العودة

هانس [هوفّمنّ][نبسب](1880-1966)

الفنان بيو الاستفسار
 
<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>
<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>
وعاء الفاكهة رقم 1194929 1/2 × 37 1/2 بوصة.(74.93 × 95.25 سم) لوحة زيتية على قماش
الاصل
مجموعة الفنان، نيويورك، نيويورك ، نيويورك
صندوق ريناتي وهانز وماريا هوفمان الاستئماني، نيويورك، نيويورك
آمرينجر ويوهي للفنون الجميلة، نيويورك، نيويورك
مجموعة خاصة، نيو جيرسي
معرض
نيويورك، نيويورك، معرض كوتز، ملخص موسم 1950-1951، 4-29 يونيو، 1951
بوسطن، ماساتشوستس، معرض هاركوس كراكوف روزن سونابند، لوحات هانز هوفمان، 17 نوفمبر - 22 ديسمبر، 1973
تورونتو، كندا، معرض ماريان فريدلاند، معرض هانز هوفمان: لوحات وأعمال فنية رئيسية على الورق، 4 - 25 أبريل 1981
نيويورك، نيويورك... اكثر...ك، آمرينجر يوهي للفنون الجميلة، هانز هوفمان: اللاوعي بلا خجل: تأملات في هوفمان والسريالية، 30 مارس - 27 أبريل 2006
الادب
معرض كوتز، ملخص موسم 1950-1951، نيويورك، 1951، 1951، القط رقم 10، باسم وعاء الفاكهة
معرض ماريان فريدلاند، معرض هانز هوفمان: لوحات وأعمال رئيسية على الورق، تورنتو، تورنتو، 1981
سينثيا غودمان، هوفمان: أساتذة آبيفيل المعاصرون، نيويورك 1986، ص 37
جيد بيرل، هانز هوفمان، اللاوعي بلا خجل: تأملات في هوفمان والسريالية، نيويورك، 2006، ص 40 (مصور بالألوان)
سوزي فيليجر، هانز هوفمان: كتالوج لوحاته، المجلد الثاني، ساري، 2014، HH cat. 327-1949، ص 453 (مصور بالألوان)
... اقل...
استكشف هانز هوفمان الخطية والألوان بإصرار خلال أواخر الأربعينيات، مما خلق توتراً بين البنية التكعيبية والتجريد الإيمائي. في هذه اللوحة "وعاء الفاكهة رقم 1"، يحتل الدافع الخطي مركز الصدارة، مع خطوط سوداء ديناميكية تنسج وتنسج عبر اللوحة، وتحدد أشكالاً لا تلمح سوى إلى تكوين حياة ساكنة. إن نهج هوفمان بعيد كل البعد عن التقليدية، فوعاء الفاكهة التقليدي مكسور ومُعاد تصوره في تفاعل تجريدي من الأشكال الهندسية والعضوية. كما أن إضافة بقع زاهية ومسطحة ومحددة باللون الأخضر والأحمر والأصفر تتخلل التكوين لتضيف حيوية وحيوية مفعمة بالحيوية. وترتقي لوحة هوفمان الخام والمغرية وغير المريحة بعض الشيء وحرية هوفمان الإيمائية بالقطعة إلى ما هو أبعد من أصولها التكعيبية، وتكشف عن فنان منخرط بعمق في تحديات التجريد في منتصف القرن العشرين. وتوازن خطوط هوفمان وحقول ألوانه بين العفوية والتحكم، وتتأرجح بين الفوضى والبنية.





تعكس لوحة "وعاء الفاكهة رقم 1" حوار هوفمان المستمر مع الحداثيين الأوروبيين السابقين بينما تدفع نحو الغرائز الأكثر حرية للتعبيرية التجريدية الأمريكية. غالباً ما تُنتقد هذه اللوحات التي تعود إلى هذه الفترة من مسيرة هوفمان المهنية باعتبارها غير متوائمة مع الهيمنة المتزايدة للتجريدية الإيمائية؛ إلا أنها تظل لوحاته الخاصة به - نابضة بالحياة والاستكشاف وشخصية بشكل غير اعتذاري.
العودة
الاستفسار