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HANS HOFMANN (1880-1966)

ARTIST BIO INQUIREDOWNLOAD PDF
 
No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting. No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting.
Untitledc. 193717 1/4 x 23 1/8 in.(43.82 x 58.74 cm) oil on panel
Provenance
Estate of the Artist, 1966-1996
Renate, Hans & Maria Hofmann Trust, 1996-2006
Ameringer Yohe Fine Art, New York, 2006
Hackett-Freedman Gallery, San Francisco, 2006
Private Collection, San Francisco, 2006, acquired from the above
Exhibition
Philadelphia, Pensylvania, Makler Gallery, Hans Hofmann, 1981
La Jolla, California, Thomas Babeor Gallery, Hans Hofmann: Paintings and Works on Paper, 1985
New Orleans, Louisiana, Arthur Roger Gallery, Hans Hofmann: Paintings, 1986
New York, New York, Ameringer Yohe, Hans Hofman...More...n: Provincetown, 2003
Literature
Villiger, S. Ed (2014), Hans Hofmann Catalogue Raisonné of Paintings, Volume II: 1901-1951, London. cat. no. P160, p. 100
Makler Gallery (1981), Philadelphia, Exhibition announcement card
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No artist bridged the gap between European Modernism and American Abstract Expressionism like Hans Hofmann did. The reason is simple: he was trained in Parisian academies before World War I and friendly with Henri Matisse, Pablo Picasso, Georges Braque, and Robert and Sonia Delaunay, giving him a level of familiarity with European Modernism that no other Abstract Expressionist possessed. Untitled (View of Provincetown Harbor) combines elements of that early time, the unrestrained color of the Fauves in broadly brushed passages with the promise of the automatist painting of the New York School to come. It is highly gestural, blending the motifs and speed of Raoul Dufy's brush with a more masculine, bolder projection, suggesting the roots of Action Painting.
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