بالم ديزرت

المعارضالأعمال الفنية على العرضأخبار ذات صلةالخدمات

  • HJPD-2020-2
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يتميز معرضنا في بالم ديزرت بموقع مركزي في منطقه بالم سبرينغز في كاليفورنيا ، بجوار منطقه التسوق وتناول الطعام الشهيرة في ال باسيو. ويقدر عملاؤنا اختيارنا للفن الحديث والمعاصر وما بعد الحرب. الطقس رائع خلال أشهر الشتاء يجذب الزوار من جميع انحاء العالم لرؤية الصحراء الجميلة لدينا ، والتوقف عن طريق معرضنا. المناظر الطبيعية الصحراوية الجبلية خارج يوفر خلفيه مثاليه المناظر الخلابة لوليمة البصرية التي تنتظر في الداخل.

45188 شارع بورتولا
بالم ديزرت, كاليفورنيا 92260
346-8926 (760)

ساعات العمل:
من الاثنين إلى السبت: 9 صباحاً - 5 مساءً

المعارض

عرض الكل

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الحاليه

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[كاليكلينينس]
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[كاليكلينينس]

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ألكسندر كالدر
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ألكسندر كالدر

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أسياد كاليفورنيا الانطباعية
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تصويري التجريد: مجالات AbEx
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تصويري التجريد: مجالات AbEx

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أسياد الانطباعية والفن الحديث
ارشيف

أسياد الانطباعية والفن الحديث

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بيكاسو
ارشيف

بيكاسو

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العمل الفني على العرض

عرض الكل

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

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

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

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

<div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div>

بيير أوغست رينوار

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

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

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

السير ونستون تشرشل

<div>Still lifes like<em> Oranges and Lemons (C 455) </em>give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted <em>Oranges and Lemons</em> at La Pausa. Churchill would often frequent La Pausa as the guest of his literary agent, Emery Reves and his wife, Wendy.  Reves purchased the home from Coco Chanel.  While other members of the Churchill family did not share his enthusiasm, Churchill and his daughter Sarah loved the place, which Churchill affectionately called “LaPausaland”.  To avoid painting outside on a chilly January morning, Wendy Reves arranged the fruit for Churchill to paint. Surrounded by the Reves’s superb collection of Impressionist and Post-Impressionist works, including a number of paintings by Paul Cézanne, Oranges and Lemons illuminates Churchill’s relationships and the influence of Cézanne, who he admired. The painting, like Churchill, has lived a colorful life, exhibited at both the 1959 Royal Academy of Art exhibition of his paintings and the 1965 New York World’s Fair.</div>

السير ونستون تشرشل

جوليان شنابل - بدون عنوان - زيت وشمع على قماش القنب - 120 × 96 بوصة.

جوليان شنابل

<div><font face=Calibri size=3 color=black>Fernando Botero's legendary ascension as an international sensation began when Museum of Modern Art curator Dorothy Miller stumbled upon his Greenwich Village studio in 1961 and purchased "<em>Mona Lisa, Age Twelve</em>." His trademark portly figures and playful, lighthearted humor became known as "Boterismo." More importantly, the art leaving his easel revealed an unbridled respect for the Old Masters, the compelling chiaroscuro of a Zurbarán still life, the sfumato of da Vinci, and always the craftsmanship of van Eyck, Dürer, or Rubens. Botero continues that thread of technical mastery with "<em>L'Atelier de Sánchez Cotán</em>" even as he reshapes these classical themes through his unique lens. A mixed media collage and oil on canvas, the work pays homage to the Spanish Baroque still life painter Juan Sánchez Cotán by subverting and modernizing the traditional still life genre. Botero captures Cotán's hyperrealism with a surreal, almost whimsical aesthetic. An oversized apple suspended on a string dominates the composition, a nod to Cotán's meticulously arranged still life paintings, known for the striking suspended effect of fruit or vegetables. Botero's rendition, however, imbues the scene with a sense of playfulness and detachment from reality, as seen in the box-like contraption, resembling a stage or a viewing device containing miniature versions of objects within the painting. The stark, flat backdrop, devoid of Cotán's characteristic chiaroscuro, accentuates the sense of artifice.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Fernando Botero's death on September 15, 2023, was a significant loss for the art world. Although his roots are deeply Colombian, his appeal is global, coupling commercial success with critical acclaim—a balance few artists have achieved. Works such as “<em>L'Atelier de Sánchez Cotán</em>” are not just whimsical or aesthetic; they prompt the viewer to appreciate the enduring dialogue between tradition and innovation, showcasing an artist of great technical finesse and mastery.</font></div>

