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Celebrando más de 27 años como Heather James: Una conversación con los propietarios

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ACERCA DE HEATHER JAMES FINE ART

Heather James Fine Art presenta una rara mirada al pasado y al presente de la historia del arte, ofreciendo importantes obras de una sección transversal de períodos, movimientos y géneros como la posguerra, contemporáneo, impresionista, moderno, americano, latinoamericano y viejos maestros.

Durante más de 27 años, Heather James Fine Art se ha expandido hasta convertirse en una red mundial con galerías situadas en Palm Desert, California, y Jackson Hole, Wyoming, junto con asesorías en Nueva York, Londres, Los Ángeles, San Francisco, Montecito y Lake Como, Italia. Cada año, sus galerías presentan una serie de exposiciones de calidad museística que exploran temas históricos y contemporáneos, o examinan la obra de artistas individuales influyentes.

Heather James Fine Art se dedica a ofrecer arte excepcional a clientes privados y museos en todo el mundo, al tiempo que proporciona los servicios logísticos, curatoriales y financieros altamente personalizados.

GALERÍAS

Interior de la galería PALM DESERT

DESERTO DE PALM

45188 Portola Avenue
Palm Desert, CA 92260
(760) 346-8926
Horario: Con cita previa

Galería Jackson Hole

JACKSON

172 Center Street, Suite 101
 P.O. Box 3580
 Jackson Hole, WY 83001
(307) 200-6090
Horario: De lunes a sábado, de 10.00 a 17.00 horas

CONSULTORÍAS

NUEVA YORK

NUEVA YORK

LONDRES

LONDRES

LOS ANGELES

LOS ANGELES

SAN FRANCISCO

SAN FRANCISCO

MONTECITO

MONTECITO

LAGO COMO

LAGO COMO

CONÓCENOS

SERVICIOS

Heather James Fine Art ofrece una amplia gama de servicios basados en el cliente que se adaptan a sus necesidades específicas de coleccionismo de arte. Nuestro equipo de operaciones está formado por gestores profesionales de arte, un departamento de registro completo y un equipo logístico con amplia experiencia en el transporte, instalación y gestión de colecciones de arte. Con servicio de guante blanco y atención personalizada, nuestro equipo hace todo lo posible para garantizar servicios artísticos excepcionales para nuestros clientes.

PLANIFICACIÓN PATRIMONIAL Y FISCAL

GESTIÓN DE COBROS 

APRENDIZAJES

GESTIÓN DE LOGÍSTICA

ADQUISICIONES

SERVICIOS FINANCIEROS

RECURSOS COMPLEMENTARIOS

 

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VISITAS A LAS GALERÍAS

Galería Palm Desert

Galería Palm Desert

Galería Jackson Hole

Galería Jackson Hole

ARTE DESTACADO

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

GEORGIA O'KEEFFE

<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.

DIEGO RIVERA

Según el catálogo razonado recopilado por el Brandywine River Museum of Art, el dibujo preliminar de Puritan Cod Fishers fue realizado por N. C. Wyeth antes de su muerte, en octubre de 1945. La entrada registra una imagen del boceto, así como las inscripciones del artista y su título, Puritan Cod Fishers, caracterizado por el catálogo como "alternativo". En cualquier caso, el lienzo a gran escala es una obra única que Andrew Wyeth recordaría más tarde que fue pintada únicamente por su mano, una colaboración delimitada del diseño y la composición del padre llevada a buen término por la ejecución de un hijo notable. Para Andrew, debió de ser una experiencia profundamente sentida y emotiva. Dada la atención de su padre a los detalles y la autenticidad, las líneas de la pequeña embarcación de vela representan un chalote, en uso durante el siglo XVI. Por otra parte, es probable que Andrew intensificara los matices del inquieto mar más de lo que lo hubiera hecho su padre, una elección que realza adecuadamente la peligrosa naturaleza de la tarea.

Andrew Wyeth y N. C. Wyeth

N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.

N.C. WYETH

WILLEM DE KOONING - Mujer en un bote de remos - óleo sobre papel colocado sobre masonita - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

ALFRED SISLEY

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.

