Paseo por la Galería Jackson Hole - Verano 2021

Julio de 2021
Noticias

Acompáñenos en una visita en vídeo a nuestra galería de Jackson Hole, Wyoming, con obras de Claude Monet, Camille Pissarro, Frida Kahlo, Diego Rivera, Elaine de Kooning y Willem de Kooning, entre muchos otros.

OBRAS DE ARTE ACTUALMENTE EN VISTA EN HEATHER JAMES JACKSON HOLE

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

The Pop Art movement elevated common, often commercial subjects- redefining them as Fine Art. James Rosenquist's work helped shape the trajectory of the Pop Art phenomenon, and he was one of the few artists from this group to live well into the 21st century. <br><br>"Where the Water Goes" (1988) is an oil painting on canvas related to a series of monumentally scaled pressed paper pulp pieces produced in partnership with master printer Kenneth Tyler. The series is based on collaged visual elements arranged on a monumental scale. <br><br>The works from the "Welcome to the Water Planet" series appear to share a celestial setting and could be inspired by the artist's knowledge of the space shuttle program of the 1980s. Rosenquist also demonstrated his fascination with modern technology in his early masterpiece F-111 (1964-65).

JAMES ROSENQUIST

Jim Dine era un artista pop americano cuyo trabajo meditaba sobre objetos con un atractivo infantil para encontrar un lenguaje universal y nostálgico. Las túnicas de Dine se encuentran entre las imágenes más reconocibles que han surgido de su larga e ilustre carrera. Se exhibieron por primera vez en la galería Sidney Janis en el otoño de 1964 - este es un ejemplo de ello. Double Silver Point Robes es un conjunto de medios mixtos a gran escala. La obra se ejecuta en punta de plata - una técnica que utiliza una pieza de plata como instrumento de dibujo sobre un terreno especialmente preparado por el cual se oxida durante un período de meses para crear un tono marrón cálido. Las dos telas unidas presentan bloques de madera en el lugar donde deben estar las cabezas y un elemento de madera colgante que se mueve en respuesta a las corrientes de aire.

JIM DINE

FERNANDO BOTERO - Autoretrato a la manera de Velázquez - sanguina y crayón sobre cartón - 60 1/2 x 47 1/2 in.

FERNANDO BOTERO

CARLOS LUNA - La Mia (1225 OC) - óleo sobre lienzo - 47 x 58 in.

CARLOS LUNA

OLAF WIEGHORST - Apaches - óleo sobre lienzo - 20 x 24 in.

OLAF WIEGHORST

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

CÓRCULO MARÍA

ARNE HIERSOUX - Mem Sahib - acrílico y papel sobre lienzo - 70 1/2 x 120 1/2 in.

ARNE HIERSOUX

ARNE HIERSOUX - Yonder Cisco - acrílico y papel sobre lienzo - 59 x 93 3/4 in.

ARNE HIERSOUX

FRANK TENNEY JOHNSON - Escultismo - óleo sobre lienzo - 13 1/2 x 17 pulg.

FRANK TENNEY JOHNSON

HASSEL SMITH - 9000 y 9 Noches - acrílico y grafito sobre lienzo - 68 x 68 1/8 in.

HASSEL SMITH

ROBERTO MATTA - L'epreuve - óleo sobre lienzo - 29 1/2 x 25 1/2 in.

ROBERTO MATTA

ANDY WARHOL - Electric Chair - serigrafía en colores sobre papel tejido - 35 3/8 x 47 3/4 in.

ANDY WARHOL

ROBERT NATKIN - Serie Berna - acrílico sobre lienzo - 48 x 53 pulg.

ROBERT NATKIN

IMOGEN CUNNINGHAM - The Unmade Bed - impresión en gelatina de plata - 10 1/4 x 13 1/2 in.

IMOGEN CUNNINGHAM

JAE KON PARK - Sin título - óleo sobre lienzo - 25 1/4 x 35 in.

PARQUE JAE KON

TONY DE LOS REYES - Border Compression #1 - aceite y tinte sobre lino - 78 x 108 1/4 in.

TONY DE LOS REYES

KIM DOUGLAS WIGGINS - Hacer Presente II - óleo sobre lienzo - 35 1/2 x 35 1/2 in.

