Desierto de Palma

EXPOSICIONES OBRAS DE ARTE EXPUESTAS NOTICIAS RELACIONADAS SERVICIOS

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Nuestra galería en Palm Desert está ubicada en el centro en el área de Palm Springs de California, adyacente a la popular zona comercial y de restaurantes de El Paseo. Nuestra clientela aprecia nuestra selección de arte postguerra, moderno y contemporáneo. El magnífico clima durante los meses de invierno atrae a visitantes de todo el mundo a ver nuestro hermoso desierto, y pasar por nuestra galería. El paisaje montañoso del desierto en el exterior ofrece el telón de fondo panorámico perfecto para la fiesta visual que le espera en su interior.

45188 Avenida Portola
Palm Desert, CA 92260
(760) 346-8926

Horario:
De lunes a sábado, de 9.00 a 17.00 horas

Exposiciones

VER TODO

Cuadros de Dorothy Hood
ACTUAL

Cuadros de Dorothy Hood

18 de marzo - 31 de mayo de 2024
Ansel Adams: Afirmación de la vida
ACTUAL

Ansel Adams: Afirmación de la vida

1 de diciembre de 2023 - 30 de junio de 2024
Picasso: más allá del lienzo
ACTUAL

Picasso: más allá del lienzo

4 de octubre de 2023 - 30 de abril de 2024
No Other Land: Un siglo de paisajes americanos
ACTUAL

No Other Land: Un siglo de paisajes americanos

21 de septiembre de 2023 - 30 de junio de 2024
Arte del Oeste Americano: Una colección destacada
ACTUAL

Arte del Oeste Americano: Una colección destacada

24 de agosto de 2023 - 31 de mayo de 2024
Alexander Calder: Dando forma a un universo primario
ACTUAL

Alexander Calder: Dando forma a un universo primario

23 de agosto de 2023 - 31 de mayo de 2024
Georgia O
ACTUAL

Georgia O'Keeffe y Ansel Adams: Arte moderno, amistad moderna

13 de julio de 2023 - 31 de julio de 2024
Flores para la primavera
ACTUAL

Flores para la primavera

8 de mayo de 2023 - 31 de mayo de 2024
Primer Círculo: Los círculos en el arte
ACTUAL

Primer Círculo: Los círculos en el arte

14 de febrero de 2023 - 31 de mayo de 2024
La sangre de tu corazón: Intersecciones del arte y la literatura
ACTUAL

La sangre de tu corazón: Intersecciones del arte y la literatura

12 de septiembre de 2022 - 30 de junio de 2024
El encuentro con la vida: N.C. Wyeth y los murales de MetLife
ACTUAL

El encuentro con la vida: N.C. Wyeth y los murales de MetLife

18 de julio de 2022 - 30 de junio de 2024
Polaroids de Andy Warhol: Wicked Wonders
ACTUAL

Polaroids de Andy Warhol: Wicked Wonders

13 de diciembre de 2021 - 30 de junio de 2024
Era aceptable en los 80
ARCHIVO

Era aceptable en los 80

27 de abril de 2021 - 31 de agosto de 2023
Paul Jenkins: Coloreando el Fenómeno
ARCHIVO

Paul Jenkins: Coloreando el Fenómeno

27 de diciembre de 2019 - 31 de marzo de 2023
N.C. Wyeth: Una década de pintura
ARCHIVO

N.C. Wyeth: Una década de pintura

29 de septiembre de 2022 - 31 de marzo de 2023
Georgia O
ARCHIVO

Georgia O'Keeffe y Marsden Hartley: Mentes modernas

1 de febrero de 2022 - 28 de febrero de 2023
Maestros figurativos de América
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Maestros figurativos de América

Del 4 de enero al 12 de febrero de 2023
James Rosenquist: Pop potente
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James Rosenquist: Pop potente

7 de junio de 2021 - 31 de enero de 2023
Expresionismo abstracto: Trascendiendo lo radical
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Expresionismo abstracto: Trascendiendo lo radical

12 de enero de 2022 - 31 de enero de 2023
Mi propia piel: Frida Kahlo y Diego Rivera
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Mi propia piel: Frida Kahlo y Diego Rivera

16 de junio - 31 de diciembre de 2022
Elaine y Willem de Kooning: Pintar en la luz
ARCHIVO

Elaine y Willem de Kooning: Pintar en la luz

3 de agosto de 2021 - 31 de enero de 2022
N.C. Wyeth: Pinturas e Ilustraciones
ARCHIVO

N.C. Wyeth: Pinturas e Ilustraciones

1 de febrero - 31 de mayo de 2018
Las pinturas de Sir Winston Churchill
ARCHIVO

Las pinturas de Sir Winston Churchill

21 de marzo - 30 de mayo de 2018

OBRA DE ARTE A LA VISTA

VER TODO

El 15 de mayo de 1886 nació un manifiesto visual para un nuevo movimiento artístico cuando se presentó la obra cumbre de Georges Seurat, Una tarde de domingo en la isla de la Grande Jatte, en la Octava Exposición Impresionista. Seurat puede reivindicar el título de "Impresionista científico" original, trabajando de una manera que llegó a conocerse como Puntillismo o Divisionismo. Sin embargo, fue su amigo y confidente Paul Signac, de 24 años, y su diálogo constante lo que propició una colaboración en la comprensión de la física de la luz y el color y el estilo que surgió. Signac era un pintor impresionista sin formación, pero con un talento asombroso, cuyo temperamento se adaptaba perfectamente al rigor y la disciplina necesarios para lograr la pincelada y el color laboriosos. Signac asimiló rápidamente la técnica. También fue testigo del arduo viaje de dos años de Seurat construyendo miríadas de capas de puntos de color sin mezclar en La Grande Jatte, de tamaño colosal. Juntos, Signac, el extrovertido descarado, y Seurat, el introvertido reservado, estaban a punto de subvertir el curso del Impresionismo y cambiar el curso del arte moderno.

PAUL SIGNAC

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

GRANT WOOD

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

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

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

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

VINCENT VAN GOGH - La iglesia nueva y las casas antiguas de La Haya - óleo sobre lienzo sobre tabla - 13 5/8 x 9 3/4 pulg.

VINCENT VAN GOGH

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

TOM WESSELMANN - Fumador nº 21 - óleo sobre lienzo perfilado - 74 1/2 x 67 1/2 pulg.

TOM WESSELMANN

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ALEXANDER CALDER

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

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

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.  

TOM WESSELMANN

An outstanding example of Churchill’s North African scenes, one in which he deftly captures the scenery and light that his artistic mentor, John Lavery, had told him about in the mid 1930s. Another artist mentor, Walter Sickert, taught Churchill how to project photo images directly on to a canvas as an aid in painting, a technique used to advantage in this instance. The Studio Archives at Chartwell include 5 photographs, one of the camel and four others, that Churchill used as aids.<br><br>With the visual aids, Churchill could focus on the vibrant colors, the tan of the sand and buildings contrasting with the brilliant blue skies, splashes of green adding energy to the painting. A different Marrakech scene, “Tower of the Koutoubia Mosque”, set an auction record for Churchill when it sold in 2021 for $11 million USD.