فرناندو بوتيرو

رسمها الفنان الشاب غرانت وود بعد فترة وجيزة من الجولة الثانية من الجولات الأوروبية الثلاث التي قام بها خلال عشرينيات القرن العشرين، وهي امتداد لاهتمام الفنان بالرسم في الهواء الطلق الذي بدأه في شمال فرنسا. وقد استهوى وود فن التنقيط عند سورا، واستحوذت عليه لوحة سكين اللوحة في عام 1925. إلا أنه لم يكن قد سافر بعد إلى ميونيخ حيث وقع في عام 1928 تحت تأثير رسامي عصر النهضة الشمالية، مما أثار اهتمامه بالحدة التركيبية والتقنية التفصيلية المرتبطة بأعماله الناضجة. أنتج وود لوحة "الفنان الشاب" بسرعة وحسم من على قمة تل في حديقة كينوود بارك المطلة على وادي نهر سيدار بالقرب من سيدار رابيدز حيث بنى منزلاً لأخته نان.

جرانت وود

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

بيير بونارد - أريكة سولاي - زيت على قماش - 14 1/2 × 22 1/2 بوصة.

بيير بونارد

<div><font face=Calibri size=3 color=black>Born in 1982, French native and Brooklyn-based artist Julie Curtiss is celebrated for her beguiling paintings that reimagine a surrealist's conceptual and aesthetic principles for the contemporary era. Her work draws heavily on the Surrealist fascination with Freudian psychology and the subconscious, themes championed by figures like André Breton and Louis Aragon. By blending these Surrealist influences with the dreamlike, graphic qualities reminiscent of the Chicago Imagists, Curtiss creates a visual language that is both referential and distinctly hers. Her imagery often focuses on deconstructing the female form and symbolically representing stereotypical feminine aesthetics, echoing the work of early 20th-century female Surrealists who used dreamlike settings and humor to explore and critique the female experience.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“D'apres l'Olympia”</em> epitomizes Curtiss's painterly approach to 21st-century sexuality, combining a distinctive yet referential visual lexicon that has earned her international acclaim. By destabilizing the art historical trope of the female nude and reinterpreting Manet's iconic painting of the same name, Curtiss melds elements of French modernism with the graphic sensibilities she developed after moving to Tokyo in 2006, where she honed her signature comic book-like aesthetic. The large red shoes—a striking departure from Manet's original—introduce a sense of humor, simultaneously evoking pop-cultural references while critiquing stereotypical femininity. These oversized, vivid shoes might symbolize the exaggerated expectations placed upon women or serve as a playful nod to the absurdity of societal norms. While her admiration for Manet is evident, it is Curtiss's ability to merge these historical references with contemporary concerns and aesthetics that makes<em> “D'apres l'Olympia”</em> a powerful commentary on the evolving nature of female.</font></div>

جولي كورتيس

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

كاميل كلوديل

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

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

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

إلين دي كونينغ

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

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

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

ميل راموس

عشب ALPERT - أروهيد - البرونزية - 201 × 48 × 48 في.

عشب البير

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

ابتكر فرانسيسكو زونيغا النحت عندما كان صبيا عندما ساعد والده ، وهو نحات محلي من سانتوس الخشبي. تحول بشكل حاسم إلى النحت بعد وصوله إلى المكسيك من موطنه كوستاريكا في عام 1936 وطور مجموعة واسعة النطاق من الأعمال بناء على الشكل الذي امتد إلى النحت المباشر في الخشب ، والنمذجة في الطين ، والنحت مباشرة على الحجر الصلب ، وصب البرونز. "Desnundo Reclinado de Dolores" هو خروج من حيث أنه لا يعكس اهتمامه بفن ما قبل كولومبوس ولا إصراره على تصوير النساء ذوات المظهر الأصلي مع الوركين والمعدة المبالغ فيها. بدلا من ذلك ، إنه أداء جولة على الطراز الكلاسيكي لأنثى راكعة تدور حول الورك ومدعومة بالساعد والتي كان رودين فخورا بالمطالبة بها على أنها ملكه.