KIM DOUGLAS WIGGINS

MARY DENEALE MORGAN - Twin Cypress - gouache sobre papel - 20 x 24 in.

MARY DENEALE MORGAN

PAUL GRIMM - Stately Eucalypti - óleo sobre tabla - 20 x 24 in.

PAUL GRIMM

HERB ALPERT - Falling for You - acrílico sobre lienzo - 48 x 72 in.

HERB ALPERT

KIM DOUGLAS WIGGINS - Timon #2 - óleo sobre lienzo - 29 1/2 x 23 1/2 in.

KIM DOUGLAS WIGGINS

JAE KON PARK - Sin título - óleo sobre tela - 24 x 31 in.

PARQUE JAE KON

EDWARD WESTON - Charis, Santa Monica - impresión en gelatina de plata - 9 1/2 x 7 1/2 pulg.

EDWARD WESTON

ABEL GEORGE WARSHAWSKY - Árboles en Bretaña - óleo sobre lienzo - 25 1/2 x 32 in.

ABEL GEORGE WARSHAWSKY

GERTRUDE PARTINGTON ALBRIGHT - Below Twin Peaks - óleo sobre lienzo - 24 1/4 x 29 1/4 in.

GERTRUDE PARTINGTON ALBRIGHT

HERB ALPERT - Primavera silenciosa - acrílico sobre lienzo - 48 x 72 pulg.

HERB ALPERT

HERB ALPERT - Spellbound - acrílico sobre lienzo - 72 x 48 in.

HERB ALPERT

HERB ALPERT - Nieve silenciosa - acrílico sobre lienzo - 72 x 48 pulg.

HERB ALPERT

HERB ALPERT - Soft Spoken - acrílico sobre lienzo - 48 x 72 in.

HERB ALPERT

PAUL GRIMM - Rooted Silence - óleo sobre tabla - 20 x 24 in.

PAUL GRIMM

HERB ALPERT - Jive Talk - acrílico sobre lienzo - 48 x 72 in.

HERB ALPERT

ANDY WARHOL - Jimmy Carter III - serigrafía sobre papel J. Green - 28 x 20 3/4 pulg.

ANDY WARHOL

WILLIAM THEOPHILUS BROWN - White Horse - acrílico sobre papel - 22 x 28 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Sin título (Desnudos en el parque con un perro) - acrílico sobre papel - 15 x 22 1/8 in.

WILLIAM THEOPHILUS BROWN

RAY STANFORD STRONG - Primavera, Montaña Negra, Condado de Marin - óleo sobre lienzo - 24 x 44 pulgadas.

RAY STANFORD STRONG

HERB ALPERT - Brasilian Mist - acrílico sobre lienzo - 36 x 72 in.

HERB ALPERT

HERB ALPERT - Luna de Brasil - acrílico sobre lienzo - 36 x 72 pulg.

HERB ALPERT

PAUL WONNER - Parque con figuras alrededor de un árbol - acrílico y lápiz sobre papel - 22 1/4 x 30 in.

PAUL WONNER

HERB ALPERT - Aislamiento - acrílico sobre lienzo - 36 x 60 in.

HERB ALPERT

MANUEL VALENCIA - Luz del sol y sombra en las colinas - óleo sobre tabla - 10 3/4 x 17 in.

MANUEL VALENCIA

JEAN MANNHEIM - Antes de la tormenta - óleo sobre tabla - 12 x 15 1/2 pulg.

JEAN MANNHEIM

THOMAS MCGLYNN - Paisaje de California - óleo sobre lienzo - 25 x 30 pulgadas.

THOMAS MCGLYNN

PAUL WONNER - Pasos en Lafayette Park - acrílico y lápiz sobre papel - 15 x 22 1/4 in.

PAUL WONNER

JAE KON PARK - Sin título - óleo sobre tela - 18 x 21 in.

PARQUE JAE KON

JAE KON PARK - Sin título - óleo sobre tela - 18 x 21 in.

PARQUE JAE KON

JAE KON PARK - Sin título - óleo sobre tela - 21 x 18 in.

PARQUE JAE KON

JAE KON PARK - Sin título - óleo sobre tela - 21 x 18 in.