SIR WINSTON CHURCHILL

Painted from an unusually high vantage, “Riviera Coast Scene” vividly conveys the formidable distance and breadth of the scene from the perch where he set his easel. Interestingly, Paul Rafferty did not include this painting in his book Winston Churchill: Painting on the French Riviera, believing it could likely be a scene from the Italian Lake District, where Churchill also painted in the same time period.<br><br>Paintings by Churchill can function as a glimpse into his extensive travels and his colorful life. Churchill most likely painted “Riviera Coast Scene” during a holiday at Chateau de l’Horizon, home of Maxine Elliot, a friend of his mother. Elliot, originally from Rockland, Maine, was a successful actress and socialite.<br><br>Within this painting, we see the influence of the Impressionists who utilized unusual viewpoints, modeled after Japanese woodblock prints, but also evidence of their attempts to push the boundaries of the landscape genre

SIR WINSTON CHURCHILL

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

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.”

SEAN SCULLY

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

SIR WINSTON CHURCHILL

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

Still lifes like Oranges and Lemons (C 455) give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted Oranges and Lemons at La Pausa. Churchill would often frequent La Pausa as the guest of his literary agent, Emery Reves and his wife, Wendy. Reves purchased the home from Coco Chanel. While other members of the Churchill family did not share his enthusiasm, Churchill and his daughter Sarah loved the place, which Churchill affectionately called “LaPausaland”.<br><br>To avoid painting outside on a chilly January morning, Wendy Reves arranged the fruit for Churchill to paint. Surrounded by the Reves’s superb collection of Impressionist and Post-Impressionist works, including a number of paintings by Paul Cézanne, Oranges and Lemons illuminates Churchill’s relationships and the influence of Cézanne, who he admired. The painting, like Churchill, has lived a colorful life, exhibited at both the 1959 Royal Academy of Art exhibition of his paintings and the 1965 New York World’s Fair.

SIR WINSTON CHURCHILL

No es difícil comprender cómo la brillante disposición en dos filas de cuatro letras de Robert Indiana llegó a contribuir a potenciar un movimiento durante la década de 1960. Su origen surgió de una profunda exposición a la religión y de su amigo y mentor Ellsworth Kelly, cuyo estilo de bordes duros y color sensual y sin acentos causó una impresión duradera. Pero como Indiana exclamó, fue un momento de kismet que simplemente sucedió cuando "¡EL AMOR me mordió!" y el diseño le llegó nítido y centrado. Indiana, por supuesto, sometió el diseño a muchas pruebas, y entonces el logotipo empezó a brotar por todas partes. El mensaje, que se transmite mejor en forma de escultura, está presente en ciudades de todo el mundo y se ha traducido a varios idiomas, entre ellos su iteración italiana, "Amor", con su fortuita "O" también inclinada hacia la derecha. Pero en lugar de ser pateada por el pie de la "L", esta versión confiere a la "A" superior un efecto de tambaleo bellamente escenificado. Da una impresión nueva, pero no menos profunda, del amor y de su naturaleza emocionalmente cargada. En cualquier caso, la "O" inclinada de Love imparte inestabilidad a un diseño por lo demás estable, una profunda proyección de la crítica implícita de Indiana al "sentimentalismo a menudo hueco asociado con la palabra, que metafóricamente sugiere anhelo y decepción no correspondidos en lugar de afecto sacarino" (Robert Indiana's Best: A Mini Retrospective, New York Times, 24 de mayo de 2018). La repetición, por supuesto, tiene la mala costumbre de empañar nuestro aprecio por el genio de la simplicidad y el diseño innovador. A finales de su vida, Indiana se lamentó de que "fue una idea maravillosa, pero también un terrible error. Se hizo demasiado popular. Y hay gente a la que no le gusta la popularidad". Pero nosotros, habitantes de un mundo plagado de divisiones y sumido en la confusión, se lo agradecemos. "Love" y sus muchas versiones nos recuerdan con fuerza nuestra capacidad de amar, y esa es nuestra mejor esperanza eterna de un futuro mejor.

ROBERT INDIANA

JEAN-MICHEL BASQUIAT - Sin título (Anatomía de una paloma) - óleo, grafito y tiza sobre papel - 22 x 30 pulg.

JEAN-MICHEL BASQUIAT

PIERRE BONNARD - Soleil Couchant - óleo sobre lienzo - 14 1/2 x 22 1/2 in.

PIERRE BONNARD

Nacida en Atlanta en 1981 y afincada en Brooklyn, Shara Hughes es célebre por su distintivo enfoque de la pintura de paisaje, que combina influencias históricas con sensibilidades contemporáneas. Su exultante paleta de colores recuerda a maestros como Henri Matisse, transmitida con el estilo y la audacia visual de David Hockney, al tiempo que reconoce una tradición más amplia de la pintura de paisaje, que incluye influencias del Art Nouveau, el fauvismo y el expresionismo alemán. All the Pretty Faces es una síntesis moderna de movimientos artísticos históricos e imágenes digitales actuales, que presenta al espectador mundos cautivadores e inventados que tienden un puente entre el pasado y el presente. También hace referencia a una de las citas más llamativas de Hughes sobre sus innovadores paisajes llenos de elementos fantásticos: "A menudo he pensado en las flores y los árboles como figuras. A veces, incluso una ola o un sol del cuadro adquieren personalidad, así que varía según cómo resulte la obra".

SHARA HUGHES

Simpático en su retrato de los granjeros y trabajadores del campo y favoreciendo los temas de dedicación y trabajo duro, Thomas Hart Benton creó cientos de estudios que describen la lucha por la existencia que era la brutal vida cotidiana de tantos estadounidenses en ese momento. Hoeing Cotton tiene mucho de la palidez oscura y melancólica que evoca las dificultades de la agricultura sureña durante la Gran Depresión. Escenificado como si estuviera suspendido en anticipación de una tormenta inminente, Benton utiliza la interacción dinámica entre el cielo y el paisaje para profundizar el impacto temático de la vida rural en el sur profundo. Estos elementos ponen de relieve la conexión entre las personas y su entorno y el espíritu duradero de resiliencia.

