جاكسون هول

معارضالأعمال الفنية على عرضمديرالخدمات الإخبارية ذات الصلة

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تقع في الجمال البري من جاكسون هول، وايومنغ، مع الحدائق الوطنية كخلفية مذهلة، جلبت هيذر جيمس جاكسون أعلى العيار من الأعمال الفنية والخدمات إلى الغرب انترماونتن لأكثر من عقد من الزمان.

الطعام للمجتمع الفريد الذي يجعل جاكسون هول وجهه لا مثيل لها للثقافة الامريكيه والهواء الطلق ، وتسعي هيذر جيمس لتوفير مجموعه لا مثيل لها من الاعمال الفنية وخدمات القفازات البيضاء للسكان المحليين والزوار علي حد سواء.

172 شارع سنتر ، جناح 101
P.O. Box 3580
جاكسون هول ، WY 83001
200-6090 (307)

ساعات العمل: من الاثنين إلى السبت من الساعة 10 صباحا حتى 5 مساء

المعارض

عرض الكل

الصوت والمشهد: هاري بيرتويا وجورج ريكي
الحاليه

الصوت والمشهد: هاري بيرتويا وجورج ريكي

26 يونيو - 31 ديسمبر 2024
آندي وارهول: كل شيء جميل
ارشيف

آندي وارهول: كل شيء جميل

17 أغسطس 2023 - 31 أغسطس 2024
كلود مونيه: عبقري انطباعي
ارشيف

كلود مونيه: عبقري انطباعي

أغسطس 18 - أكتوبر 31, 2022
الانطباعية في هيذر جيمس للفنون الجميلة
ارشيف

الانطباعية في هيذر جيمس للفنون الجميلة

1 سبتمبر - 31 أكتوبر 2022
مارك شاغال: لون الحب
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مارك شاغال: لون الحب

8 سبتمبر - 12 أكتوبر 2022
بيكاسو - يطبع ويعمل على الورق
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بيكاسو - يطبع ويعمل على الورق

1 سبتمبر - 12 أكتوبر 2022
كل ما رأيناه: المناظر الطبيعية الانطباعية من مونيه إلى كليتش
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كل ما رأيناه: المناظر الطبيعية الانطباعية من مونيه إلى كليتش

أغسطس 9, 2021 - سبتمبر 30, 2022
لوحات السير وينستون تشرشل
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لوحات السير وينستون تشرشل

1 أغسطس-16 سبتمبر 2018
نورمان روكويل: الفنان في العمل
ارشيف

نورمان روكويل: الفنان في العمل

30 يونيو-30 سبتمبر 2016

العمل الفني على العرض

عرض الكل

في 15 مايو 1886 ، ولد بيان مرئي لحركة فنية جديدة عندما تم الكشف عن إنجاز جورج سورات المتوج ، بعد ظهر يوم الأحد في جزيرة لا غراند جات في المعرض الانطباعي الثامن. يمكن ل Seurat المطالبة باللقب باعتباره "الانطباعي العلمي" الأصلي الذي يعمل بطريقة أصبحت تعرف باسم Pointillism أو Divisionism. ومع ذلك ، كان صديقه والمقرب ، بول سيناك البالغ من العمر 24 عاما وحوارهما المستمر هو الذي أدى إلى التعاون في فهم فيزياء الضوء واللون والأسلوب الذي ظهر. كان Signac رساما انطباعيا غير مدرب ، ولكنه موهوب للغاية ، وكان مزاجه مناسبا تماما للصرامة والانضباط المطلوبين لتحقيق أعمال الفرشاة والألوان الشاقة بشق الأنفس. استوعب Signac هذه التقنية بسرعة. كما شهد على رحلة سورات الشاقة التي استمرت عامين لبناء طبقات لا تعد ولا تحصى من النقاط الملونة غير الممزوجة على La Grande Jatte ذات الحجم الضخم. معا ، كان Signac ، المنفتح المتهور ، و Seurat ، الانطوائي السري ، على وشك تخريب مسار الانطباعية ، وتغيير مسار الفن الحديث.

بول سيجناك

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

جورجيا أوكيف

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

دييغو ريفيرا

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

جرانت وود

WILLEM دي كونينغ -- امرأة في زورق التجديف -- النفط على الورق وضعت على الماسونية -- 47 1 /2 × 36 1 / 4 في.

ويليم دي كونينغ

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ألكسندر كالدر

<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>

توم ويسلمان

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

إميل نولد

No artist bridged the gap between European Modernism and American Abstract Expressionism the same way Hans Hofmann did. The reason is simple. He was trained in Parisian academies prior to World War I and was friendly with Henri Matisse, Pablo Picasso, Georges Braque, and, most significantly, Robert and Sonia Delaunay. Conversely, his endeavors as a teacher and later, as a mature artist in full command of his abilities were stimulated — made possible even — by the exhilarating New York milieu that gave rise to Abstract Expressionism. So perhaps it is not surprising that unlike most of the Abstract Expressionists who pursued a single iconographic look — Rothko’s soft-edged rectangles, Franz Klein’s enlarged calligraphic strokes, Clyfford Still’s dark, ragged shapes — Hofmann was constantly reaching for different and contradictory effects. That meant his paintings were wildly varied and that they carved a wide swath toward the most exciting avenues available to contemporary abstraction. Hofmann proved to be a gallant experimenter, refusing to settle on a single style for long.<br><br>The Climb was painted in 1960 at a time when most American painters were pushing abstraction in new directions. Not surprisingly, as an outlier, it does not evoke Hofmann’s usual “push and pull’ technique. But it is very much a painting of its time, marked by a sensuousness and a deft, painterly touch. It suggests what Irving Sandler characterized as Hofmann’s hedonistic touch, an optimistic celebration of the lyrical abstraction that overcame the burning darkness of painting in the 40s and trumped even the lighter palette of Pollock or Pousette-Dart that emerged later. While the passages of The Climb are brushed rather than poured or stained, it reflects the delicate lyricism of his former student, Helen Frankenthaler who, since 1952 had experimented with floating areas of color, absorbed into the canvas with watercolor-like ease. She, in turn, had inspired a generation of Color Field painters including Morris Louis and Kenneth Noland. On the other hand, these short bands and prismatic slurries recall those halcyon days in Paris when Hofmann worked through color theory with his good friend Robert Delaunay and thought a lot about prisms. Hofmann not only retained elements of Synthetic Cubism, but the lessons he learned from the Fauves and the artists who verily invented abstraction, Wassily Kandinsky, Kasimir Malevich, Frantisek Kupka, and Piet Mondrian to name a few of the key players. The Climb is a glorious expression of a painter drawing from both the past and the present, painting in a playful, but not frivolous manner fully informed and prepared to express his abilities as a painter, simply, and with great conviction.<br><br>As New York City became the avant-garde’s global hub in the 1940s, radical, new approaches to art, such as action painting and abstraction, took root among the informally grouped New York School painters. By 1950, Abstract Expressionism was well underway, but the movement was often overlooked by institutions. When the Metropolitan Museum of Art announced its plan to exhibit a survey of contemporary American painting, many of the New York School painters felt there was a bias against more “progressive” art in the museum’s selection process, prompting them to draft an open letter protesting the show.<br><br>The letter garnered attention, and Life magazine published an article on the protest in January 1951, “The Irascible Group of Advanced Artists Led Fight Against Show.” To accompany the article, Nina Lee photographed 15 of the 18 painters who signed the letter, including Hans Hofmann, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyford Still, Robert Motherwell, Barnett Newman, and Mark Rothko. Today, this article is considered a turning point in the prominence of Abstract Expressionism, and the artists involved are often referred to as the “Irascibles.”

