تجول جاليري بالم ديزرت – موسم 2023/2024

نشرت في: معرض جولات

ألق نظرة على معاينة موسم الشتاء التي تعرض معرضنا الجديد المعروض الآن في بالم ديزرت ، كاليفورنيا. يضم أساتذة انطباعيين ، بما في ذلك سيسلي وبيسارو وفريسكي ، ورواد حديثون ، مثل بيكاسو وأوكيفي ، ومبدعون ما بعد الحرب والمعاصرون بما في ذلك إنديانا ودي كونينج وريختر والمزيد.

يسرنا أن نعلن عن ساعات الشتاء في موقعنا في بالم ديزرت في 45188 شارع بورتولا: من الاثنين إلى السبت من الساعة 9:00 إلى الساعة 5:00.

الأعمال الفنية المعروضة حاليا في هيذر جيمس بالم ديزرت

<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

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

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

ويليم دي كونينغ

<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

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

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

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

RUFINO TAMAYO

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

مارك شاغال

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

<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>

هانز هوفمان

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

<div><font face=Lato size=3 color=black>Hans Hofmann's "<em>Astral Image #1"</em> of 1947 captures a pivotal moment in his artistic evolution as he wrestled with the competing forces of linearity and painterly abstraction. Exhibited in the same year at Betty Parsons Gallery in New York—Hofmann's first show with Parsons — the painting represents a phase of intense experimentation in which Cubist-inspired linear elements took center stage. Lines arc and stretch across the canvas, creating a dynamic framework that opens into areas filled with flatly applied alizarin crimson. These contrasting forces give the work a sense of tension and vitality.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>During this period, Hofmann's reliance on linearity provided a departure from the more fluid, painterly dynamism of his earlier works. From 1944 to 1951, this linear impulse permeated his practice, signaling a prolonged exploration of modes of expression in which he grappled with reconciling abstraction and structure. While some viewed this phase as a retreat from the energetic breakthroughs that defined American art's rise to global prominence, others recognized the distinctiveness of these paintings. <em>Astral Image #1</em> challenged the framework of Hofmann's singular vision, blending Cubist discipline with the vibrant, unruly energy that remained a hallmark of his oeuvre.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work's flat planes of bright alizarin crimson, contrasted with the angular momentum of the lines, evoke a cosmos of restless energy, hinting at the celestial themes suggested by its title. This painting reflects Hofmann's deliberate explorations during the late 1940s that underscore his unique ability to create works that resist easy categorization, standing apart as deeply personal explorations of form and color.</font></div><br><br><div> </div>