THOMAS HART BENTON

Sin título, de Katharine Grosse, de 2016, amplía nuestra apreciación de una artista que aporta al medio tradicional de la pintura sobre lienzo la misma energía, audacia y desprecio por lo convencional que se observa en sus monumentales instalaciones arquitectónicas. El color estalla, levantado de una superficie compleja, ricamente estratificada de aplicaciones vertidas de pintura que corren, lloviznan o salpican, velos transparentes radiantes y tiras superpuestas de color nebulizadas para crear suaves transiciones de gradiente. El resultado es una fascinante impresión de profundidad espacial y tridimensionalidad. Pero también es una proeza que revela la brillantez de Grosse a la hora de combinar caos y control, espontaneidad e intención. Su abanico de técnicas crea un convincente diálogo entre lo accidental y lo deliberado, sello distintivo de su estilo único.

KATHARINA GROSSE

JEAN ARP - Escultura Mythique - bronce - 25 x 9 1/2 x 12 in.

JEAN ARP

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.

ELAINE DE KOONING

Influido por su devota fe católica, la evolución artística de Rouault fue única entre los modernistas. Cautivado por los vibrantes colores y por cómo la luz atraviesa las vidrieras medievales, aplicó gruesas y ricas capas de pintura y amplificó las formas crudas y audaces inundadas de azules profundos dentro de pesadas líneas negras. Rouault apoyaba a menudo fuertes temas religiosos recurrentes dedicados al poder de la redención. Carlotta no está al servicio de esa vocación superior ni del sufrimiento marginado de los sujetos, que incluían payasos, prostitutas y crucifixiones. En cambio, Carlotta es una oportunidad para admirar las variaciones de color más sutiles de Rouault y la interacción dinámica entre la calidad áspera y táctil del empaste y el efecto más suave y difuso de los pasajes desmenuzados de un modelo libre de temas de dolor y desesperación humanos.

GEORGES ROUAULT

Experimental y muy sofisticada, la innovadora "técnica del rompecabezas" de Munch consistía en cortar la plancha de madera en piezas separadas, entintarlas e imprimirlas individualmente antes de volver a ensamblarlas para crear la imagen final. El proceso produjo una variedad de colores, impresiones únicas dentro de la misma edición y una amplia gama de emociones y estados de ánimo. Ricamente orquestadas, las formas ondulantes de Casa en la costa I se construyen mediante capas de color y textura que presentan múltiples planos, cada uno de los cuales contribuye a su profundidad y complejidad espacial. La talla y el tallado de las xilografías, ideales para expresar la mentalidad de trabajo a menudo brutal de Edvard Munch, ampliaron los límites de los métodos tradicionales y reforzaron su compromiso con la exploración de la profundidad emocional y psicológica en su arte.

EDVARD MUNCH

Max Weber se trasladó a París en 1905, cuando la ciudad era el epicentro de la innovación artística. Sus primeras obras demuestran la influencia contemporánea de la audaz paleta de colores del fauvismo y la representación fragmentada de la realidad del cubismo. Sin embargo, Weber no se limitó a imitar estos estilos; Los integró y reinterpretó para crear algo propio. La importancia de Weber radica no sólo en sus obras abstractas, sino también en su papel como conducto de las ideas modernistas. Weber desempeñó un papel crucial en el diálogo transatlántico que ayudó a dar forma al curso del arte estadounidense en el siglo XX. Sus representaciones de figuras femeninas muestran una síntesis de lo abstracto y lo representativo, capturando la esencia de sus temas al tiempo que rompe con las obras figurativas tradicionales.

MAX WEBER

ANDY WARHOL - Superman (II.260) - serigrafía - 38 x 38 in.

ANDY WARHOL

ANDY WARHOL - Mickey (II.265) - serigrafía con polvo de diamante - 38 x 38 pulg.

ANDY WARHOL

HANS HOFMANN - Sin título - óleo sobre lienzo - 25 x 30 1/4 pulg.

HANS HOFMANN

Genieve Figgis es una figura notable del panorama artístico irlandés contemporáneo, reconocida por sus ingeniosos y críticos retratos de grupo que a menudo se burlan de convenciones sociales de antaño. Recién llegada a la pintura, llamó la atención del artista de la apropiación estadounidense Richard Prince en Twitter, quien adquirió una de sus obras y la introdujo en los círculos influyentes de la comunidad artística neoyorquina. La obra de Figgis critica juguetonamente los hábitos de consumo de la clase media acomodada y los estilos de vida lujosos, inmortalizados por artistas del pasado, y los traslada con firmeza a la actualidad con una mezcla de sátira y retratos crudos y auténticos de la vida. Piense en Figgis como si cruzara las arenas del tiempo hasta Daumier o Hogarth, cuyas obras ofrecían con frecuencia una mirada satírica de la sociedad contemporánea, uniéndose a artistas comprometidos con la sátira social y conocidos por su aguda capacidad de observación.

GENIEVE FIGGIS

ALFRED SISLEY - Vaches au paturage sur les bords de la Seine - pastel sobre papel - 11 1/4 x 15 1/2 pulg.

ALFRED SISLEY

HERB ALPERT - Punta de flecha - bronce - 201 x 48 x 48 in.

HERB ALPERT

Well known for his candor and pragmatic sensibility, Alexander Calder was as direct, ingenious, and straight to the point in life as he was in his art. “Personnages”, for example, is unabashedly dynamic, a work that recalls his early love of the action of the circus as well as his insights into human nature. The character of “Personnages” suggests a spontaneous drawing-in-space, recalling his radical wire sculptures of the 1920s.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - pastel sobre papel verjurado sobre tabla - 10 3/8 x 14 3/4 pulg.

CAMILLE PISSARRO

De los muchos tótems espirituales de Herb Albert, fundidos en bronce y patinados en negro sedoso, pocos tienen la sensación claramente masculina del Guerrero. Rematado con una corona descendente y dentada que podría referirse tanto a la cresta de un ave de presa como al tocado de un jefe de los indios de las llanuras, el título "Guerrero" es una descripción acertada que se refiere a los atributos de fuerza, valor y espíritu inquebrantable, entre otros. Al igual que la obra de Henry Moore, esas asociaciones dependen, en parte, del espacio negativo para crear la impresión dinámica y fuerte que produce esta formidable escultura.

HERB ALPERT

JOAN MIRO - L'Oiseau - bronce y bloque de hormigón - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO

La serie de esculturas Bali de Frank Stella se caracteriza por sus formas flotantes y fluidas, que se extienden por el espacio del espectador e invitan a la interacción entre el objeto y su entorno. El "dadap", un tipo de árbol asociado al crecimiento y al significado ritual en la cultura balinesa, refleja la naturaleza orgánica y dinámica de las esculturas de Stella. Al cambiar el bambú por el acero inoxidable y el aluminio, Stella ha preservado la naturaleza esencial de la estética balinesa, que ensalza las formas orgánicas, fluidas y dinámicas. Dadap presenta una continuidad en la exploración temática de Stella en la que el espíritu de su obra trasciende la materialidad. El metal ofrece una textura, una reflectividad y una interacción con la luz y el espacio diferentes, pero se adhiere a los principios del movimiento y la interactividad. Se trata de una transferencia creativa de forma y concepto a través de diferentes medios, que conserva el espíritu de la inspiración inicial al tiempo que permite que las propiedades del nuevo material expresen estas ideas en un contexto nuevo.