هانز هوفمان

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ألكسندر كالدر

<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>

RUFINO TAMAYO

لا يمكن احتواء عالم مارك شاغال أو تقييده بالتسميات التي نعلقها عليه. إنه عالم من الصور والمعاني التي تشكل خطابها الصوفي الرائع. بدأ Les Mariés sous le baldaquin (العروس والعريس تحت المظلة) مع دخول الفنان عامه ال 90 ، وهو رجل عرف المأساة والصراع ، لكنه لم ينس أبدا لحظات الحياة من المتعة الحماسية. هنا ، يتم إحضار المسرات الحالمة لحفل زفاف القرية الروسية بترتيباته من الحاضرين البالية إلينا بمثل هذا الذكاء السعيد والبراءة المبهجة التي لا تقاوم سحرها. باستخدام مستحلب ذهبي اللون يجمع بين الزيت والغواش المائي غير الشفاف ، يتم تغليف الدفء والسعادة والتفاؤل لوضعية شاغال المعتادة في إشراق مضيء يشير إلى تأثير الرموز الدينية ذات الأوراق الذهبية أو لوحة عصر النهضة المبكرة التي سعت إلى نقل انطباع النور الإلهي أو التنوير الروحي. قد يكون استخدام مزيج من الزيت والغواش أمرا صعبا. ولكن هنا ، في Les Mariés sous le baldaquin ، يوظفها شاغال لإعطاء المشهد جودة من عالم آخر ، كما لو أنه قد تحقق للتو من عين عقله. تخلق حساسيتها التركيبية انطباعا بأن الضوء ينبعث من العمل نفسه ويعطي جودة طيفية للشخصيات التي تطفو في السماء.

مارك شاغال

السير ونستون تشرشل

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

لاري ريفرز

<div><font face=Calibri size=3 color=black>Martha's Vineyard played a pivotal role in Thomas Hart Benton's artistic journey, offering him both inspiration and respite from urban life. His first visit to the sparsely populated island in 1920 marked a turning point, allowing him to escape the sweltering New York summers and find clarity in the island's serene environment. At a time before the island was deluged by the fabulously wealthy, Vineyard was a freewheeling community of artists and intellectuals that gave the ever-inquisitive Benton much-needed stimulation. It is here that Benton's bold colors and dynamic compositions achieved contour inflections, pictorial rhythms, and a strong-hued palette, which we associate with his mature style. Inspired early by Cézanne, Benton's landscapes transcend fleeting impressions. Yet he never abandoned the influence of Synchronism and its focus on color harmonies, tempo, and rhythm. That latter influence drives the energy and spirit of "Keith's Farm, Chilmark," organized into horizontal bands of visual information, creating a sense of motion and unity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its rolling pastures to the Atlantic Ocean and tranquil cloud formations beyond, the view over the Keith Farm pastures is one of the island's most spectacular. Overlooking Menemsha Pond to the Vineyard Sound, Benton captured and distilled the essential nature of the place, transforming it into a picturesque and personally significant composition. His use of modern techniques to strip the landscape down to its basic tendencies embodies pride in regional America and a reverence for the country's natural beauty in ways the streets of New York never could. Simultaneously, Benton imbues the work with what his daughter, Jessie, noted: music played a vital role in her father's art, informing a sense of motion using sinuous forms, each rendered in flowing complementary and contrasting colors and 'twisting, always moving, moving, moving.' Typical of Benton's best paintings, "Keith's Farm, Chilmark" is a well-orchestrated work that pulls individual elements into a unifying scheme of visual rhythm — a testament to his mastery of landscape painting and deep connection to Martha's Vineyard.</font></div>

توماس هارت بنتون

جان ميشيل باسكيات - بدون عنوان (تشريح الحمام) - زيت وجرافيت وطباشير على ورق - 22 × 30 بوصة.

جان ميشيل باسكيات

DAMIEN HIRST - أفكار منسية - فراشات وملمع منزلي على قماش - 48 × 48 بوصة.

داميان هيرست

<div><font face=Calibri size=3 color=black>Deeply influenced by his populist views and commitment to social realism, Thomas Hart Benton became an advocate for the common man, often depicting the struggles and resilience of ordinary Americans in his work. Coal strikes were frequent occurrences in the late 1920s and early 1930s, and <em>"Mine Strike"</em> is a visually compelling account of such an uprising, rich with social commentary. At the time, Benton traveled the nation seeking inspiration for a mural project and was particularly interested in social issues. In 1933, he illustrated the modern social history of the United States for <em>“We the People”,</em> published by Harper & Brothers, New York. <em>"Mine Strike"</em> is carefully constructed to highlight the chaos and human drama. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The figures are robust and grounded, reflecting Benton's signature style of muscular forms. The scene, though aggressive and violent, displays commitment and sacrifice. Two officers fire on the strikers, one of whom has fallen to the ground, shot. Set against the backdrop of an imposing mining complex, a towering black structure known as a 'tipple' looms ominously over the strikers. Its darkly sinister anthropomorphic shape contrasts sharply with the lighter, more organic human figures — an appearance intensified by its coal chutes resembling mechanical arms. This visual metaphor of industrial oppression underscores the pervasive threat posed by the coal mining industry and those paid to protect its interests.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Through <em>"Mine Strike,"</em> Benton not only documents a specific historical moment but also critiques the broader socio-economic conditions of his time. His depiction of the workers' plight is a powerful statement on the exploitation and struggles the working-class faces. Benton's political leanings towards advocating for social justice and his commitment to portraying the reality of American life are vividly encapsulated in this painting, making it a poignant and enduring piece of art.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Benton made two compositions about strike activities during this time: this painting and another, <em>“Strikebreakers”</em>, painted in 1931. Of the two, Benton used <em>"Mine Strike"</em> as the basis for a well-known lithograph issued in 1933. Benton described the scene as a "Strike battle" in the coal country. This is an imaginary reconstruction of a situation only too common in the late twenties and early thirties."</font></div>

توماس هارت بنتون

متعاطفا في تصويره للمزارعين والعمال الميدانيين ويفضل موضوعات التفاني والعمل الجاد ، ابتكر توماس هارت بنتون مئات الدراسات التي تصور النضال من أجل الوجود الذي كان الحياة اليومية الوحشية للعديد من الأمريكيين في ذلك الوقت. يحتوي Hoeing Cotton على الكثير من الشحوب الداكن والمزاجي الذي يثير مشقة الزراعة الجنوبية خلال فترة الكساد الكبير. يتم تنظيم بنتون كما لو كان محتجزا تحسبا لعاصفة وشيكة ، ويستخدم التفاعل الديناميكي بين السماء والمناظر الطبيعية لتعميق التأثير الموضوعي للحياة الريفية في أعماق الجنوب. تسلط هذه العناصر الضوء على العلاقة بين الناس وبيئتهم وروح المرونة الدائمة.