فرانسيسكو زونيغا

في "Nude Descending a Staircase No. 2" ، يتشابك ميل راموس بشكل هزلي بين إرث تحفة مارسيل دوشامب الحداثية مع الجماليات النابضة بالحياة لفن البوب ، مما يصوغ إعادة تفسير ذكية ومحفزة بصريا. من خلال الجمع بين حركة دوشامب التجريدية وأسلوبه المميز ، يخلق راموس حوارا ديناميكيا بين التقاليد الموقرة للفنون الجميلة والصفات الرسومية الجريئة للصور التجارية. يجسد هذا العمل مهارة راموس في التنقل في تاريخ الفن والثقافة المعاصرة ، باستخدام جاذبية العري الأنثوي لاستكشاف الهواجس المجتمعية بالجمال والرغبة والتسليع والسخرية منها. وبذلك، تصبح قطعة راموس مزيجا مثاليا من فن البوب، حيث تستمتع بارتباطها المرح مع دوشامب بينما تنتقد وتحتفل في الوقت نفسه بالثقافة البصرية في وقتها.

ميل راموس

كاميل بيسارو - Paysage avec batteuse a Montfoucault - باستيل على ورق موضوع على متن الطائرة - 10 3/8 × 14 3/4 بوصة.

كاميل بيسارو

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

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

هاري بيرتويا

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

جون تشامبرلين

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ألكسندر كالدر

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

من بين العديد من الطوطم الروحية البرونزية التي صنعها هيرب ألبرت ، والطوطم الروحية ذات اللون الأسود الحريري ، فإن القليل منها لديه شعور ذكوري مميز للمحارب. يعلوه تاج تنازلي مسنن يمكن أن يشير بسهولة إلى قمة طائر جارح مثل غطاء رأس زعيم هندي في السهول ، ولقب "المحارب" هو وصف مناسب يعالج سمات القوة والشجاعة والروح غير القابلة للكسر من بين أمور أخرى. مثل الكثير من أعمال هنري مور ، تعتمد هذه الجمعيات ، جزئيا ، على الفضاء السلبي لخلق الانطباع الديناميكي والقوي الذي يصنعه هذا التمثال الهائل.

عشب البير

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

دونالد جود

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

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

كيث هارينغ

<div><font face=Calibri size=3 color=black>Richard Prince's "<em>Untitled</em>" from 2009 is a provocative and multilayered piece that engages with the themes of censorship, appropriation, and the boundaries of art. Prince uses a photographic montage of naked, intertwined bodies—imagery that evokes the explicit nature of an orgy and obscures its tawdry nature with a pattern of pink, egg-shaped acrylic elements covering much of the underlying image. The placement of these shapes is seemingly arbitrary, yet they play a crucial role in how the viewer perceives the piece. This obscuring overlay can be interpreted as a visual metaphor for censorship, alluding to how society imposes restrictions on what is deemed acceptable for public consumption. By covering parts of the bodies, Prince draws attention to the act of censorship itself rather than merely the content being censored. The viewer is left to imagine what lies beneath, heightening the sense of curiosity and the taboo.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Prince's work often critiques mass media and the commercialization of culture, and this piece is no exception. By altering found images, he questions the ownership and authorship of visual culture. The "censorship" elements in this work might also reference the commodification of sex and how the media sanitizes or obscures the raw, human aspects of such imagery to make it more palatable for the public.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In "<em>Untitled</em>," Prince challenges viewers to confront their perceptions of morality, art, and the power dynamics inherent in censorship. The work serves as a commentary on how images are manipulated and controlled in society, pushing the boundaries of what is considered art and what is considered obscene. Through this layered approach, Prince continues his exploration of the intersections between art, culture, and societal norms.</font></div>

ريتشارد برنس

"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

كان مانويل نيري شخصية محورية في الحركة التصويرية لمنطقة الخليج في الستينيات. بدلا من الأشكال المجردة، أكدت المجموعة العاطفة من خلال قوة الشكل البشري. يستكشف العمل الحالي، "بدون عنوان" (1982)، الشكل الأنثوي على نطاق بحجم الحياة. فضل نيري العمل مع عارضة أزياء واحدة فقط طوال حياته المهنية التي استمرت 60 عاما، ماريا جوليا كليمينكو. غياب وجه في العديد من المنحوتات يضيف عنصر الغموض والغموض. محور التكوين في "بدون عنوان" هو هيكل وشكل الشكل. مانويل نيري ممثل في العديد من مجموعات المتاحف في جميع أنحاء العالم، بما في ذلك معرض أديسون / أكاديمية فيليبس. مجموعة أندرسون في جامعة ستانفورد؛ معهد الفنون في شيكاغو؛ مركز كانتور للفنون، جامعة ستانفورد؛ متحف سينسيناتي للفنون; متحف كروكر للفنون، ساكرامنتو، كاليفورنيا؛ متحف دنفر للفنون، متحف إل باسو للفنون، تكساس؛ متاحف الفنون الجميلة في سان فرانسيسكو; متاحف الفنون بجامعة هارفارد; متحف هيرشهورن وحديقة النحت، واشنطن، .C. متحف هونولولو للفنون، ومتحف متروبوليتان للفنون، نيويورك، والمعرض الوطني للفنون، واشنطن العاصمة.