FRANK STELLA

Deborah Butterfield ocupa un lugar importante dentro del panteón de los escultores estadounidenses, reconocida por su espíritu pionero y su dominio de diversos medios. Fabricado en acero moldeado, "Beacon" es un testimonio de su audacia y dedicación a superar los límites artísticos. Butterfield aceptó los desafíos de este exigente medio, y es una fusión de innovación y tradición. Con su estética moderna caracterizada por líneas amplias y elegantes, esta escultura de caballo es una fuente de encanto, que invita a los espectadores a un reino donde el arte contemporáneo converge con la belleza atemporal. Beacon honra la gracia clásica de la forma equina y reafirma la posición de Butterfield como un visionario dentro del paisaje de la escultura moderna.

DEBORAH BUTTERFIELD

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

Andy Warhol es sinónimo del arte estadounidense de la segunda mitad del siglo XX y es conocido por sus icónicos retratos y productos de consumo, que mezclan la cultura popular y las bellas artes, redefiniendo lo que puede ser el arte y cómo nos acercamos a él. Aunque muchas de las obras de Warhol no representan a personas famosas, sus representaciones de objetos inanimados elevan a sus sujetos a un nivel de celebridad. Warhol representó por primera vez los zapatos al principio de su carrera, cuando trabajaba como ilustrador de moda, y volvió a tratar el tema en la década de 1980, combinando su fascinación por el consumismo y el glamour. Con su constante deseo de fusionar la alta y la baja cultura, Warhol eligió destacar algo tan omnipresente como los zapatos. El tema puede denotar pobreza o riqueza, función o moda. Warhol da un toque de glamour a los zapatos, cubriéndolos con una pátina de polvo de diamante brillante, difuminando aún más el significado entre la necesidad utilitaria y la pieza estilizada.

ANDY WARHOL

Cuando un caballo se acuesta, es porque se siente seguro, lo cual, para Deborah Butterfield, es una forma de decir que está bien hacernos vulnerables. "Echo", construida de manera que respeta sus habilidades de búsqueda de alimento y su habilidad para soldar metales, no se adhiere a una representación tradicional de un caballo, sino que revela algo de su naturaleza esencial. Construida a partir de láminas de acero ensambladas, algunas onduladas, otras plegadas o engarzadas, es una pieza que lleva la marca del tiempo, envejecida hasta una pátina marrón óxido, imperfecciones celebradas en lugar de ocultas. La elección deliberada de los materiales y su tratamiento por parte de Butterfield añaden profundidad y carácter, transformando Untitled, Echo en algo más que una simple representación equina: refleja la belleza robusta y la resistencia del animal que representa.

DEBORAH BUTTERFIELD

FREDERICK CARL FRIESEKE - Colina en Giverny - óleo sobre lienzo - 25 1/4 x 31 1/4 in.

FREDERICK CARL FRIESEKE

Las primeras obras de papel maché de Manuel Neri abrieron camino en la técnica escultórica, y su enfoque de la pintura de sus esculturas refleja su profundo compromiso con el potencial expresivo del color y la forma. La elección y colocación de los colores en Hombre Colorado II crea una respuesta particularmente visceral que refleja su comprensión matizada de la dimensión psicológica y emocional del color. Conceptualizado y producido en 1958, Hombre Colorado II refleja una época en la que Neri y su esposa Joan Brown estaban involucrados en un rico intercambio artístico de creatividad y contribuyeron significativamente a la evolución de sus respectivos estilos y al Movimiento Figurativo del Área de la Bahía, en el que desempeñaron un papel vital.

MANUEL NERI

A lo largo de su dilatada carrera de más de cinco décadas, Yvonne Thomas fue conocida por su enfoque distintivo que fusionaba las cualidades espontáneas y emotivas del Expresionismo Abstracto con un uso articulado de las formas y los colores como medio de expresión. Thomas valoraba el color como fuente de profunda alegría y de complejos rompecabezas. Esta perspectiva se refleja en su arte, en el que utilizó una paleta diversa para evocar y comunicar sus reacciones ante temas naturales. Pintó La torre en 1954, un año marcado por un hito importante: su primera exposición individual en la Hendler Gallery de Filadelfia. Un año después, el arte de Thomas se expuso en el Riverside Museum de Nueva York, donde su obra se exhibió junto a la de artistas notables como Franz Kline y Milton Avery.

YVONNE THOMAS

"Wigwam rouge et jaune", una cautivadora pintura al gouache de Alexander Calder, es una vibrante exploración del diseño y el color. Dominada por un entramado de líneas diagonales que se cruzan cerca de su cúspide, la composición destila un equilibrio dinámico. Calder introduce un elemento de capricho con rombos rojos y amarillos, que infunden a la pieza un carácter lúdico y crean un ambiente festivo. Las bolas rojas en el vértice de las líneas inclinadas a la derecha evocan una impresión caprichosa, mientras que las esferas grises más pequeñas sobre las líneas inclinadas a la izquierda ofrecen contraste y equilibrio. La magistral fusión de simplicidad y elementos de diseño vitales de Calder hace de Wigwam rouge et jaune una delicia visual.

ALEXANDER CALDER

PAUL JENKINS - Fenómenos Por Regreso - acrílico sobre lienzo - 104 3/4 x 49 5/8 in.

PAUL JENKINS

Manuel Neri fue una figura central del movimiento figurativo de la zona de la bahía en la década de 1960. En lugar de las formas abstractas, el grupo hacía hincapié en la emoción a través del poder de la forma humana. La presente obra, "Sin título" (1982), explora la forma femenina a escala real. Neri prefirió trabajar con una sola modelo a lo largo de sus 60 años de carrera, Maria Julia Klimenko. La ausencia de un rostro en muchas de las esculturas añade un elemento de misterio y ambigüedad. El centro de la composición en "Sin título" es la estructura y la forma de la figura. Manuel Neri está representado en numerosas colecciones de museos de todo el mundo, como la Addison Gallery/Phillips Academy; la Colección Anderson de la Universidad de Stanford; el Instituto de Arte de Chicago; el Centro de Arte Cantor de la Universidad de Stanford; el Museo de Arte de Cincinnati; el Museo de Arte Crocker de Sacramento (California); el Museo de Arte de Denver; el Museo de Arte de El Paso (Texas); los Museos de Bellas Artes de San Francisco; los Museos de Arte de la Universidad de Harvard; el Museo y Jardín de Esculturas Hirshhorn de Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, Nueva York y la National Gallery of Art, Washington, DC.