توماس هارت بنتون

فرانز كلاين - بدون عنوان، رقم 7246 - زيت على ورق موضوع على لوح - 18 1/8 × 23 1/4 بوصة.

فرانز كلاين

هانز هوفمان - أغنية الحب - لوحة زيتية على قماش - 36 1/4 × 48 1/4 بوصة.

هانز هوفمان

أميديو موديلياني - كاريتيد - قلم تلوين أزرق على ورق برتقالي - 24 × 18 بوصة.

اميديو موديلياني

تعد صورة Théo van Rysselberghe Portrait de Sylvie Lacombe ، التي رسمت في عام 1906 ، تحفة كلاسيكية من قبل أحد أكثر رسامي الصور دقة واتساقا في عصره. اللون متناغم ، والفرشاة قوية ومصممة خصيصا لمهمتها المادية ، وجسدها ووجهها حقيقي وكاشف. الحاضنة هي ابنة صديقه العزيز ، الرسام جورج لاكومب ، الذي شارك في ارتباط وثيق مع غوغان ، وكان عضوا في Les Nabis مع الفنانين Bonnard و Denis و Vuillard ، من بين آخرين. نحن نعرف الآن عن سيلفي لاكومب لأن فان ريسلبرغ ماهرة جدا في تقديم تعبيرات الوجه الدقيقة ومن خلال الملاحظة الدقيقة والاهتمام بالتفاصيل ، قدمت رؤى حول عالمها الداخلي. لقد اختار نظرة مباشرة ، عينيها إلى عينيك ، عهدا لا مفر منه بين الموضوع والمشاهد بغض النظر عن علاقتنا الجسدية باللوحة. تخلى فان ريسلبرغ إلى حد كبير عن تقنية Pointillist عندما رسم هذه الصورة. لكنه استمر في تطبيق إرشادات نظرية الألوان باستخدام صبغات من اللون الأحمر - الوردي والماوفي - ضد اللون الأخضر لإنشاء لوحة محسنة متناغمة من الألوان التكميلية التي أضاف إليها لهجة قوية لجذب العين - قوس أحمر مشبع بشكل مكثف تم وضعه بشكل غير متماثل على جانب رأسها.

ثيو فان ريسلبرغ

هيروشي سنجو - شلال - أصباغ طبيعية وبلاتينية على ورق توت ياباني مثبت على لوح خشبي - 36 × 46 بوصة.

هيروشي سنجو

هانز هوفمان - بدون عنوان - لوحة زيتية على قماش - 25 × 30 1/4 بوصة.

هانز هوفمان

انتقل ماكس ويبر إلى باريس في عام 1905 عندما كانت المدينة مركز الابتكار الفني. تظهر أعماله المبكرة التأثير المعاصر للوحة الألوان الجريئة ل Fauvism وتمثيل التكعيبية المجزأ للواقع. ومع ذلك ، لم يقلد ويبر هذه الأساليب فقط. قام بدمجها وإعادة تفسيرها لإنشاء شيء خاص به. لا تكمن أهمية فيبر في أعماله التجريدية فحسب ، بل تكمن أيضا في دوره كقناة للأفكار الحداثية. لعب فيبر دورا حاسما في الحوار عبر الأطلسي الذي ساعد في تشكيل مسار الفن الأمريكي في القرن العشرين. تعرض صوره للشخصيات النسائية توليفة من التجريد والتمثيل ، وتلتقط جوهر موضوعاته مع الابتعاد عن الأعمال التصويرية التقليدية.

ماكس ويبر

مستنيرا بإيمانه الكاثوليكي المتدين ، كان التطور الفني لروولت فريدا من نوعه بين الحداثيين. مفتونا بالألوان النابضة بالحياة وكيف يمر الضوء عبر النوافذ الزجاجية الملونة في العصور الوسطى ، قام بتطبيق طبقات سميكة وغنية من الطلاء وتضخيم الأشكال الخام والجريئة المليئة بالأزرق العميق داخل خطوط سوداء ثقيلة. غالبا ما دعم روولت موضوعات دينية قوية متكررة مكرسة لقوة الفداء. لا تخدم كارلوتا تلك الدعوة العليا ولا المعاناة المهمشة للمواضيع التي شملت المهرجين والبغايا والصلب. بدلا من ذلك ، تعد كارلوتا فرصة للإعجاب باختلافات الألوان الأكثر دقة في Rouault والتفاعل الديناميكي بين الجودة الخشنة واللمسية للإمباستو والتأثير الأكثر نعومة وانتشارا للمقاطع المتعثرة لنموذج غير مثقل بموضوعات الألم واليأس البشري.

جورج رول

Well known for his candor and pragmatic sensibility, Alexander Calder was as direct, ingenious, and straight to the point in life as he was in his art. “Personnages”, for example, is unabashedly dynamic, a work that recalls his early love of the action of the circus as well as his insights into human nature. The character of “Personnages” suggests a spontaneous drawing-in-space, recalling his radical wire sculptures of the 1920s.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ألكسندر كالدر

JOHN CHAMBERLAIN - ASARABACA - رقائق ألومنيوم صناعية الوزن مع طلاء أكريليك وراتنج بوليستر - 20 × 23 × 22 بوصة.