EMIL NOLDE

A principios de la década de 1870, Winslow Homer pintaba con frecuencia escenas de la vida en el campo cerca de una pequeña aldea agrícola famosa durante generaciones por sus notables plantaciones de trigo, situada entre el río Hudson y los Catskills, en el estado de Nueva York. Hoy en día Hurley es mucho más famoso por haber inspirado una de las mayores obras de Homer, Snap the Whip (Chasquear el látigo), pintada el verano de 1872. Entre los muchos otros cuadros inspirados en la región, Muchacha de pie en el campo de trigo es rico en sentimientos, pero no demasiado sentimentalista. Está directamente relacionado con un estudio de 1866 pintado en Francia y titulado In the Wheatfields (En los campos de trigo), y con otro pintado al año siguiente de su regreso a América. Pero, sin duda, Homero se habría sentido más orgulloso de éste. Se trata de un retrato, un estudio de vestuario, un cuadro de género en la gran tradición de la pintura pastoril europea, y un espectacular tour de force atmosférico a contraluz, impregnado de la luz de las horas crepusculares que se desvanece rápidamente, animado con notas lambiscentes y floridas y toques de espigas de trigo. En 1874, Homer envió cuatro cuadros a la exposición de la Academia Nacional de Diseño. Uno se titulaba "Muchacha". ¿No podría ser éste?

WINSLOW HOMER

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

GERHARD RICHTER

El mundo de Marc Chagall no puede ser contenido ni limitado por las etiquetas que le ponemos. Es un mundo de imágenes y significados que forman su propio discurso espléndidamente místico. Les Mariés sous le baldaquin (Los novios bajo el baldaquín) fue iniciado cuando el artista entraba en su nonagésimo año, un hombre que había conocido la tragedia y la lucha, pero que nunca olvidó los momentos de placer arrebatador de la vida. Aquí, las delicias de ensueño de una boda en un pueblo ruso, con sus arreglos de asistentes bien vestidos, se nos presentan con un ingenio tan feliz y una inocencia tan alegre que no hay quien se resista a su encanto. Utilizando una emulsión de tonos dorados que combina óleo y aguada opaca al agua, la calidez, la alegría y el optimismo del positivismo habitual de Chagall se envuelven en un resplandor luminoso que sugiere la influencia de los iconos religiosos dorados o de la pintura del Renacimiento temprano que pretendía transmitir la impresión de luz divina o iluminación espiritual. Utilizar una combinación de óleo y gouache puede ser todo un reto. Pero aquí, en Les Mariés sous le baldaquin, Chagall lo emplea para dar a la escena una calidad de otro mundo, casi como si acabara de materializarse a partir del ojo de su mente. La delicadeza de su textura crea la impresión de que la luz emana de la propia obra y confiere un carácter espectral a las figuras que flotan en el cielo.

MARC CHAGALL

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

TOM WESSELMANN

El Retrato de Sylvie Lacombe de Théo van Rysselberghe, pintado en 1906, es una obra maestra clásica de uno de los retratistas más refinados y coherentes de su época. El color es armonioso, la pincelada vigorosa y adaptada a su tarea material, su cuerpo y su semblante verdaderos y reveladores. La modelo es la hija de su buen amigo, el pintor Georges Lacombe, que compartió una estrecha asociación con Gauguin y fue miembro de Les Nabis con los artistas Bonnard, Denis y Vuillard, entre otros. Ahora conocemos a Sylvie Lacombe porque Van Rysselberghe es muy hábil en la representación de sutiles expresiones faciales y, a través de una cuidadosa observación y atención al detalle, nos ha proporcionado una visión de su mundo interior. Ha elegido una mirada directa, sus ojos a los tuyos, un pacto ineludible entre sujeto y espectador independientemente de nuestra relación física con el cuadro. Van Rysselberghe había abandonado en gran medida la técnica puntillista cuando pintó este retrato. Sin embargo, siguió aplicando las directrices de la teoría del color, utilizando tintes rojos -rosas y malvas- frente a verdes para crear una armoniosa paleta ameliorada de colores complementarios a la que añadió un fuerte acento para atraer la mirada: un lazo rojo intensamente saturado colocado asimétricamente a un lado de la cabeza.

THÉO VAN RYSSELBERGHE