MANUEL NERI

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

Ningún artista tendió un puente entre el modernismo europeo y el expresionismo abstracto americano como Hans Hofmann. La razón es sencilla: se formó en academias parisinas antes de la Primera Guerra Mundial y entabló amistad con Henri Matisse, Pablo Picasso, Georges Braque y Robert y Sonia Delaunay, lo que le proporcionó un nivel de familiaridad con el Modernismo europeo que ningún otro expresionista abstracto poseía. Sin título (Vista del puerto de Provincetown) combina elementos de esa primera época, el color desenfrenado de los fauves en pasajes de pincelada amplia con la promesa de la pintura automatista de la Escuela de Nueva York que estaba por llegar. Es muy gestual, mezclando los motivos y la velocidad del pincel de Raoul Dufy con una proyección más masculina y audaz, que sugiere las raíces de la Action Painting.

HANS HOFMANN

En 1970, Anuszkiewicz inició la serie "Portales", una serie de pinturas consistentes en rectángulos verticales formados por colores suaves con líneas verticales que rompen el campo de color y enmarcan rectángulos centrales luminosos. La orientación de "Blueing", sin embargo, presenta una oportunidad para recalibrar la verticalidad habitual del artista en la serie Portals, sugerente de trascendencia, y transponerla a un plano horizontal que implica conexión más que ascensión. Siguiendo el espíritu de la experimentación perceptiva, el portal, de color rojo, que destaca entre las suaves bandas de color que lo rodean, ofrece un contraste más fuerte de lo habitual y sirve como punto focal que ancla la composición. Blueing", un cuadro horizontal poco común, si no único, de la serie Portales, pone de relieve la compleja interacción entre la intención del artista, la composición formal y la percepción del espectador. Entabla un vibrante diálogo entre los ámbitos de lo abstracto y lo visceral, propiciando un encuentro personal y envolvente.

RICHARD ANUSZKIEWICZ

LOUIS VALTAT - Jarrón de coquelicots - óleo sobre lienzo - 23 1/2 x 19 in.

LUIS VALTAT

Deborah Butterfield es una escultora estadounidense, mejor conocida por sus esculturas de caballos hechas de objetos que van desde madera, metal y otros objetos encontrados. La pieza de 1981, Sin título (Caballo), está compuesta por palos y papel sobre armadura de alambre. La impresionante escala de esta pieza crea un efecto notable en persona, presentando un ejemplo sorprendente de la célebre temática de Butterfield. Butterfield originalmente creó los caballos de madera y otros materiales encontrados en su propiedad en Bozeman, Montana y vio a los caballos como un autorretrato metafórico, minando la resonancia emocional de estas formas.

DEBORAH BUTTERFIELD

RODOLFO MORALES - Sin título - óleo sobre lienzo - 37 1/4 x 39 1/4 pulg.

RODOLFO MORALES

Conocido por su fascinación por la fama, las celebridades y los iconos culturales, Andy Warhol en ocasiones fue más allá de sus contemporáneos para incluir figuras históricas. De especial interés son las teorías de Goethe sobre el color, que hacían hincapié en cómo se perciben los colores y en su impacto psicológico, en contraste con la concepción newtoniana del color como fenómeno científico, basada en la física. Aunque no existe una relación directa entre la teoría del color de Goethe y el hecho de que Warhol se inspirara directamente en él para elegirlo como tema, sí destaca temáticamente la forma en que consideramos que el arte de Warhol se relaciona con las tradiciones históricas para simbolizar un vínculo entre sus respectivos campos y épocas. En este sentido, la obra sirve de homenaje y colaboración intertemporal, al vincular el lenguaje visual de Warhol con la conciencia de Goethe del color como elemento potente y estimulante de la percepción.

ANDY WARHOL

LE PHO - Flores - óleo sobre lienzo - 28 3/4 x 21 1/4 pulg.

LE PHO

ANDY WARHOL - Goethe - serigrafía en colores - 38 x 38 in.

ANDY WARHOL

HERB ALPERT - Inspirado - bronce - 100 x 20 x 12 in.

HERB ALPERT

A finales de la década de 1990, Manuel Neri comenzó a transformar numerosas esculturas de escayola en bronce, volviendo con frecuencia a obras anteriores para producir nuevas versiones imaginadas de cada pieza. Estas series, casi indistinguibles en forma y superficie, exploran el impacto de diferentes combinaciones de color y marcas que implican diversas acciones, como incisiones, cepillados, raspados o capas de materiales. Experimentando con distintas técnicas de marcado, Neri pudo explorar la interacción entre forma, color, textura y luz. En el contexto de la Figura de pie n.º 3, Neri limitó su paleta a un esquema cromático análogo, diluyendo la pintura para crear sutiles gradaciones que realzan el exterior elegante y refinado de la escultura.

MANUEL NERI

MARC QUINN - Lovebomb - foto laminado sobre aluminio - 108 1/4 x 71 3/4 x 37 3/4 in.

MARC QUINN

ANDY WARHOL - Coche Ford - grafito sobre papel - 11 1/2 x 15 3/4 in.

ANDY WARHOL

ARMAND GUILLAUMIN - Roquebrune, Le Matin - óleo sobre lienzo - 25 x 31 1/4 in.

ARMAND GUILLAUMIN

La serie de latas de sopa Campbell de Andy Warhol marca un momento crucial en su carrera y en el movimiento del arte pop. La serie, compuesta por 32 lienzos, cada uno con un sabor diferente, revolucionó el mundo del arte al elevar los bienes de consumo cotidianos y mundanos a la categoría de arte elevado. La serigrafía Pepper Pot, de 1968, emplea su característico estilo de colores vivos y planos e imágenes repetidas, característico de la producción en masa y la cultura de consumo. La serigrafía, una técnica comercial, concuerda con el interés de Warhol por desdibujar los límites entre el arte elevado y el arte comercial, desafiando los valores y percepciones artísticos.

ANDY WARHOL

Wayne Thiebaud es muy admirado como pintor. Sin embargo, su habilidad como dibujante es igualmente convincente y particularmente evidente en la litografía, un medio autográfico célebre por documentar cada gesto de un artista. Como Paint Cans demuestra plenamente, la litografía también proporciona la libertad de superponer texturas y colores para lograr una representación astuta de las intenciones articuladas de un artista. En cuanto a la composición, "Latas de pintura" muestra el agudo sentido del orden de Thiebaud, que se deriva de un énfasis en los puntos focales y las líneas direccionales que demuestran las formas únicas en que puede resaltar un grupo de elementos cotidianos. Es otra obra que sorprende al espectador con su técnica y habilidades altamente detalladas.