مانويل نيري

ابنة النحات البسيط توني سميث، لا يقتصر فن كيكي على وسيط واحد أو تقنية واحدة، وغالباً ما تدعو أعمالها إلى تفسيرات متعددة. يجسد كلوب شكل وأبعاد الساق البشرية، العنصر الأساسي للحركة والثبات. ويدعو عنوان سميث المشاهد إلى إعادة تخيل الساق كسلاح والنظر في هشاشة الحالة الإنسانية، وديناميكيات القوة في استقلالية الجسد، والتفاعل المعقد بين القوة والضعف. ينقل هذا التحويل لجزء من الجسد إلى غرض الحماية والعدوان في آنٍ واحد ويعكس كيفية تنقل الأجساد الخاصة بالجنسين في بيئتنا الاجتماعية والشخصية. يجسد كلوب قدرة سميث على ابتكار أعمال غنية بالرمزية ومفتوحة للتأويل ومثيرة للتفكير في التجربة الإنسانية.

كيكي سميث

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

عندما يستلقي الحصان ، فذلك لأنه يشعر بالأمان ، وهو ، بالنسبة لديبورا باترفيلد ، طريقة للقول إنه لا بأس في جعل أنفسنا عرضة للخطر. "الصدى" ، الذي تم بناؤه بطرق تحترم مهاراتها في البحث عن الطعام وقدرتها على لحام الأعمال المعدنية ، لا يلتزم بالتصوير التقليدي للحصان ولكنه يكشف بدلا من ذلك عن شيء من طبيعته الأساسية. مصنوعة من صفائح فولاذية مجمعة معا ، بعضها متموج ، والبعض الآخر مطوي أو مجعد ، وهي قطعة تحمل علامة الزمن ، وعمرها إلى الزنجار البني الصدأ ، والعيوب التي يتم الاحتفال بها بدلا من إخفائها. يضيف اختيار باترفيلد المتعمد للمواد ومعالجتها عمقا وشخصية ، ويحول Untitled ، Echo إلى أكثر من مجرد تمثيل للخيول - إنه يعكس الجمال القوي ومرونة الذي يمثله.

ديبورا باترفيلد

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

ماريا بلانشارد

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

ماريا بلانشارد

بدأت أعمال مانويل نيري الورقية المبكرة في تقنية النحت ، ويعكس نهجه في رسم منحوتاته مشاركته العميقة مع الإمكانات التعبيرية للون والشكل. يخلق اختيار الألوان ووضعها في Hombre Colorado II استجابة عميقة بشكل خاص تعكس فهمه الدقيق للبعد النفسي والعاطفي للون. يعكس Hombre Colorado II ، الذي تم تصوره وإنتاجه في عام 1958 ، وقتا انخرط فيه نيري وزوجته جوان براون في تبادل فني غني للإبداع وساهما بشكل كبير في تطور أساليبهما والحركة التصويرية لمنطقة الخليج ، حيث لعبوا أدوارا حيوية.

مانويل نيري

"حلم داخل حلم" هي سلسلة مهمة من اللوحات والشاشات الحريرية التي رسمها ريان ماكجينيس والتي أخذت اسمها من قصيدة شهيرة لإدجار آلان بو. يستكشف مكغينيس موضوعات الإدراك والواقع والعقل الباطن، ويدمج مجموعة متنوعة من الرموز والزخارف، بما في ذلك الأشكال الهندسية والعناصر النباتية والزخارف التصويرية، والتي يرتبها في أنماط معقدة تبدو وكأنها تتبدل وتتحول أمام أعين المشاهد. يوحي العنوان بشعور من الغموض وعدم اليقين، مما يعكس الطبيعة المراوغة للواقع ونوعية الهروب من التجربة الإنسانية. من خلال الانخراط في موضوعات الإدراك والوهم يشجع ماكجينيس المشاهدين على التشكيك في افتراضاتهم حول العالم والنظر في إمكانية أن يكون الواقع أكثر مرونة وذاتية مما يبدو عليه.