جون تشامبرلين

جينييف فيجيس هي شخصية بارزة في المشهد الفني الأيرلندي المعاصر ، معروفة بصورها الجماعية الذكية والناقدة التي غالبا ما تسخر من الأعراف الاجتماعية القديمة. كانت متأخرة نسبيا في الرسم ، ولفتت انتباه فنان التخصيص الأمريكي ريتشارد برينس على تويتر ، الذي استمر في شراء أحد أعمالها وقدمها إلى الدوائر المؤثرة في مجتمع الفن في نيويورك. ينتقد عمل فيجيس بشكل هزلي عادات الاستهلاك الثرية للطبقة الوسطى وأنماط الحياة الفاخرة ، كما خلدها فنانو الماضي ، ويجلب مثل هذه الموضوعات بقوة إلى يومنا هذا بمزيج من الهجاء والتصوير الخام والأصيل للحياة. فكر في فيجيس على أنه يصل عبر رمال الزمن إلى دومير أو هوغارث ، الذي قدمت أعماله في كثير من الأحيان نظرة ساخرة على المجتمع المعاصر ، وانضم إلى فنانين منخرطين في الهجاء الاجتماعي ومعروفين بمهاراتهم الشديدة في الملاحظة.

جينييف فيجيس

EMILY KAME KNGWARREYE - قصة أنوراليا يام - طلاء بوليمر صناعي على كتان - 60 1/4 × 48 بوصة.

إيميلي كامي كنجوارري

KEITH HARING - بدون عنوان (تمثال يتوازن على كلب) - ألومنيوم - 35 1/2 × 25 × 29 بوصة.

كيث هارينغ

يشتهر روجر براون بصوره الشخصية والخيالية في كثير من الأحيان ولوحاته المنمقة للغاية مع الأشكال والأشياء التي تعكس اهتمامه بالتجارب اليومية. يستكشف المطر الحمضي موضوعات الحياة الحديثة والتعليقات الاجتماعية التي تعكس دور الفنان في المجتمع وإمكانات الفن للتحريض على التغيير. على المستوى الشخصي ، قد يرمز موضوع المطر الحمضي إلى حالات عاطفية أو نفسية أكالة ، مثل الاكتئاب أو القلق أو الشعور بالإرهاق من ظروف خارجة عن سيطرة المرء. تماما كما كانت الأمطار الحمضية مشكلة بيئية غير مرئية إلى حد كبير ولكنها مدمرة ، فمن المحتمل أن تكون أزمة وباء فيروس نقص المناعة البشرية / الإيدز الناشئ قد حفزت براون على إنشاء العمل لمعالجة الحزن الشخصي ، ونقد الاستجابة غير الكافية من القادة السياسيين ، والدعوة إلى التعاطف والتفاهم والبحث الطبي.

روجر براون

تستحضر سلسلة "أوشن بارك" لديبنكورن التوازن الدقيق بين الضوء واللون الذي يتميز به الفنان وتكوينه المدروس والتكامل الدقيق لعناصر المناظر الطبيعية، وكلها تحاكي الأجواء الساحلية في الاستوديو الخاص به في سانتا مونيكا. في أوائل التسعينيات، أعاد ديبنكورن النظر في الموضوعات والحساسيات الجمالية لسلسلة "حديقة المحيط" من خلال الاستفادة من تقنيات الطباعة المختلفة لتوسيع نطاق استكشافه للغة التجريدية التي طورها في لوحاته. وتجسد لوحة "الأخضر العالي، الإصدار الأول" هذا المسعى، حيث تشير إلى الاستراتيجيات التركيبية واللوحة الفنية والاهتمامات المكانية التي تحدد سلسلة "حديقة المحيط" مع عرض الإمكانيات الفريدة للطباعة لإعادة تفسير هذه العناصر.

ريتشارد ديبينكورن

جوان ميرو - L'Oiseau - برونزية وكتلة الرماد - 23 7/8 × 20 × 16 1/8 بوصة.

جوان ميرو

© 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

ألكسندر كالدر

أندي وارهول هو مرادف للفن الأمريكي في النصف الثاني من القرن 20th ومعروف لصوره الشهيرة والمنتجات الاستهلاكية، ومزج الثقافة الشعبية والفنون الجميلة، وإعادة تعريف ما يمكن أن يكون الفن وكيف نتعامل مع الفن. في حين أن العديد من أعمال وارهول قد لا تمثل أفرادا مشهورين ، فإن تصويره للأشياء غير الحية يرفع مواضيعه إلى مستوى من الشهرة. صور وارهول الأحذية لأول مرة في وقت مبكر من حياته المهنية عندما عمل كرسام أزياء وعاد إلى الموضوع في 1980s ، وجمع بين سحره مع النزعة الاستهلاكية والتألق. مع رغبته المستمرة في دمج الثقافة العالية والمنخفضة ، اختار وارهول تسليط الضوء على شيء منتشر في كل مكان مثل الأحذية. يمكن أن يشير الموضوع إلى الفقر أو الثروة أو الوظيفة أو الموضة. يسحر وارهول كومة الأحذية، ويغطيها بطبقة من غبار الماس اللامع، مما يزيد من طمس المعنى بين الحاجة النفعية وقطعة البيان المنمقة.

أندي وارهول

تمثل سلسلة أعمال روبرت ماذرويل "دراسة مفتوحة"، التي بدأت في أواخر الستينيات، اتجاهاً مهماً في أعماله، حيث ركز على الانفتاح والتعقيد المكاني من خلال تركيبات بسيطة. واستناداً إلى النافذة بوصفها فكرة مجازية غنية بالتأمل والحميمية، تهدف لوحة "دراسة مفتوحة في توباكو براون" إلى عكس العلاقة بين الذات الداخلية والعالم الخارجي. كما أنها تُظهر التزاماً باستكشاف حدود التجريد والتفاعل بين الأشكال والعمق العاطفي للألوان. أُنتجت لوحة "دراسة مفتوحة في توباكو براون" في عام 1971، وهو عام انتقالي عندما طلق الفنان زوجته هيلين فرانكنثالر والتقى بالمصورة الألمانية رينات بونسولد، التي سيتزوجها في العام التالي.

روبرت ماذرويل

"Wigwam rouge et jaune" ، لوحة غواش آسرة لألكسندر كالدر ، هي استكشاف نابض بالحياة للتصميم واللون. تهيمن عليها شبكة من الخطوط القطرية التي تتقاطع بالقرب من ذروتها ، ينضح التكوين بتوازن ديناميكي. يقدم كالدر عنصرا من النزوة بأشكال الماس الأحمر والأصفر ، مما يضفي على القطعة المرح ويخلق جوا احتفاليا. تثير الكرات الحمراء في قمة الخطوط المائلة إلى اليمين انطباعا غريب الأطوار ، بينما توفر الكرات الرمادية الأصغر فوق الخطوط المائلة إلى اليسار تباينا وتوازنا. إن اندماج Calder البارع بين البساطة وعناصر التصميم الحيوية يجعل Wigwam rouge et jaune متعة بصرية.

