul Jenkins: Phenomenal

July 1 - August 31, 2019
Andy Warhol
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Andy Warhol

July 16 - August 31, 2019
The Estate of Paul Wonner and William Theophilus Brown
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The Estate of Paul Wonner and William Theophilus Brown

July 21 - August 31, 2019
Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian
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Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian

July 25 - August 31, 2019
Alexander Calder: Cosmic Abstraction
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Alexander Calder: Cosmic Abstraction

June 21 - August 30, 2019
Julian Schnabel
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Julian Schnabel

June 4 - July 31, 2019
Modern British Sculpture
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Modern British Sculpture

June 30 - July 30, 2019
Hassel Smith
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Hassel Smith

May 6 - June 30, 2019
Luc Bernard: Unconventional Borders
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Luc Bernard: Unconventional Borders

May 3 - May 31, 2019
Sam Francis: From Dusk to Dawn
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Sam Francis: From Dusk to Dawn

November 15, 2018 - April 29, 2019
de Kooning x de Kooning
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de Kooning x de Kooning

November 8, 2018 - February 28, 2019
Architectural Landscapes
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Architectural Landscapes

December 1, 2018 - January 31, 2019
David Levinthal
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David Levinthal

December 1, 2018 - January 31, 2019
Wojciech Fangor: The Early 1960s
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Wojciech Fangor: The Early 1960s

October 11 - December 31, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

October 11 - November 1, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

August 1 - September 30, 2018
California: North and South
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California: North and South

June 16 - September 30, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

August 1 - September 16, 2018
Penelope Gottlieb: Against Forgetting
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Penelope Gottlieb: Against Forgetting

May 3 - August 12, 2018
Elaine de Kooning
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Elaine de Kooning

July 1 - August 4, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

June 1 - July 27, 2018
Buddhist Sculpture of Gandhara
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Buddhist Sculpture of Gandhara

July 13, 2018
Wojciech Fangor: The Early 1960s
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Wojciech Fangor: The Early 1960s

April 19 - June 30, 2018
Sublime Abstraction
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Sublime Abstraction

November 25, 2017 - May 31, 2018
Gregory Sumida: Americana
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Gregory Sumida: Americana

April 5 - May 31, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

February 17 - May 31, 2018
N.C. Wyeth: Paintings and Illustrations
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N.C. Wyeth: Paintings and Illustrations

February 1 - May 31, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

March 21 - May 30, 2018
Edward S. Curtis
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Edward S. Curtis

February 3 - March 17, 2018
Wojciech Fangor
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Wojciech Fangor

November 25, 2017 - March 17, 2018
Ferrari and Futurists: An Italian Look at Speed
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Ferrari and Futurists: An Italian Look at Speed

November 21, 2016 - January 30, 2017
Norman Rockwell: The Artist at Work
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Norman Rockwell: The Artist at Work

June 30 - September 30, 2016
Alexander Calder
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Alexander Calder

November 21, 2015 - May 28, 2016
Max Pellegrini: A Retrospective Exhibition
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Max Pellegrini: A Retrospective Exhibition

November 27, 2015 - March 27, 2016
Masters of California Impressionism
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Masters of California Impressionism

November 22, 2014 - May 23, 2015
Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s
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Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s

November 23, 2012 - January 31, 2013
Painterly Abstraction: Spheres of AbEx
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Painterly Abstraction: Spheres of AbEx

November 25, 2011 - May 31, 2012
Washi Tales: Works by Kyoko Ibe
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Washi Tales: Works by Kyoko Ibe

December 11, 2011 - January 28, 2012
Earl Cunningham: American Fauve
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Earl Cunningham: American Fauve

September 8 - October 29, 2011
Masters of Impressionism and Modern Art
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Masters of Impressionism and Modern Art

November 20, 2010 - September 25, 2011
Picasso
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Picasso

November 20, 2009 - May 25, 2010
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