WAYNE THIEBAUD

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century. <br><br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

HENRI MANGUIN

Cuando Dorothy Hood regresó a Houston en 1962, para su deleite, la NASA hizo un anuncio trascendental: el nuevo Centro de Naves Espaciales estaría en Houston. La idea de viajar al espacio resonaba con su interés de larga data en la cosmología, y la aspiración heroica de lograr un aterrizaje en la luna abrió algo en la artista. Esta nueva frontera influyó en su trabajo y la animó a trabajar más grande. Ella admitió: "El descubrimiento de lo que podía hacer con (lienzos grandes) es lo más importante que me ha pasado en mi vida como pintora". Por mucho que Space Signals sea un tour de force de pintura de campos de color, su lenguaje visual provino de otras fuentes: imágenes periódicas de sondas de naves espaciales, objetos astronómicos y sus muchas conversaciones con científicos y astronautas que dispararon su imaginación. Creó estas zonas deslumbrantemente hermosas, finamente pintadas, de vaporosos tonos azul ftalo, en las alas de esa inspiración.

DOROTHY HOOD

Al principio de su maduración, Hood se estableció como una artista de imágenes cargadas metafísicamente que se involucró con varias cosmologías a su regreso a Houston en 1962. Aguas azules es una de esas obras que reflejan su persistente búsqueda de sustento espiritual. Una banda de azul saturado y opaco se extiende hacia adelante en una esfera de azul límpido, que recuerda a un globo terráqueo acuoso. Esta intrusión audaz pero armoniosa se asemeja a un brazo etéreo que transforma un estado fluido en un hipnotizante verde ftalo, su opulencia y su brillo sugieren una intervención divina que evoca la metáfora de "la mano de Dios", animando la esencia de la vida. El uso magistral del color y la forma de Hood a menudo invita a interpretaciones de un abrazo cósmico o espiritual dentro del mundo natural. Sin embargo, sus límpidos lavados de color vertido no demuestran aleatoriedad o incertidumbre, sino su notable dominio y control que agrega otro elemento de asombro a Blue Waters.

DOROTHY HOOD

El enfoque de Dorothy Hood a menudo aborda la naturaleza esencial de la belleza. Con A pesar de Homenaje a Arshile Gorky, la belleza sirve como un conducto que intensifica nuestra participación consciente, introduciendo ideas complejas a través de presentaciones visualmente impactantes, nada de lo cual sería posible si Hood no fuera un técnico tan pulido. Las transiciones de "rubor y florecimiento" dentro de los dos territorios rojos son increíblemente hermosas. Sin embargo, Hood también es un maestro de los efectos ilusionistas que juegan con nuestra percepción. Al introducir un cambio de color dentro del canal de (llamémoslo) malva claro de luna con matices azulados a un rosa opaco más claro, el efecto depende de cómo la percepción del color del espectador percibe una división. El primer efecto, arriba, tiene la ilusión de un abismo, el segundo de una barrera visual que separa los dos bloques de color que el espectador puede reconocer fácilmente. Este efecto opuesto se acentúa aún más colocando formas cristalizadas y heladas sobre la losa roja cerca de la parte inferior del plano de la imagen y, en contraste, parches escondidos debajo de la losa izquierda para enfatizar el efecto de un canal.

DOROTHY HOOD

Hood a menudo reconocía que Arshile Gorky, Edvard Munch, Henri Matisse, Pablo Picasso y Max Ernst influyeron en su capacidad para transmitir conceptos e ideas en abstracción no representacional. Pero fueron sus estudios intensivos del mito, la ciencia, la naturaleza, la espiritualidad y las habilidades prodigiosas las que nos llevaron a los límites de nuestras percepciones y experiencias. Untitled no comparte la cualidad delicada y etérea de las flores botánicas de Georgia O'Keefe y, en cambio, reconoce la intensidad transformadora que subyace a la creación de las cosas terrenales. Para Hood, la transformación de semilla a capullo, de flor a semilla es un ciclo de finalización y un estado perpetuo de metamorfosis moldeado por el paso del tiempo y la interacción de los reinos físico y espiritual. Es uno de sus temas más potentes al que volvía a menudo.

DOROTHY HOOD

En el centro de la vida y el arte de Dorothy Hood está su tiempo en México entre 1941 y 1962, cuando estuvo al frente y al centro de la encrucijada cultural, política y social. Entre sus amigos se encontraban las surrealistas Remedios Varo y Leonora Carrington y los pintores nativos Rufino Tamayo y José Clemente Orozco, con quienes desarrolló una profunda amistad. Cuando regresó a Houston para pintar los lienzos épicos por los que siempre será más conocida, se le abrieron portales a reinos fantásticos y elusivos. Las formas evocadoras de Black Vessel anticipan la superposición, el corte y la reorganización del material para producir los collages visualmente estimulantes que a menudo la ocupaban en la década de 1980. Intencionada o no, la disposición y los patrones recíprocos sugieren una pagoda birmana recortada contra el cielo nocturno. Una pagoda se utiliza principalmente como monumento para albergar reliquias, y la estructura escalonada simboliza las enseñanzas budistas.

DOROTHY HOOD

Para Hood, el mar y la extensión infinita del cosmos son reflejos el uno del otro. Encarnan la fuerza formidable que es atractiva para la mente y hace alarde de nuestras ilusiones de tener el control. El vacío es una fuerza ilimitada y primigenia que trasciende nuestra comprensión de su verdadera naturaleza. Para Hood, el desafío de enmarcar el infinito dentro de los límites finitos de un lienzo se convirtió en el trabajo de su vida. En The Face in the Sea, las zonas negras crean la impresión de un espacio negativo, al igual que la inmensidad del espacio mismo, donde los estallidos rojos improvisados son como fenómenos celestes; nebulosas, cometas y galaxias y emergen dentro de ese vacío. Los bordes afilados del negro actúan como horizontes de sucesos que oscurecen y, sin embargo, definen, insinuando dimensiones invisibles más allá, un vacío que refleja la inmensidad desorientadora del espacio. El efecto es cosmológico y psicológico, una obra que captura la emocionante dualidad del espacio, el potencial infinito que se encuentra con un misterio incognoscible.

DOROTHY HOOD

ELAINE DE KOONING - El Matador - gouache sobre papel - 7 3/4 x 9 1/2 pulg.

ELAINE DE KOONING

SETH KAUFMAN - Lignum Spire - bronce con pátina verde - 103 1/2 x 22 x 17 in.

SETH KAUFMAN

A medida que Hood avanzaba hacia los últimos años de su arte y su vida, permaneció sostenida por exploraciones del espacio exterior e interior, y su recuerdo de México continuó siendo una fuente. En consecuencia, las pinturas de los años 90 destilan una energía juvenil que desmiente la edad del artista. Enfrentarse a estas obras es sentirse en el primer estallido de luz primigenio o en el fin del mundo. Gravity's Rainbow II encapsula la evolución del contexto espacial y la orientación psicológica distintivos de Hood, evocando un campo de energía expansivo y franjas de colores radiantes y explosivos. El título hace referencia a la novela de Thomas Pynchon ambientada principalmente en Europa durante el final de la Segunda Guerra Mundial. Comprende hilos de una narrativa sobre el desarrollo y despliegue del cohete V-2. Es probable que Hood se sintiera atraído por la cita del científico Wernher von Braun: "La naturaleza no conoce la extinción; Lo único que conoce es la transformación. Todo lo que la ciencia me ha enseñado y me sigue enseñando fortalece mi creencia en la continuidad de nuestra existencia espiritual después de la muerte".