ألكسندر كالدر

تحتل ديبورا باترفيلد مكانة مهمة داخل مجمع النحاتين الأمريكيين ، المشهورين بروحها الرائدة وإتقانها للوسائط المتنوعة. صنعت "Beacon" من الفولاذ المستخدم ، وهي شهادة على جرأتها وتفانيها في دفع الحدود الفنية. احتضنت باترفيلد تحديات هذه الوسيلة المتطلبة ، وهي مزيج من الابتكار والتقاليد. بفضل جمالياته الحديثة التي تتميز بخطوط كاسحة وأنيقة ، يعد تمثال الحصان هذا مصدرا للسحر ، ويدعو المشاهدين إلى عالم يتلاقى فيه الفن المعاصر مع الجمال الخالد. تكرم منارة النعمة الكلاسيكية لشكل الخيول وتؤكد من جديد مكانة باترفيلد كصاحب رؤية في مشهد النحت الحديث.

ديبورا باترفيلد

© 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

ألكسندر كالدر

سالفادور دالي - النذير (Mystische Hochzeit) - حبر وغواش وألوان مائية على ورق مقوى - 10 1/2 × 8 1/8 بوصة.

سلفادور دالي

سالفادور دالي - آدم وحواء - غواش وألوان مائية وحبر على ورق مقوى - 10 1/2 × 8 بوصة.

سلفادور دالي

سالفادور دالي - أبولون... - غواش وألوان مائية على ورق مقوىسالفادور داليأبولون... حوالي 1976 - 10 1/2 × 8 1/8 بوصة.

سلفادور دالي

لويس فالتات - مزهرية دي كوكيليكوتس - زيت على قماش - 23 1/2 × 19 بوصة.

لويس فالتات

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

هاري بيرتويا

سيد بلا منازع للحركة الانطباعية الجديدة البلجيكية المزدهرة من عام 1887 فصاعدا ، رسم ثيو فان ريسلبرغ هذه الصورة لزوجته ماريا (ني مونوم) خلال العقد الأول من القرن العشرين. لقد ضغط إلى الأمام من تأثير Whistler Tonalism ، والانطباعية ، و Pointillism of Seurat لإتقان فهم دقيق للغاية للون ، وأصداءه التوافقية ، وعرض دقيق للعناصر الرسمية. رسام مثالي ، ظلت الانطباعات البصرية القائمة على تفاعلات الألوان مصدر قلق رئيسي لفان ريسلبرغ. هنا ، حلت ضربات الألوان القصيرة محل النقاط الصغيرة ل Pointillist ، ونظام الألوان ليس هو نظام متجانس ومتناغم يتمتع الفنان بسمعة مستحقة عنه. بدلا من ذلك ، تقدم هذه الصورة نظرية الألوان بطريقة مختلفة تماما. يكمن اهتمامه البصري في التناقضات الديناميكية لكوافير زوجته الفضي ، وفستانها ذو اللون البلاتيني ، وعباءة المدفأة البيضاء الصارخة - وكلها تم تنظيمها داخل الحيوية البصرية للمحيط الذي تهيمن عليه الألوان الحمراء والخضراء التكميلية. إنه عرض محفز بصريا من قبل رسام فهم التأثير الديناميكي لنظام الألوان غير العادي هذا والذي رتب الحاضنة بلكنة قوية على قطري ونفذ الصيغة بحرفة ورشاقة رسام يتحكم بشكل كامل في أصوله الرسامة.

ثيو فان ريسلبرغ

لم يسد أي فنان الفجوة بين الحداثة الأوروبية والتعبيرية التجريدية الأمريكية كما فعل هانز هوفمان. السبب بسيط: لقد تدرب في الأكاديميات الباريسية قبل الحرب العالمية الأولى وكان ودودا مع هنري ماتيس وبابلو بيكاسو وجورج براك وروبرت وسونيا ديلوناي ، مما منحه مستوى من الإلمام بالحداثة الأوروبية لم يمتلكه أي تعبيري تجريدي آخر. يجمع Untitled (منظر لميناء بروفينستاون) بين عناصر من ذلك الوقت المبكر ، واللون غير المقيد ل Fauves في ممرات مصقولة على نطاق واسع مع وعد اللوحة الآلية لمدرسة نيويورك القادمة. إنه إيمائي للغاية ، يمزج بين زخارف وسرعة فرشاة راؤول دوفي مع إسقاط أكثر ذكورية وجرأة ، مما يشير إلى جذور لوحة الحركة.

هانز هوفمان

آندي وارهول - جوته - بالشاشة الحريرية بالألوان - 38 × 38 بوصة.

أندي وارهول

اشتهر آندي وارهول بافتتانه بالشهرة والمشاهير والرموز الثقافية ، وقد تجاوز أحيانا معاصريه ليشمل شخصيات تاريخية. من الأمور ذات الأهمية الخاصة ، أكدت نظريات جوته حول اللون على كيفية إدراك الألوان وتأثيرها النفسي ، على النقيض من الفهم السائد القائم على الفيزياء النيوتونية للون كظاهرة علمية. على الرغم من عدم وجود صلة مباشرة بأن نظرية الألوان لغوته ألهمت وارهول مباشرة لاختياره كموضوع ، إلا أنها تسلط الضوء موضوعيا على كيفية رؤيتنا لفن وارهول على أنه يتعامل مع التقاليد التاريخية ليرمز إلى الرابطة بين مجالاتهم وعصورهم. وبهذا المعنى، فإن العمل بمثابة تكريم وتعاون عابر للزمن، يربط لغة وارهول البصرية بوعي غوته بالألوان كعنصر قوي ومحفز في الإدراك.

أندي وارهول

رودولفو موراليس - بدون عنوان - زيت على قماش - 37 1/4 × 39 1/4 بوصة.

رودولفو موراليس

JESSIE ARMS BOTKE - طاووسان أبيضان - لوحة زيتية على لوح - 29 1/4 × 24 1/2 بوصة.

جيسي الاسلحه BOTKE

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

هاري بيرتويا

<div><font face=Calibri size=3 color=black>Art enthusiasts celebrate Harry Bertoia’s “Sonambient” sculptures for their ability to transcend the traditional boundaries of visual art. Rising 56 inches, this sculpture of sixteen tines, topped with cattail-like finials crafted from beryllium copper and aged to a unique patina, suggests a powdery effect reminiscent of cattails in their natural state. This richly mottled patina enhances its visual appeal and historical significance, reflecting the natural aging process that Bertoia, a naturalist, would have deeply admired. The large surface area of the finials allows the patina to express itself differently, adding texture and depth to the sculpture’s appearance. The effect gives the piece an organic quality, further connecting it to the natural world that inspired Bertoia.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>When activated by touch or the movement of air, the rods produce a continuous sound akin to an old church chime. This haunting, melodic tone transforms the sculpture from a static object into a dynamic auditory experience, evoking the serene and spiritual atmosphere of ancient places of worship. Bertoia always retained an awareness of the irony of using metal to produce the sounds of nature and organic forms. The sound resonates with a timeless quality, drawing listeners into a meditative state and highlighting the spiritual dimensions of Bertoia’s work.</font></div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 56-inch “Sonambient” sculpture exemplifies his belief in art as an immersive, evolving experience. It invites viewers to engage with it physically and emotionally, discovering new layers of beauty and meaning with each interaction. Through this piece, Bertoia continues to captivate and inspire, celebrating the profound connection between art, nature, and spirituality.</font></div>

هاري بيرتويا

أليكس كاتز - بيتر - زيت على لوح ماسونيت - 15 7/8 × 7 1/8 بوصة.

