العودة

هانس [هوفّمنّ][نبسب](1880-1966)

الفنان بيو الاستفسار
 
<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>
<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>
بعل194759 3/8 × 47 1/4 بوصة.(150.81 × 120.02 سم) لوحة زيتية على قماش
الاصل
معرض أندريه إيميريتش، نيويورك
تركة هانز هوفمان
أميرينجر ويوهي للفنون الجميلة، نيويورك
مجموعة خاصة، نيو جيرسي
معرض
نيويورك، نيويورك، معرض بيتي بارسونز، معرض هانز هوفمان: الأعمال الحديثة، 24 مارس - 12 أبريل 1947، باسم فينيكس الثالث
سانت بول، مينيسوتا، معرض ولاية مينيسوتا، باسم فينيكس الثالث، 1947
باريس، غاليري مايجت، هانز هوفمان، لوحات فنية، 7 يناير - 9 فبراير، 1949
نيويورك، نيويورك، معرض أندريه إيمريتش، معرض أندريه إيمريتش، هانز هوفمان: سنوات ما بعد الحرب: 1945 - 1949، 12 يناير - 18 فبراير 1989
نيو يو... اكثر...rk، نيويورك، أميرينجر يوهي، هانز هوفمان: اللاوعي بلا خجل؛ تأملات في هوفمان والسريالية، 30 مارس - 29 أبريل 2006
الادب
معرض أندريه إميريتش، هانز هوفمان: سنوات ما بعد الحرب: 1945-1949، نيويورك، نيويورك، 1989، لوحة رقم 5 (مصورة بالألوان)
جيد بيرل، هانز هوفمان، اللاوعي بلا خجل: تأمّل في هوفمان والسريالية، نيويورك، 2006، ص 36 (مصور بالألوان)
سوزي فيليجر، هانز هوفمان: كتالوج ريزون للوحات، المجلد الثاني، ساري، 2014، HH cat. no. 1137-1947، ص 392 (مصور بالألوان)
... اقل...
تستمد لوحة هانس هوفمان "بعل" الطاقة المشحونة من عنوانها المثير للذكريات، والمتجذرة في التقاليد السامية القديمة. يشير الاسم إلى رب أو سيد ولكنه يحمل أيضاً ارتباطات بقوى الطبيعة البدائية والفوضى والخلق. تعكس أعمال هوفمان هذه الازدواجية، حيث تمزج بين التصميم المنظم والحيوية الجامحة للتجريد الإيمائي لخلق تكوين يتأرجح بين الفوضى والنظام.





رسمت لوحة "بعل" في سن الخامسة والستين، وهي تُظهر أيضاً رغبة هوفمان في إعادة النظر في التخصصات السابقة مع مواجهة تحديات التجريد في منتصف القرن. وتزيد لوحة الألوان النابضة بالحيوية والاستخدام الجريء للألوان التكميلية، لا سيما تجاور اللونين الأحمر والأخضر، من ديناميكية اللوحة. كما يعكس عمله العضلي بالفرشاة أيضاً تجربته الدائمة مع التوتر بين الشكل والحرية؛ فالخطوط المتموجة والأشكال الحيوية تستحضر التأثير السريالي لميرو والصدى الروحي لتجريدات كاندينسكي الإيمائية. وعلى غرار هؤلاء الأسلاف، سعى هوفمان إلى ترجمة "الضرورة الداخلية" إلى تعبير بصري، مسترشداً بخياله الخصب. ومع ذلك فإن العناصر المستوية والأشكال المنحنية في لوحة "بعل" تعكس أيضاً تأثير الرسم الارتجالي، وهي سمة مميزة للتعبيرية التجريدية كما مارسها معاصرون مثل أرشيل غوركي وغيره. إنها تركيبة تعج بالحركة والطاقة، مما يوحي بأن الكون في حالة تغير مستمر - فوضوي ولكنه مدروس.





عُرضت لوحة "بعل" في العام نفسه في معرض بيتي بارسونز في نيويورك، وهي تشير إلى تطور هوفمان كمبدع ومبتكر. تجسّد اللوحة بديناميكيتها النابضة بالحياة وعنوانها الرمزي قدرة هوفمان على إضفاء قوة تجريدية على العناصر، وصياغة استكشاف شخصي عميق للشكل واللون.
العودة
الاستفسار