هانز هوفمان

<div><font face=Lato size=3 color=black>Exhibited in the seventh Impressionist exhibition in 1882, Gustave Caillebotte's "<em>Vue de mer, Villers</em>" announced a pivotal shift in the artist's oeuvre, marking his transition from the urban realism of Parisian street scenes to the expansive, light-filled landscapes of Normandy. This change aligned Caillebotte more closely with his Impressionist contemporaries and allowed him to explore fresh compositional and stylistic innovations, enriching the movement's diversity.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Often called the "Urban Impressionist," Caillebotte built his reputation as a genre painter through meticulously rendered depictions of bustling city life. Like his contemporary Edgar Degas, he was a keen observer of modern reality and a superb draftsman. Both artists shared an enthusiastic interest in photography, and integrated elements from the emerging art form related to image cropping, focal length adjustments, and perspective effects. These influences can be seen in the exaggerated, plunging vantage points that became hallmarks of Caillebotte's dynamic compositions, often imbuing his works with thrilling optical depth.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>By the early 1880s, the allure of Normandy — a region deeply connected to Claude Monet and newly accessible by rail — seems to have drawn Caillebotte's attention. Monet, who had an intimate knowledge of the area, may have recommended Villers specifically, although painters interested in landscapes could choose from numerous seaside villages such as Trouville and Honfleur, each a haven for Paris's bourgeoisie. These locales, characterized by their natural beauty and the burgeoning influence of modern leisure culture, provided ample inspiration for Caillebotte's evolving artistic focus. His depictions of these locales celebrate their charm and engage with the Impressionist exploration of the changing relationship between people and their environments.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Created during one of his first visits to Normandy, "<em>Vue de mer, Villers</em>" reaffirms Caillebotte's skill as a compositional innovator, even as he embraced a new genre. While transitioning to landscape painting, he retained elements of his signature style, notably the detached, elevated vantage point familiar from his urban works. The rolling greenery of the foreground transitions seamlessly into the luminous pastel hues of the distant horizon. A red-roofed villa commands attention with its bold geometry, standing in stark, complementary contrast to the fluid forms of the surrounding natural landscape. The juxtaposition of the villa's pink walls with the greens and blues of the coast underscores the tension between the natural and the constructed, evoking a sense of transformation emblematic of late 19th-century France. At the same time, the painting exudes a quietude and contemplative mood that aligns with the Impressionist emphasis on capturing ephemeral moments and atmospheres rather than explicit narratives. Caillebotte's brushwork here is freer and more painterly than in his earlier works, with vibrant, varied strokes lending the foliage a dynamic, tactile quality. The distant sky, suffused with soft lavenders and blues, evokes the tranquil stillness of an evening on the coast, completing the composition with a sense of serene balance.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>In "<em>Vue de mer, Villers</em>," Caillebotte achieves a masterful fusion of observation and innovation, bridging his roots in urban realism with the Impressionist commitment to capturing the transient effects of light and atmosphere. Its inclusion in the 1882 exhibition reaffirmed Caillebotte's position within the Impressionist circle, demonstrating his ability to expand the movement's reach while maintaining his distinctive perspective. This painting is a celebration of the modern landscape and a profound meditation on the evolving relationship between nature and modernity, offering a timeless vision that continues to resonate.</font></div>

غوستاف كايلبوت

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

بيير بونارد

<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>

هانز هوفمان

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div>

هانز هوفمان

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

هانز هوفمان

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

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

هانز هوفمان

ANDREW WYETH - ربع جالون ونصف - لوحة مائية على ورق - 21 × 29 1/4 بوصة.

أندرو وايث

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

عشب البير

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

كاميل بيسارو

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

<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

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.<br><br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million. <br><br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

جوليان شنابل

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

هانز هوفمان

ROLAND PETERSEN - شكل انتظار - لوحة زيتية على قماش - 68 × 56 بوصة.

رولاند بيترسن

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

جون تشامبرلين

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

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

GEORGE RICKEY - مخض الفضاء مع مربعات - منحوتة حركية من الفولاذ المقاوم للصدأ - 35 1/2 × 20 × 13 بوصة.

جورج ريكي

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York<br>Two Crosses by Alexander Calder is a striking work on paper, blending transparent watercolor and gouache, showcasing his signature repertoire of shapes and symbols. At its heart lies a large, black 'X' on a fluid, grayish wash, and nearby, a smaller, opaque black cross overlapping a semi-opaque red ball, and to its left, a roundish transparent wash patch hosts a black crescent shape. Several spheres in black provide accompaniment, and the artist's favored primary colors, and at the lower margin, his charming undulating line. Calder's sparing use of watercolor allows the paper's white to showcase the forms and symbols, creating a dynamic, impactful artwork where simplicity and the interplay of transparent and opaque elements captivate the viewer.

ألكسندر كالدر

يتميز فيلم Rouge Mouille (Wet Red) لألكسندر كالدر بخلفية من الدوائر الحمراء ، بعضها يتفرق مثل الانفجارات ، مما يخلق إحساسا بالتوسع النشط ، والبعض الآخر يركض لأسفل كما لو كان يتدفق مسارات عرض الألعاب النارية. تم تزيين هذه الخلفية المتحركة بالعديد من الكرات المستديرة غير الشفافة ، والتي يغلب عليها اللون الأسود ، ولكنها تتخللها كرات زرقاء وحمراء وصفراء مذهلة. يجسد الموقع الاستراتيجي للكرات الملونة مقابل اللون الأحمر المتفجر رهبة ومشهد عرض الألعاب النارية ، مما يحول اللوحة إلى استعارة بصرية لهذا الحدث المبهر والاحتفالي. يتردد صدى العمل الفني بالإثارة والحيوية ، ويغلف جماله سريع الزوال في وسط ثابت.