DOROTHY HOOD

Durante las décadas de 1980 y 1990, la devoción de Hood por la idea del vacío no encontró el favor de una generación gobernada por el neopop, el posmodernismo o el debate sobre la validez del arte de apropiación. Walter Darby Bannard, un reconocido pintor de campos de color, reconoció el enorme talento de Dorothy Hood y le aconsejó que abandonara su interés esotérico por algo sin límites y más allá de la comprensión. Hood, como sabemos, se mantuvo firme. Como ella misma declaró: "El negro puede ser pintado para expresar una gran luz, porque en el vacío de la negrura surge todo principio. Las formas están en la gravedad, o están suspendidas sin tiempo, o sin la prisa del movimiento". El virtuosismo de Hood en el manejo del negro está en plena exhibición con Untitled (Black Beauty), una obra maestra más potente cuando se ve a través de la lente de su incesante búsqueda para descubrir la unidad cósmica.

DOROTHY HOOD

ANDY WARHOL - The Shadow (from Myths) - serigrafía en color con polvo de diamante sobre papel - 37 1/2 x 37 1/2 in.

ANDY WARHOL

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El 15 de mayo de 1886 nació un manifiesto visual para un nuevo movimiento artístico cuando se presentó la obra cumbre de Georges Seurat, Una tarde de domingo en la isla de la Grande Jatte, en la Octava Exposición Impresionista. Seurat puede reivindicar el título de "Impresionista científico" original, trabajando de una manera que llegó a conocerse como Puntillismo o Divisionismo. Sin embargo, fue su amigo y confidente Paul Signac, de 24 años, y su diálogo constante lo que propició una colaboración en la comprensión de la física de la luz y el color y el estilo que surgió. Signac era un pintor impresionista sin formación, pero con un talento asombroso, cuyo temperamento se adaptaba perfectamente al rigor y la disciplina necesarios para lograr la pincelada y el color laboriosos. Signac asimiló rápidamente la técnica. También fue testigo del arduo viaje de dos años de Seurat construyendo miríadas de capas de puntos de color sin mezclar en La Grande Jatte, de tamaño colosal. Juntos, Signac, el extrovertido descarado, y Seurat, el introvertido reservado, estaban a punto de subvertir el curso del Impresionismo y cambiar el curso del arte moderno.

PAUL SIGNAC

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

GRANT WOOD

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

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

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

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

VINCENT VAN GOGH - La iglesia nueva y las casas antiguas de La Haya - óleo sobre lienzo sobre tabla - 13 5/8 x 9 3/4 pulg.

VINCENT VAN GOGH

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

In 1955, Sir John Rothenstein, representing the Trustees of the Tate Museum, approached Winston Churchill about donating one of his paintings "as a gift to the nation." Churchill was flattered, but felt he did not deserve such an honor as an artist. Eventually, Churchill agreed and sent two candidate paintings to the Tate – On the Rance and Loup River. No record exists regarding his own thoughts on the works he submitted, but one can safely say that Churchill thought highly of On the Rance, especially since it was not one of the paintings Rothenstein identified as a strong option. Loup River, which clearly matched Rothenstein's taste, was selected. Not only was On the Rance not returned, but somehow it ended up, without any inventory record, in a basement storeroom at the Tate. In the storeroom it sat for almost a half century, when it was discovered by an intern. The Churchill family was notified and eventually the painting was auctioned in June 2005, where it set a new auction record for Churchill's work, despite the lot notes hardly touching on the Tate’s possible acquisition. In a letter to the buyers, Churchill’s daughter, Lady Soames, summarized what had occurred in somewhat more detail.<br><br>St. Malo is a walled city in Brittany, France on the coast of the English Channel. The city was nearly destroyed by bombings during WWII.

SIR WINSTON CHURCHILL

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ALEXANDER CALDER

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

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

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.  

TOM WESSELMANN

An outstanding example of Churchill’s North African scenes, one in which he deftly captures the scenery and light that his artistic mentor, John Lavery, had told him about in the mid 1930s. Another artist mentor, Walter Sickert, taught Churchill how to project photo images directly on to a canvas as an aid in painting, a technique used to advantage in this instance. The Studio Archives at Chartwell include 5 photographs, one of the camel and four others, that Churchill used as aids.<br><br>With the visual aids, Churchill could focus on the vibrant colors, the tan of the sand and buildings contrasting with the brilliant blue skies, splashes of green adding energy to the painting. A different Marrakech scene, “Tower of the Koutoubia Mosque”, set an auction record for Churchill when it sold in 2021 for $11 million USD.

SIR WINSTON CHURCHILL

Painted from an unusually high vantage, “Riviera Coast Scene” vividly conveys the formidable distance and breadth of the scene from the perch where he set his easel. Interestingly, Paul Rafferty did not include this painting in his book Winston Churchill: Painting on the French Riviera, believing it could likely be a scene from the Italian Lake District, where Churchill also painted in the same time period.<br><br>Paintings by Churchill can function as a glimpse into his extensive travels and his colorful life. Churchill most likely painted “Riviera Coast Scene” during a holiday at Chateau de l’Horizon, home of Maxine Elliot, a friend of his mother. Elliot, originally from Rockland, Maine, was a successful actress and socialite.<br><br>Within this painting, we see the influence of the Impressionists who utilized unusual viewpoints, modeled after Japanese woodblock prints, but also evidence of their attempts to push the boundaries of the landscape genre

SIR WINSTON CHURCHILL

En 1945, una vez finalizada la guerra y tras haber sufrido una sorprendente derrota en las elecciones generales, Churchill aceptó una invitación del mariscal de campo Sir Harold Alexander para reunirse con él en su villa italiana a orillas del lago Como. Churchill disfrutó de la generosa hospitalidad de su anfitrión y centró su atención y energía en plasmar la región en lienzos. Produjo quince cuadros, que encarnan cómo la pintura absorbía su atención y le ofrecía un elixir que le ayudaba a reponer fuerzas. Este emblemático cuadro apareció en un artículo publicado en enero de 1946 en LIFE, y ha sido seleccionado como ilustración en color en varias ediciones del libro de Churchill, Paintings as a Pastime.

SIR WINSTON CHURCHILL

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

Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history.

N.C. WYETH

SIR WINSTON CHURCHILL - Vista sobre el puerto de Cassis (C 333) - óleo sobre lienzo - 25 x 30 pulg.

SIR WINSTON CHURCHILL

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.”

SEAN SCULLY

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

SIR WINSTON CHURCHILL

Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit.