PARQUE JAE KON

WILLIAM THEOPHILUS BROWN - Sin título (Paisaje con rocas) - óleo sobre tabla - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Sin título (Grupo de desnudos en la piscina) - acrílico sobre papel - 10 x 15 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Sin título (Tres desnudos, uno sentado) - acrílico sobre papel - 11 1/8 x 14 1/4 pulg.

WILLIAM THEOPHILUS BROWN

HERB ALPERT - Primera aparición - acrílico sobre lienzo - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Hombre moderno - acrílico sobre lienzo - 48 x 36 pulg.

HERB ALPERT

HERB ALPERT - Up Up and Away - acrílico sobre lienzo - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Modulación - acrílico sobre lienzo - 48 x 36 in.

HERB ALPERT

PAUL WONNER - Cityview - acrílico sobre papel - 16 1/4 x 13 5/8 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Sin título (Bañistas) - acrílico sobre papel - 10 3/4 x 13 3/4 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Paisaje con bañistas - acrílico y lápiz sobre papel - 14 7/8 x 22 1/8 pulg.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Sin título (Dos desnudos) (Dos figuras) - acrílico y carbón sobre papel - 11 x 15 in.

WILLIAM THEOPHILUS BROWN

Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916.

SHELDON ORRIN PARSONS

CARLOS LUNA - Sin título - técnica mixta sobre papel - 30 x 22 1/2 in.

CARLOS LUNA

JAE KON PARK - Sobre la antigua Corea - batik sobre tela - 11 3/4 x 12 1/2 pulg.

PARQUE JAE KON

PAUL WONNER - Sendero y Árboles - acrílico y lápiz sobre papel - 14 x 16 1/2 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrílico sobre tela - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - Sobre Patrones - batik sobre tela - 9 1/4 x 11 in.

PARQUE JAE KON

JAE KON PARK - Ave dos veces dibujada - batik sobre tela - 10 1/2 x 12 in.

PARQUE JAE KON

JAE KON PARK - Sobre Patrones - batik sobre tela - 12 1/4 x 10 1/4 in.

PARQUE JAE KON

JAE KON PARK - Sobre el México Antiguo - batik sobre tela - 10 x 9 1/2 in.

PARQUE JAE KON

JAE KON PARK - Life - batik sobre tela - 9 1/2 x 10 3/4 in.

PARQUE JAE KON

JAE KON PARK - Sobre la antigua Corea - batik sobre tela - 9 1/4 x 13 in.

PARQUE JAE KON

JAE KON PARK - Ave dos veces dibujada - batik sobre tela - 10 1/2 x 12 in.

PARQUE JAE KON

JAE KON PARK - Ranas Argentinas - batkin sobre tela - 12 x 10 1/4 in.

PARQUE JAE KON

JAE KON PARK - Birds of Spring - batik sobre tela - 10 3/4 x 12 1/4 in.

PARQUE JAE KON

JAE KON PARK - El Misterio de América - batik sobre tela - 6 x 8 1/4 in.

PARQUE JAE KON

WILLIAM THEOPHILUS BROWN - Dos grúas vuelan (hacia la puesta de sol) - aguada sobre papel - 11 x 14 1/2 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - El Sol Inca - batik sobre tela - 6 1/2 x 7 3/4 in.

PARQUE JAE KON

JAE KON PARK - Serie América - batik sobre tela - 6 1/2 x 6 3/4 pulg.

PARQUE JAE KON

En 1995, Duncan Martin dejó la docencia a tiempo completo en el Principia College Studio Art facility para centrarse en la pintura y vivió en Nuevo México, Arizona y Colorado. Aunque más tarde volvió a ejercer como profesor de arte y presidente del Departamento de Arte e Historia del Arte, en la actualidad está jubilado y se dedica por completo a la pintura de paisajes al aire libre. Martin suele empezar con pinceladas largas y atrevidas con espátula o pincel y las va ajustando con pinceladas cada vez más pequeñas, controladas y detalladas. Sigue observando, haciendo evaluaciones visuales y retoques graduales con ambos extremos del pincel. Como pintor, a Martin le interesa algo más que crear cuadros de fácil representación. En su lugar, espera comprender alguna verdad esencial que no se revela necesariamente en sus detalles físicos.

DUNCAN MARTIN

JAE KON PARK - Mecanismos de la naturaleza - impresión - 6 x 7 3/4 pulg.

PARQUE JAE KON

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