ألكسندر كالدر

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

أندي وارهول

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

ألكسندر كالدر

<div><font face=Aptos size=3 color=black>Michael Corinne West’s story is a significant one. A prolific painter and poet at the forefront of the Abstract Expressionist movement, West is the artist least likely to be acknowledged as standing among the first generation with the core group of male artists. Placed in a confrontational role as one of the few women defying a male-dominated mythology, she shifted to gestural painting in the mid-1940s, often laying the canvases on the floor and working like Jackson Pollock. Her earliest work in black and white predates Franz Kline’s by several years. It included “<em>Black and White” </em>of 1947, which impressed Clement Greenberg, who was never inclined to dish a gratuitous compliment. Despite the changing tides of art and fashion, her devotion to mysticism, inner emotional states, and the subconscious as they relate to Abstract Expressionism continued unfazed and steady.  </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>“<em>The Day After</em>,” painted in 1963, is West’s visceral, abstract response to a pivotal moment in American history — the assassination of President John F. Kennedy. The overlapping layers of saturated blood-red tones clashing with forceful strokes of black suggest the rupture in the national consciousness and evoke feelings of disruption and confusion, embodying the artist’s internalized grief. West transformed the event into a deeply personal expression of mourning, capturing the weight of a nation’s sorrow in a form that defies literal representation yet speaks volumes emotionally.  </font></div>

مايكل كورين ويست

"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

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

<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

"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

"A drawing is simply a line going for a walk."<br>-Paul Klee<br><br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br><br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

بول كلي

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

HARRY BERTOIA - منحوتة صفصاف - ستانلس ستيل - 61 1/2 × 39 × 39 بوصة

هاري بيرتويا

<div><font face=Lato size=3 color=black>The monotype holds a distinctive place within Gauguin's oeuvre, offering a window into the artist's innovative process and his quest to reconcile the challenge of unifying painting and drawing. This medium became the foundation of an impressive corpus that evolved from his innovative Brittany woodcuts and, later, as the means to reimagine the boundaries between printmaking, drawing, and painting during his years in Tahiti and the Marquesas. </font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>“<em>Bathers”</em> belongs to Gauguin's 1899–1903 series of "traced monotypes," a technique where the artist drew or pressed on the back of paper placed over an inked or painted surface, resulting in a single reversed impression. This process introduced subtle textures and a sense of immediacy while allowing Gauguin to explore the interplay of positive and negative forms. By late 1902, the artist had begun keying the drawings on the versos of these monotypes to the direction of his paintings, resulting in a deliberate reversal of themes. The reversed orientation of this monotype, for example, is associated with the painting "<em>Famille tahitienne</em>" (W.618, Stephen A. Cohen collection, a.k.a., “<em>A Walk by the Sea</em>”), and it exemplifies this practice, raising intriguing questions about the creation sequence.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The reversed orientation offers a compelling argument for understanding the monotype as a concurrent experiment rather than a preparatory study. Rather than serving as a preliminary blueprint, the monotype served as a dynamic tool for experimentation, allowing Gauguin to analyze and retest compositional ideas, color harmonies, and spatial relationships in real-time. The act of transferring the image introduced an element of unpredictability—textures softened, colors became more fluid, and linear forms took on painterly qualities. This spontaneity enabled Gauguin to step outside the constraints of oil painting, offering him fresh insights into how elements of the composition could evolve. Through this iterative process, the monotype would have informed adjustments to “<em>Famille tahitienne</em>,” enriching the painting's vibrancy, depth, and compositional balance. The interplay between the two mediums underscores Gauguin's innovative approach, treating the monotype not as a secondary exercise but as an integral part of his artistic vision.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>While the monotype lacks the polished refinement of the painting, its raw immediacy and formal sensitivity reveal Gauguin's fascination with experimentation and spontaneity. Far from being a preparatory study, “<em>Bathers”</em> likely enabled Gauguin to deconstruct and reimagine <em>“Famille tahitienne” </em>as he worked. This creative interplay underscores Gauguin's broader artistic quest during his later years: to distill the essence of life and nature into forms that combine immediacy with timeless resonance.</font></div>

بول غوغان

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

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

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

<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

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

وليد بيشتي - لوس كابالوس إن لا كونكويستا - بقايا زلة سيراميكا سورو مصبوبة من السيراميك والزجاج وصفيحة الحرق - 9 1/2 × 32 1/4 × 21 1/2 بوصة.