رايان ماكجينيس

ديبورا باترفيلد هو نحات أمريكي ، اشتهر بمنحوتاتها من الخيول المصنوعة من الأشياء التي تتراوح بين الخشب والمعادن وغيرها من الأشياء التي عثر عليها. قطعه 1981 ، بدون عنوان (الحصان) ، وتتالف من العصي والورق علي المحرك الأسلاك. النطاق المثير للإعجاب لهذه القطعة يخلق تاثيرا ملحوظا في الشخص ، ويقدم مثالا صارخا علي موضوع باترفيلد الشهير. إنشات باترفيلد أصلا الخيول من الخشب والمواد الأخرى الموجودة في ممتلكاتها في بوزيمان ، مونتانا ورايت الخيول كصوره مجازيه ذاتية ، وتعدين الصدى العاطفي لهذه الاشكال.

ديبورا باترفيلد

قام جوزيف ستيلا ، الذي شكله موطنه إيطاليا واعتمد أمريكا ، بالتحقيق في مجموعة غير عادية من الأساليب والوسائط في الأعمال الفنية ذات التنوع والأصالة المذهلين. في عام 1911 ، ركب ستيلا الموجة الطليعية من الاتجاهات الفوفية والتكعيبية والمستقبلية ، لكنه كان الحداثي الأمريكي الوحيد الذي عاش يوما بعد يوم مع الأساتذة الإيطاليين القدامى. وضع والتعامل مع "مستلق عارية" يتعلق بسلسلة من الأعمال ستيلا رسمت خلال عشرينيات القرن العشرين تصور النساء مغر من مصادر أسطورية أو خيالية مثل "ليدا والبجعة" وأوندين ، حورية مائية جميلة من حكاية خرافية ألمانية رومانسية شهيرة في القرن 19. تم تصويره بدلا من ذلك بدون صور نباتية أو رمزية ، مستلق عارية ، رسمت في ثلاثينيات القرن العشرين ، يعكس بشكل أكثر ملاءمة ذلك الوقت الرصين.

جوزيف ستيلا

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

عشب ألبرت - مستوحى - برونزي - 100 × 20 × 12 بوصة.

عشب البير

خلال أواخر تسعينيات القرن العشرين ، بدأ مانويل نيري لتحويل العديد من المنحوتات الجصية إلى البرونز ، وكثيرا ما يعود إلى الأعمال السابقة لإنتاج عمليات تسليم متخيلة حديثا لكل قطعة. تستكشف هذه السلسلة ، التي لا يمكن تمييزها تقريبا في الشكل وتفاصيل السطح ، تأثير أنظمة الألوان المختلفة وصنع العلامات التي تتضمن إجراءات مختلفة ، بما في ذلك مواد الشق بالفرشاة أو الكشط أو الطبقات. من خلال تجربة تقنيات الوسم المختلفة ، يمكن لنيري استكشاف التفاعل بين الشكل واللون والملمس والضوء. في سياق الشكل الدائم رقم 3 ، قصر نيري لوحته على نظام ألوان مماثل ، مما أدى إلى ترقق الطلاء لإنشاء تدرجات دقيقة تعزز المظهر الخارجي الأنيق والمكرر للنحت.

مانويل نيري

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

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

أليكس كاتز

A veteran of the battle of Verdun, Fernand Leger witnessed the horror and staggering loss of over 1 Million of his fellow countrymen during World War I. This horrific experience of fighting in the trenches of Europe left an indelible mark on the artist. The modern and mechanized aspects of this new form of warfare, with tanks, modern artillery, and gruesome tactics, inspired Leger to create some of his greatest masterpieces. <br><br>The Present drawing, executed in 1930, is a relic from the decade following the First World War. Untitled (1930) was purchased from the Katherine Kuh galley in Chicago- and has been impeccably preserved by the family of the original purchaser. It is exceedingly rare to find drawings like Untitled outside of Museum collections.

فرناند ليجر

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

الصينية

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

الصينية

مارك كوين - Lovebomb - صفح الصورة على الألومنيوم - 108 1/4 × 71 3/4 × 37 3/4 بوصة.

مارك كوين

وليام WENDT -- لاغونا هيلز -- النفط على قماش -- 25 × 30 في.

ويليام ويندت

<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

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

جورج ريكي

ليون أوغستين لارميت - LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - باستيل على ورق موضوع على قماش - 17 1/2 × 13 3/4 بوصة.

