Atrás

HANS HOFMANN (1880-1966)

BIO DEL ARTISTA CONSULTAR
 
<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>
<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div> <div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>
Paisaje nº 108194123 1/4 x 29 1/4 in.(59,06 x 74,3 cm) óleo sobre tabla
Procedencia
Propiedad del artista
Galería Andre Emmerich, Nueva York, 1971
Colección Maryann Youngren, 1971-1980
Christie's, Nueva York, 16 de mayo de 1980, lote 7
Colección privada, 1980-1998
Galería Andre Emmerich, Nueva York, 1998
Ameringer Fine Art, Nueva York, 1998
Colección privada, 1998-2008
Ameringer Yohe Fine Art, Nueva York, 2008
Colección privada, Nueva Jersey
Exposición
Suiza, Riehen y Basilea, Fundación Beyeler, Action Painting - Jackson Pollock y el gesto en la pintura, 27 de enero - 12 de mayo de 2008
...Más.... 
Literatura
Fundación Beyeler, Action Painting, Ostfildern, 2008, nº 26, p. 68 (ilustrado en color)
Suzi Villiger, Hans Hofmann: catálogo razonado de pinturas, volumen II, Surrey, 2014, HH cat. nº 1253-1941, p. 202 (ilustrado en color)
...MENOS....
Cualquier análisis de la obra de Hans Hofmann está incompleto si no se tienen en cuenta sus pequeños paisajes, que le ocuparon entre 1940 y 1944. Estas obras captan un momento crucial de su evolución artística, en el que pasó de las naturalezas muertas figurativas, los retratos y los interiores inspirados en Matisse a la abstracción pura que más tarde definiría su carrera. "Paisaje nº 108" ejemplifica este cambio. Su composición comprimida y la severa agrupación de colores intensos prefiguran las obras de madurez del artista, canalizando el mismo dinamismo feroz que es el sello distintivo de nuestro aprecio por el artista. La paleta fauvista y los trazos eléctricos vibran con energía, y su juego de luces y sombras crea una tensión rítmica que parece casi musical. A pesar de su modesta escala, la audacia y el dinamismo del cuadro aluden a los atrevidos riesgos que Hofmann asumiría más tarde en sus grandes abstracciones. Arraigado en el fauvismo y con resonancias de los primeros trabajos de Kandinsky, "Paisaje nº 108" sigue siendo un sólido testimonio de la evolución del lenguaje visual de Hofmann durante este periodo de transformación.
Atrás
Preguntar