أليكس كاتز

أرماند غيلاومين - روكبرون ، لو ماتان - زيت على قماش - 25 × 31 1/4 بوصة.

أرماند غيومين

تمثل سلسلة علب حساء كامبل من آندي وارهول لحظة محورية في حياته المهنية وحركة فن البوب. أحدثت السلسلة ، التي تتكون من 32 لوحة ، تصور كل منها نكهة مختلفة ، ثورة في عالم الفن من خلال رفع السلع الاستهلاكية اليومية الدنيوية إلى مكانة الفن الرفيع. توظف طباعة الشاشة Pepper Pot من عام 1968 أسلوبه المميز من الألوان الزاهية والمسطحة والصور المتكررة ، وهي سمة من سمات الإنتاج الضخم والثقافة الاستهلاكية. تتوافق طباعة الشاشة ، وهي تقنية تجارية ، مع اهتمام وارهول بطمس الخطوط الفاصلة بين الفن الرفيع والفن التجاري ، وتحدي القيم والتصورات الفنية.

أندي وارهول

صور أنسل آدمز هي © صندوق حقوق النشر أنسل آدمز. مستنسخة بإذن.

أنسل آدامز

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div><br><br><div><font size=3> </font></div><br><br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

هاري بيرتويا

ANSEL ADAMS - القمر ونصف القبة، يوسمايت، كاليفورنيا - طباعة جيلاتينية فضية - مقاس 19 × 14 1/2 بوصة.

أنسل آدامز

MARY ABBOTT - بدون عنوان - زيت وعصا زيتية على ورق مثبت على قماش - 23 × 29 بوصة.

ماري أبوت

يحتل كارل بنيامين وأقرانه لورسر فيتلسون وفريدريك هامرسلي وجون ماكلولين مكانة مميزة في تاريخ الفن التجريدي الأمريكي. يشتهرون بأشكالهم الهندسية الدقيقة وحوافهم النظيفة التي تؤكد على التسطيح ، وهم رسامو كاليفورنيا الذين ظهروا في أواخر خمسينيات القرن العشرين. على عكس Ellsworth Kelly ، على سبيل المثال ، يعكس عملهم سطوعا ووضوحا ولوحة تشير إلى البيئة الطبيعية والمبنية في كاليفورنيا بدلا من التأثيرات الحضرية والصناعية التي يشعر بها الساحل الشرقي. علاوة على ذلك ، مقارنة بالمشهد الفني التنافسي على الساحل الشرقي ، كانت مجموعة كاليفورنيا مجتمعا صغيرا نسبيا ومتماسكا من الفنانين الذين لديهم شعور بالتعاون والاستكشاف المشترك الذي ساهم في حركة متماسكة ذات هوية مميزة.

كارل بنجامين

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971). Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

جيسي الاسلحه BOTKE

أندي وارهول -- قناع الساحل الشمالي الغربي -- screenprint في الألوان على لوحة متحف لينوكس -- 38 × 38 في.

أندي وارهول

روبرتو ماتا -- L'epreuve -- النفط على قماش -- 29 1 / 2 × 25 1 / 2 في.

روبرتو ماتا

بابلو بيكاسو - فام آسي في بيجاما دي بلاج - لينوكت - 21 1/2 × 17 بوصة.

بابلو بيكاسو

نائب رئيس أول

أندريا ويب بوست

أندريا ريكو دالين

مدير أول
جاكسون هول (وايومنغ)

[email protected]

ج: 913 306 4982

o: 307 200 6090

تحمل أندريا شهادة البكالوريوس في تاريخ الفن مع تخصص فرعي في الفنون الجميلة من جامعة بينغهامتون، بينغهامتون، نيويورك، وماجستير في الفن الحديث والخبرة في تاريخ سوق الفن من دار كريستيز للتعليم، نيويورك، نيويورك. وهي تتمتع بخبرة من خبرتها في كل من المتاحف ودور المزادات، حيث عملت في متحف نيلسون-أتكينز للفنون في مدينة كانساس سيتي ودار كريستيز في نيويورك.

منذ انضمامها إلى هيذر جيمس للفنون الجميلة في عام 2015، قامت أندريا بتأمين الشحنات وساعدت في بناء مجموعات خاصة ومتحفية بارزة مع فنانين مهمين، والتي تشمل كلود مونيه، ألفريد سيسلي، هنري ماتيس، إدغار ديغا، نورمان روكويل، أندرو ويث، إلين دي كونينغ، أندي وارهول، وتوم فيسيلمان.

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انضم إلينا في جولة فيديو في موقع معرض جاكسون هول، وايومنغ الذي يضم الفن لكلود مونيه، كاميل بيسارو، فريدا كاهلو، وإلين دي كونينغ، من بين آخرين كثيرين أكثر...

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كتالوجات

هيذر جيمس الفنون الجميلة – عنا

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الفيديو

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كتالوجات

ادوارد هوبر معرض التسويقي

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الفيديو

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الفيديو

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الفيديو

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خدمات

تقدم هيذر جيمس فأين أرت مجموعه واسعه من الخدمات المستندة إلى العملاء التي تلبي احتياجاتك الخاصة لجمع الفنون. يضم فريق العمليات لدينا معالجين فنيين محترفين وقسما كاملا للمسجلين وفريقا لوجستيا مع خبره واسعه في مجال النقل الفني والتركيب وأداره المجموعات. مع خدمه القفازات البيضاء والرعاية الشخصية ، فريقنا يذهب الميل الإضافي لضمان خدمات فنيه استثنائيه لعملاءنا.