ليون أوغستين إيرميت

<div><font face=Calibri size=3 color=black>In 1853, a twenty-three-year-old Bierstadt commenced study at the Düsseldorf Academy, the school primarily responsible for shaping the technical precision and atmospheric depth of the preeminent American landscape painters of the second half of the 19th century. Four years later, in the company of fellow artist Sanford Robinson Gifford, he painted <em>“Capri.”</em> Inscribed with the title and dated “June 11, 1857,” it is a striking example of the young artist’s early mastery, painted just two years before his watershed campaign in 1859 in the company of Frederick W. Lander, a land surveyor for the United States government. It is a fully realized study emphasizing the precision, detailed observation, and careful glazing technique indicative of the academic tradition of gradually building up the surface. He would begin with a detailed drawing, followed by monochromatic underpainting and successive layers of thin, transparent color glazes that achieve depth and luminosity in the translucent hues of the seawater rarely matched in the annals of landscape painting. <em>“Capri”</em> is a lovely achievement that foreshadows the drama and grandeur that would define Bierstadt’s later work, illustrating how his time in Italy helped shape his approach to landscape painting.</font></div>

ألبرت بيرشتات

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

الصينية

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

ماري أبوت

إدغار ألوين باين - قوارب البندقية في سوتو مارينو - زيت على لوحة - 23 3/8 × 26 1/4 بوصة.

إدغار ألوين باين

جوانا بوسيت دارت - بدون عنوان (دراسة الصحراء الحمراء) - أكريليك على لوح خشبي - 33 1/2 × 42 × 3/4 بوصة.

جوانا بوسيت-دارت

سيث كوفمان - Lignum Spire - برونزي مع زنجار أخضر - 103 1/2 × 22 × 17 بوصة.

سيث كوفمان

فرانسيسكو توليدو - بدون عنوان - وسائل الإعلام المختلطة على الورق - 8 × 10 1/4 في.

فرانسيسكو توليدو

الذكاء الاصطناعي WEIWEI - "حكاية" الكراسي - الخشب - 49 × 45 × 17 1/2 في.

الذكاء الاصطناعي ويوي

هنري ماتيس

LOUISE NEVELSON - سلسلة كندا - زجاج شبكي مع مثبتات معدنية - 44 1/4 × 31 × 11 1/2 بوصة.

لويز نيفيلسون

Provenance: <br>Heather James, CA<br>Private collection, NV (acquired from above May, 2000)

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اضغط

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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
  • Svc_hirst
  • الخدمات-brian1
  • Svc_Warhol
  • تكييف
  • Svc_kapoor

تعرف علينا

الفن المميز

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

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show, "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York. <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier. <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

غيرهارد ريختر

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

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

<div>Painted from an unusually high vantage, “Riviera Coast Scene” vividly conveys the formidable distance and breadth of the scene from the perch where he set his easel.  Interestingly, Paul Rafferty did not include this painting in his book Winston Churchill: Painting on the French Riviera, believing it could likely be a scene from the Italian Lake District, where Churchill also painted in the same time period.  Paintings by Churchill can function as a glimpse into his extensive travels and his colorful life. Churchill most likely painted “Riviera Coast Scene” during a holiday at Chateau de l’Horizon, home of Maxine Elliot, a friend of his mother. Elliot, originally from Rockland, Maine, was a successful actress and socialite.  Within this painting, we see the influence of the Impressionists who utilized unusual viewpoints, modeled after Japanese woodblock prints, but also evidence of their attempts to push the boundaries of the landscape genre.</div>

السير ونستون تشرشل

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

السير ونستون تشرشل

<div>Still lifes like<em> Oranges and Lemons (C 455) </em>give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted <em>Oranges and Lemons</em> at La Pausa. Churchill would often frequent La Pausa as the guest of his literary agent, Emery Reves and his wife, Wendy.  Reves purchased the home from Coco Chanel.  While other members of the Churchill family did not share his enthusiasm, Churchill and his daughter Sarah loved the place, which Churchill affectionately called “LaPausaland”.  To avoid painting outside on a chilly January morning, Wendy Reves arranged the fruit for Churchill to paint. Surrounded by the Reves’s superb collection of Impressionist and Post-Impressionist works, including a number of paintings by Paul Cézanne, Oranges and Lemons illuminates Churchill’s relationships and the influence of Cézanne, who he admired. The painting, like Churchill, has lived a colorful life, exhibited at both the 1959 Royal Academy of Art exhibition of his paintings and the 1965 New York World’s Fair.</div>

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

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.

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