MARSDEN HARTLEY

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

Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters.

FREDERICK CARL FRIESEKE

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

Painted while staying at Dunrobin Castle, the estate of the Duke of Sutherland, Churchill chose to set his easel behind a tree where he likely thought of it as a framing device, adding a layer of depth, creating a stronger sense of foreground, middle ground, and background, enhancing the three-dimensionality of the picture. Churchill painted at both Dunrobin as well as the Duke’s Sutton Place estate, later the home of John Paul Getty.<br><br>As Mary Soames describes it in her book, Winston Churchill, His Life as a Painter, “1921 had been a year of heavy personal tidings” for Churchill and his family, as he lost both his mother, Jennie Cornwallis-West, and his beloved child, Marigold, aged nearly four. In a letter to his wife Clementine, Churchill wrote, “… Many tender thoughts, my darling one of you and yr sweet kittens. Alas I keep on feeling the hurt of the Duckadilly [Marigold’s pet name].” That Churchill chose to stay with the Duke and Duchess at Dunrobin just after Marigold’s death speaks to their close friendship and his fondness for the area, including Loch Choire. It is no surprise that Churchill gifted the painting to the Duke of Sutherland

SIR WINSTON CHURCHILL

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

LARRY RIVERS

Still lifes like Oranges and Lemons (C 455) give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted Oranges and Lemons at La Pausa. Churchill would often frequent La Pausa as the guest of his literary agent, Emery Reves and his wife, Wendy. Reves purchased the home from Coco Chanel. While other members of the Churchill family did not share his enthusiasm, Churchill and his daughter Sarah loved the place, which Churchill affectionately called “LaPausaland”.<br><br>To avoid painting outside on a chilly January morning, Wendy Reves arranged the fruit for Churchill to paint. Surrounded by the Reves’s superb collection of Impressionist and Post-Impressionist works, including a number of paintings by Paul Cézanne, Oranges and Lemons illuminates Churchill’s relationships and the influence of Cézanne, who he admired. The painting, like Churchill, has lived a colorful life, exhibited at both the 1959 Royal Academy of Art exhibition of his paintings and the 1965 New York World’s Fair.

SIR WINSTON CHURCHILL

No es difícil comprender cómo la brillante disposición en dos filas de cuatro letras de Robert Indiana llegó a contribuir a potenciar un movimiento durante la década de 1960. Su origen surgió de una profunda exposición a la religión y de su amigo y mentor Ellsworth Kelly, cuyo estilo de bordes duros y color sensual y sin acentos causó una impresión duradera. Pero como Indiana exclamó, fue un momento de kismet que simplemente sucedió cuando "¡EL AMOR me mordió!" y el diseño le llegó nítido y centrado. Indiana, por supuesto, sometió el diseño a muchas pruebas, y entonces el logotipo empezó a brotar por todas partes. El mensaje, que se transmite mejor en forma de escultura, está presente en ciudades de todo el mundo y se ha traducido a varios idiomas, entre ellos su iteración italiana, "Amor", con su fortuita "O" también inclinada hacia la derecha. Pero en lugar de ser pateada por el pie de la "L", esta versión confiere a la "A" superior un efecto de tambaleo bellamente escenificado. Da una impresión nueva, pero no menos profunda, del amor y de su naturaleza emocionalmente cargada. En cualquier caso, la "O" inclinada de Love imparte inestabilidad a un diseño por lo demás estable, una profunda proyección de la crítica implícita de Indiana al "sentimentalismo a menudo hueco asociado con la palabra, que metafóricamente sugiere anhelo y decepción no correspondidos en lugar de afecto sacarino" (Robert Indiana's Best: A Mini Retrospective, New York Times, 24 de mayo de 2018). La repetición, por supuesto, tiene la mala costumbre de empañar nuestro aprecio por el genio de la simplicidad y el diseño innovador. A finales de su vida, Indiana se lamentó de que "fue una idea maravillosa, pero también un terrible error. Se hizo demasiado popular. Y hay gente a la que no le gusta la popularidad". Pero nosotros, habitantes de un mundo plagado de divisiones y sumido en la confusión, se lo agradecemos. "Love" y sus muchas versiones nos recuerdan con fuerza nuestra capacidad de amar, y esa es nuestra mejor esperanza eterna de un futuro mejor.

ROBERT INDIANA

Uniquely among Winston Churchill’s known work, “Coastal Town on the Riviera” is in fact a double painting with the landscape on one side and an oil sketch on the other. The portrait sketch bears some resemblance to Viscountess Castlerosse who was a frequent guest in the same Rivera estates where Churchill visited. Churchill painted her in C 517 and C 518 and gives us a larger picture of the people who inhabited his world. <br><br>Of his approximately 550 works, the largest portion (about 150) were of the South of France, where Churchill could indulge in both the array of colors to apply to his canvas and in gambling, given the proximity of Monte Carlo.

SIR WINSTON CHURCHILL

Churchill counted as both a friend and political ally, Phillip Sassoon – one of Britain's great hosts, cousin of famed poet Siegfried Sassoon, and the man upon whom Noël Coward crowned "a phenomenon that will never recur”. Sassoon and his sister Sybil were among Winston and Clementine’s great friends. As described by Lady Soames in her book, “Philip Sassoon was a man of charm and distinction, and he dispensed princely hospitality to a brilliant and varied circle of friends at his two country houses, Port Lympne and Trent Park. He made a remarkable collection of works of art. Winston received much help and encouragement from Sassoon, and painted many pictures of both his house and gardens. One of the ways in which Winston taught himself to paint was by copying pictures he admired. With his large and varied collection, Sir Philip was able to be of help in this way, too, and Winston studied and copied quite a number of his friend’s pictures. Sassoon was a friend and patron of John Singer Sargent, and owned many of his works. Winston admired several of these, and found them highly instructive; in 1926, [less than two years before this painting was created] Philip Sassoon wrote Winston this note, which accompanied a generous present and a helpful loan:<br><br>My dear Winston,<br><br>You have often admired the picture of John Lewis Brown of the two horsemen that hung at Trent, so I am sending it to you with my best wishes in the hope that you find a corner for it at Chartwell. I am also sending th little Sargent picture wh you asked for. He painted it when he was 18!”<br><br>One is struck by Sassoon’s generosity, and can see in later works how his close study of Sargent influenced Churchill.

SIR WINSTON CHURCHILL

SALOMON VAN RUYSDAEL - Un paisaje de dunas con figuras descansando y una pareja a caballo, una vista de la catedral de Nimega más allá - óleo sobre lienzo - 26 1/2 x 41 1/2 pulg.

SALOMON VAN RUYSDAEL

JAN JOSEPHSZOON VAN GOYEN - Paisaje fluvial con molino de viento y capilla - óleo sobre tabla - 22 1/2 x 31 3/4 pulg.

JAN JOSEPHSZOON VAN GOYEN

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