التخطيط العقاري والضريبي

إدارة التحصيلات 

تصفيه

أداره اللوجستيات

تقييمات

الماليه

الموارد الاضافيه

 

  • الخدمات المنزلية
  • الخدمات-jessica1
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  • الخدمات-brian1
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  • تكييف
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تعرف علينا

الفن المميز

في 15 مايو 1886 ، ولد بيان مرئي لحركة فنية جديدة عندما تم الكشف عن إنجاز جورج سورات المتوج ، بعد ظهر يوم الأحد في جزيرة لا غراند جات في المعرض الانطباعي الثامن. يمكن ل Seurat المطالبة باللقب باعتباره "الانطباعي العلمي" الأصلي الذي يعمل بطريقة أصبحت تعرف باسم Pointillism أو Divisionism. ومع ذلك ، كان صديقه والمقرب ، بول سيناك البالغ من العمر 24 عاما وحوارهما المستمر هو الذي أدى إلى التعاون في فهم فيزياء الضوء واللون والأسلوب الذي ظهر. كان Signac رساما انطباعيا غير مدرب ، ولكنه موهوب للغاية ، وكان مزاجه مناسبا تماما للصرامة والانضباط المطلوبين لتحقيق أعمال الفرشاة والألوان الشاقة بشق الأنفس. استوعب Signac هذه التقنية بسرعة. كما شهد على رحلة سورات الشاقة التي استمرت عامين لبناء طبقات لا تعد ولا تحصى من النقاط الملونة غير الممزوجة على La Grande Jatte ذات الحجم الضخم. معا ، كان Signac ، المنفتح المتهور ، و Seurat ، الانطوائي السري ، على وشك تخريب مسار الانطباعية ، وتغيير مسار الفن الحديث.

بول سيجناك

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

جورجيا أوكيف

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

دييغو ريفيرا

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

جرانت وود

WILLEM دي كونينغ -- امرأة في زورق التجديف -- النفط على الورق وضعت على الماسونية -- 47 1 /2 × 36 1 / 4 في.

ويليم دي كونينغ

وفقا لسبب الكتالوج الذي جمعه متحف نهر برانديواين للفنون ، تم الانتهاء من الرسم الأولي لصيادي سمك القد البيوريتاني بواسطة N. C Wyeth قبل وفاته في أكتوبر 1945. يسجل الإدخال صورة للرسم بالإضافة إلى نقوش الفنان وعنوانه ، Puritan Cod Fishers ، الذي يصفه الكتالوج بأنه "بديل". في كلتا الحالتين ، فإن اللوحة القماشية واسعة النطاق هي عمل فريد من نوعه تذكر أندرو وايث لاحقا أنه تم رسمه بيده فقط ، وهو تعاون محدد لتصميم الأب وتكوينه أتى ثماره من خلال إعدام ابن رائع. بالنسبة لأندرو ، لا بد أنها كانت تجربة عاطفية وشعورية عميقة. نظرا لاهتمام والده بالتفاصيل والأصالة ، فإن خطوط المراكب الشراعية الصغيرة تمثل الكراث المستخدم خلال القرن السادس عشر. من ناحية أخرى ، من المحتمل أن يكون أندرو قد عمق ألوان البحر المضطرب أكثر مما قد يكون لدى والده ، وهو خيار يزيد بشكل مناسب من الطبيعة المحفوفة بالمخاطر للمهمة.

أندرو وايث & ن.C. وايث

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ألكسندر كالدر

N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.

N.C. WYETH

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

ألفريد سسيلي

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

إميل نولد

In 1955, Sir John Rothenstein, representing the Trustees of the Tate Museum, approached Winston Churchill about donating one of his paintings "as a gift to the nation." Churchill was flattered, but felt he did not deserve such an honor as an artist. Eventually, Churchill agreed and sent two candidate paintings to the Tate – On the Rance and Loup River. No record exists regarding his own thoughts on the works he submitted, but one can safely say that Churchill thought highly of On the Rance, especially since it was not one of the paintings Rothenstein identified as a strong option. Loup River, which clearly matched Rothenstein's taste, was selected. Not only was On the Rance not returned, but somehow it ended up, without any inventory record, in a basement storeroom at the Tate. In the storeroom it sat for almost a half century, when it was discovered by an intern. The Churchill family was notified and eventually the painting was auctioned in June 2005, where it set a new auction record for Churchill's work, despite the lot notes hardly touching on the Tate’s possible acquisition. In a letter to the buyers, Churchill’s daughter, Lady Soames, summarized what had occurred in somewhat more detail.<br><br>St. Malo is a walled city in Brittany, France on the coast of the English Channel. The city was nearly destroyed by bombings during WWII.

السير ونستون تشرشل

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ألكسندر كالدر

خلال أوائل سبعينيات القرن التاسع عشر ، رسم وينسلو هومر في كثير من الأحيان مشاهد من البلاد التي تعيش بالقرب من قرية صغيرة تشتهر لأجيال لمواقفها الرائعة من القمح ، وتقع بين نهر هدسون وكاتسكيلز في ولاية نيويورك. يشتهر هيرلي اليوم بإلهام أحد أعظم أعمال هوميروس ، Snap the Whip الذي رسمه صيف عام 1872. من بين العديد من اللوحات الأخرى المستوحاة من المنطقة ، فإن Girl Standing in the Wheatfield غنية بالمشاعر ، ولكنها ليست عاطفية للغاية. يتعلق الأمر مباشرة بدراسة رسمت عام 1866 في فرنسا بعنوان ، في حقول القمح ، وأخرى رسمت في العام التالي بعد عودته إلى أمريكا. لكن هوميروس كان بلا شك أكثر فخرا بهذا. إنها صورة ، ودراسة أزياء ، ولوحة من النوع في التقليد العظيم للرسم الرعوي الأوروبي ، وجولة ذات إضاءة خلفية دراماتيكية ، وجولة في الغلاف الجوي غارقة في ضوء الساعة الكئيب الذي يتلاشى بسرعة والمدعوم بنوتات لامب ومنمقة ولمسات سنبلة القمح. في عام 1874 ، أرسل هوميروس أربع لوحات إلى معرض الأكاديمية الوطنية للتصميم. واحد كان بعنوان "فتاة". قد لا يكون هذا؟

وينسلو هومر

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.  

توم ويسلمان

في عام 1945 ، مع انتهاء الحرب وتعرض تشرشل لهزيمة مفاجئة في الانتخابات العامة ، قبل دعوة من المشير السير هارولد ألكسندر للانضمام إليه في فيلته الإيطالية على شاطئ بحيرة كومو. استمتع تشرشل بكرم ضيافة مضيفه وركز انتباهه وطاقته على التقاط المنطقة على القماش. أنتج خمسة عشر لوحة ، والتي تجسد كيف استحوذت اللوحة على انتباهه وقدمت إكسيرا ساعده على إعادة الشحن. ظهرت هذه اللوحة الأيقونية في مقال نشر في يناير 1946 في LIFE ، وتم اختيارها كتوضيح ملون في طبعات متعددة من كتاب تشرشل ، اللوحات كهواية.