وليد بيشتي

<div><font face=Lato size=3 color=black>In Harry Bertoia's oeuvre, "<em>Willow</em>" stands apart as an extraordinary synthesis of natural inspiration and innovative metalwork. Its cascading strands of stainless-steel capture the weeping elegance of a willow tree's drooping branches while introducing a dynamic, interactive quality through its shimmering surface and subtle responsiveness to movement. The strands—whether referred to as "tinsels," "filaments," or "tendrils"—reflect the delicacy of natural forms, blending artistry with technical mastery.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bertoia, a visionary sculptor with an unparalleled ability to transform industrial materials into organic beauty, likely employed meticulous processes to create "<em>Willow,</em>" cutting thin sheets of stainless steel into fine strips and expertly attaching them to a central core, positioning each strand to flow like water or sway like leaves in the breeze. The tactile quality of the strands, which respond to air currents or touch, invites the viewer into a contemplative engagement with the work, much like one might feel beneath the canopy of a willow tree.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>This piece epitomizes Bertoia's lifelong fascination with nature, stemming from his early years in the rural village of San Lorenzo, Italy. His sensitivity to the organic world continually informed his artistic practice, from his celebrated Sonambient sound sculptures to creations like “<em>Willow</em>, “which reimagine the relationship between form and environment. As he once said, "I no longer hold onto terms like music and sculpture. Those old distinctions have lost all their meaning."</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Once again , Bertoia captivates us by reaching beyond the traditional boundaries of sculpture, delivering a work that is as much a sensory experience as a visual one. It is a harmonious blend of natural inspiration and innovative artistry, a reminder of the sacred beauty found in the intersection of art and the natural world.</font></div>

هاري بيرتويا

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

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

تشارلز ARNOLDI -- لزجة الويكيت -- الاكريليك ، ومعجون النمذجة والعصي على الخشب الرقائقي -- 44 1 / 4 × 91 × 3 في.

تشارلز أرنولدي

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

ويليام ويندت

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

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western. <br><br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

فاليري جاودون

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

مارك كوين

RICHARD ANUSZZKIEWICZ - وردي باهت - أكريليك - 48 1/4 × 48 1/4 بوصة.

ريتشارد أنوشكيفيتش

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

كارل بنجامين

هاري Bertoia في الصفصاف النحت يتردد صداها كتعبير عن النعمة والحساسية; الصفات التي هي في حد ذاتها الجمعيات المعتادة لدينا مع الخصائص الجوهرية للسبائك التي يتم إجراؤها. هذا الإصدار مع وقف التنفيذ - النسخة النادرة من الصفصاف - يبدو أن لها وجود الذاتي علم; واحد أن المسرات في هذا التباين من الخصائص. ومع ذلك فإنه لا يدعو إلى شيء أكثر من المتعة الوجودية في مشاهدته. التفكير في الصفصاف كإصدار مفصل بجرأة من كالدر إذا كان سيد الأخير أكثر العضوية أو استحضار corporeal في الاعتبار. علقت, هو يأمر منطقته بعد يحترم علاقته مكانيّة إلى محيطه. الضوء، والشكل، والفضاء – هذه هي الأدوات المفاهيمية للنحات. ولكن من آخر سوف نفكر في استخدام المواد العاكسة المرتبطة بسهولة أكبر مع عدم المرونة وقوة الشد لخلق باقة من خيوط المتتالية من الفولاذ المقاوم للصدأ، معلقة في الفضاء، مثل النباتات وجميلة جدا برشاقة؟

هاري بيرتويا

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

جوانا بوسيت-دارت

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

إدغار ألوين باين

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

سيث كوفمان

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

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

ميل راموس - طماطم كاتسوب؛ أ. س. آني؛ لولا كولا؛ توباكو ريد - أربع مطبوعات حجرية مطبوعة بالأوفست بالألوان - 30 3/4 × 25 1/4 بوصة لكل منهما.

ميل راموس

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

الذكاء الاصطناعي ويوي

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

الصينية