السير ونستون تشرشل

السير ونستون تشرشل

السير ونستون تشرشل

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

شون سكولي

لا يمكن احتواء عالم مارك شاغال أو تقييده بالتسميات التي نعلقها عليه. إنه عالم من الصور والمعاني التي تشكل خطابها الصوفي الرائع. بدأ Les Mariés sous le baldaquin (العروس والعريس تحت المظلة) مع دخول الفنان عامه ال 90 ، وهو رجل عرف المأساة والصراع ، لكنه لم ينس أبدا لحظات الحياة من المتعة الحماسية. هنا ، يتم إحضار المسرات الحالمة لحفل زفاف القرية الروسية بترتيباته من الحاضرين البالية إلينا بمثل هذا الذكاء السعيد والبراءة المبهجة التي لا تقاوم سحرها. باستخدام مستحلب ذهبي اللون يجمع بين الزيت والغواش المائي غير الشفاف ، يتم تغليف الدفء والسعادة والتفاؤل لوضعية شاغال المعتادة في إشراق مضيء يشير إلى تأثير الرموز الدينية ذات الأوراق الذهبية أو لوحة عصر النهضة المبكرة التي سعت إلى نقل انطباع النور الإلهي أو التنوير الروحي. قد يكون استخدام مزيج من الزيت والغواش أمرا صعبا. ولكن هنا ، في Les Mariés sous le baldaquin ، يوظفها شاغال لإعطاء المشهد جودة من عالم آخر ، كما لو أنه قد تحقق للتو من عين عقله. تخلق حساسيتها التركيبية انطباعا بأن الضوء ينبعث من العمل نفسه ويعطي جودة طيفية للشخصيات التي تطفو في السماء.

مارك شاغال

Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit.

مارسدن هارتلي

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

توم ويسلمان

السير ونستون تشرشل

ليس من الصعب فهم كيف جاء ترتيب روبرت إنديانا الرائع المكون من صفين من أربعة أحرف للمساعدة في تمكين حركة خلال ستينيات القرن العشرين. نشأ أصله من التعرض العميق للدين ومن صديقه ومعلمه إلسورث كيلي ، الذي ترك أسلوبه ذو الحواف الصلبة ولونه الحسي غير المميز انطباعا دائما. ولكن كما صرخت إنديانا ، كانت لحظة كيسميت التي حدثت للتو عندما "الحب عضني!" وجاء التصميم له حادا ومركزا. إنديانا ، بالطبع ، وضعت التصميم من خلال العديد من الخطوات ، ثم بدأ الشعار في الظهور في كل مكان. الرسالة ، التي تم نقلها بشكل أفضل في النحت ، تقف في مدن في جميع أنحاء العالم وترجمت إلى عدة لغات ، ليس أقلها تكرارها الإيطالي ، "Amor" مع "O" المائل أيضا إلى اليمين. ولكن بدلا من الركل من قدم الحرف "L" ، يضفي هذا الإصدار تأثيرا متأرجحا بشكل جميل على الحرف "A" أعلاه. إنه يعطي انطباعا جديدا ، ولكن ليس أقل عمقا ، عن الحب وطبيعته المشحونة عاطفيا. في كلتا الحالتين ، يضفي حرف "O" المائل للحب عدم الاستقرار على تصميم مستقر بخلاف ذلك ، وهو إسقاط عميق لنقد إنديانا الضمني ل "العاطفة الجوفاء في كثير من الأحيان المرتبطة بالكلمة ، مما يشير مجازيا إلى الشوق وخيبة الأمل بلا مقابل بدلا من المودة السكرية" (روبرت إنديانا الأفضل: معرض استعادي مصغر ، نيويورك تايمز ، 24 مايو 2018). التكرار ، بالطبع له عادة سيئة تتمثل في تثبيط تقديرنا لعبقرية البساطة والتصميم الرائد. في وقت متأخر من الحياة ، أعربت إنديانا عن أسفها لأنها "كانت فكرة رائعة ، ولكنها أيضا خطأ فادح. أصبحت شعبية جدا. وهناك أشخاص لا يحبون الشعبية". لكننا نحن سكان عالم محفوف بالانقسام ومحاصر في الاضطرابات، شكرا لكم. "الحب" ونسخه العديدة هي تذكير قوي بقدرتنا على الحب ، وهذا هو أفضل أمل أبدي لنا في مستقبل أفضل.

روبرت إنديانا

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

لاري ريفرز

Uniquely among Winston Churchill’s known work, “Coastal Town on the Riviera” is in fact a double painting with the landscape on one side and an oil sketch on the other. The portrait sketch bears some resemblance to Viscountess Castlerosse who was a frequent guest in the same Rivera estates where Churchill visited. Churchill painted her in C 517 and C 518 and gives us a larger picture of the people who inhabited his world. <br><br>Of his approximately 550 works, the largest portion (about 150) were of the South of France, where Churchill could indulge in both the array of colors to apply to his canvas and in gambling, given the proximity of Monte Carlo.

السير ونستون تشرشل

تعد صورة Théo van Rysselberghe Portrait de Sylvie Lacombe ، التي رسمت في عام 1906 ، تحفة كلاسيكية من قبل أحد أكثر رسامي الصور دقة واتساقا في عصره. اللون متناغم ، والفرشاة قوية ومصممة خصيصا لمهمتها المادية ، وجسدها ووجهها حقيقي وكاشف. الحاضنة هي ابنة صديقه العزيز ، الرسام جورج لاكومب ، الذي شارك في ارتباط وثيق مع غوغان ، وكان عضوا في Les Nabis مع الفنانين Bonnard و Denis و Vuillard ، من بين آخرين. نحن نعرف الآن عن سيلفي لاكومب لأن فان ريسلبرغ ماهرة جدا في تقديم تعبيرات الوجه الدقيقة ومن خلال الملاحظة الدقيقة والاهتمام بالتفاصيل ، قدمت رؤى حول عالمها الداخلي. لقد اختار نظرة مباشرة ، عينيها إلى عينيك ، عهدا لا مفر منه بين الموضوع والمشاهد بغض النظر عن علاقتنا الجسدية باللوحة. تخلى فان ريسلبرغ إلى حد كبير عن تقنية Pointillist عندما رسم هذه الصورة. لكنه استمر في تطبيق إرشادات نظرية الألوان باستخدام صبغات من اللون الأحمر - الوردي والماوفي - ضد اللون الأخضر لإنشاء لوحة محسنة متناغمة من الألوان التكميلية التي أضاف إليها لهجة قوية لجذب العين - قوس أحمر مشبع بشكل مكثف تم وضعه بشكل غير متماثل على جانب رأسها.

ثيو فان ريسلبرغ

سالومون فان RUYSDAEL - المناظر الطبيعية الكثبان الرملية مع شخصيات يستريح وزوجين على ظهور الخيل، وجهة نظر من كاتدرائية نيميغن وراء - النفط على قماش - 26 1/2 × 41 1/2 في.

سالومون فان رويسدايل

JAN JOSEPHSZOON فان GOYEN - المناظر الطبيعية النهر مع طاحونة وكنيسة - النفط على لوحة - 22 1/2 × 31 3/4 في.

يان جوزيفسون فان غوين

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