Paseo por la Galería Jackson Hole 2023

PUBLICADO EN: Visitas a galerías

Situada en la belleza salvaje de Jackson Hole, Wyoming, con los Parques Nacionales como un impresionante telón de fondo, Heather James Jackson ha traído el más alto calibre de obras de arte y servicios a la Intermontaña Oeste durante más de una década.

Atendiendo a la comunidad única que hace de Jackson Hole un destino incomparable para la cultura estadounidense y al aire libre, Heather James se esfuerza por ofrecer una selección inigualable de obras de arte y servicios de guante blanco para los lugareños y visitantes por igual.

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

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

<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>

TOM WESSELMANN

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

<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>

RUFINO TAMAYO

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

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

WINSLOW HOMER

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

GERHARD RICHTER

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

MARC CHAGALL

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

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

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

PIERRE BONNARD

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

JEAN-MICHEL BASQUIAT

AMEDEO MODIGLIANI - Cariatide - crayón azul sobre papel buff - 24 x 18 in.

AMEDEO MODIGLIANI

DAMIEN HIRST - Pensamientos olvidados - mariposas y brillo doméstico sobre lienzo - 48 x 48 pulg.

DAMIEN HIRST

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

FRANZ KLINE - Sin título, No. 7246 - óleo sobre papel colocado sobre tabla - 18 1/8 x 23 1/4 in.

FRANZ KLINE

HANS HOFMANN - Canción de amor - óleo sobre lienzo - 36 1/4 x 48 1/4 pulgadas

HANS HOFMANN

JOHN CHAMBERLAIN - ASARABACA - papel de aluminio de peso industrial con laca acrílica y resina de poliéster - 20 x 23 x 22 in.

JOHN CHAMBERLAIN

HEDDA STERNE - Sin título - óleo, pastel, grafito sobre lienzo - 80 x 26 x 1 1/4 pulg.

HEDDA STERNE

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

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

HANS HOFMANN

EMILY KAME KNGWARREYE - Anooralya Yam Story - pintura de polímero sintético sobre lino - 60 1/4 x 48 in.

EMILY KAME KNGWARREYE

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

ALFRED SISLEY

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

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

Roger Brown es conocido por su imaginería personal y a menudo fantástica, y por sus pinturas muy estilizadas con figuras y objetos que reflejan su interés por las experiencias cotidianas. Lluvia ácida explora temas de la vida moderna y comentarios sociales que reflejan el papel del artista en la sociedad y el potencial del arte para instigar el cambio. En un plano más personal, el tema de la lluvia ácida puede simbolizar estados emocionales o psicológicos corrosivos, como la depresión, la ansiedad o la sensación de sentirse abrumado por circunstancias que escapan al propio control. Al igual que la lluvia ácida era un problema medioambiental en gran medida invisible pero devastador, la crisis de la incipiente epidemia de VIH/SIDA probablemente motivó a Brown a crear la obra para procesar el dolor personal, criticar la respuesta inadecuada de los líderes políticos y abogar por la compasión, la comprensión y la investigación médica.

ROGER BROWN

KEITH HARING - Sin título (Figura en equilibrio sobre un perro) - aluminio - 35 1/2 x 25 x 29 pulg.

KEITH HARING

La serie Ocean Park de Diebenkorn evoca el delicado equilibrio de luz y color del artista, su meditada composición y la sutil integración de elementos paisajísticos, todo lo cual simula el ambiente costero de su estudio en Santa Mónica. A principios de la década de 1990, Diebenkorn retomó los temas y las sensibilidades estéticas de la serie Ocean Park aprovechando diversas técnicas de grabado para ampliar su exploración del lenguaje abstracto que desarrolló en sus pinturas. "High Green, Version I" ejemplifica esta búsqueda, sugiriendo las estrategias compositivas, la paleta y las preocupaciones espaciales que definen la serie Ocean Park, al tiempo que muestra las posibilidades únicas del grabado para reinterpretar estos elementos.

RICHARD DIEBENKORN

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

JOAN MIRO

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

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

ALEXANDER CALDER

La serie "Open" de Robert Motherwell, que comenzó a finales de la década de 1960, representa una dirección significativa en su obra, haciendo hincapié en la apertura y la complejidad espacial a través de composiciones minimalistas. Basada en la ventana como motivo metafórico rico en introspección e intimidad, "Estudio abierto en marrón tabaco" pretende reflejar la relación entre el yo interior y el mundo exterior. También demuestra un compromiso con la exploración de los límites de la abstracción, la interacción de las formas y la profundidad emocional del color. "Estudio abierto en marrón tabaco" se realizó en 1971, un año de transición en el que el artista se divorció de su mujer Helen Frankenthaler y conoció a la fotógrafa alemana Renate Ponsold, con la que se casaría al año siguiente.

ROBERT MOTHERWELL

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

FREDERICK CARL FRIESEKE

"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

© 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

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

LUIS VALTAT

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

HARRY BERTOIA

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

ANDY WARHOL

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

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

RODOLFO MORALES

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

ANDY WARHOL

A veteran of the battle of Verdun, Fernand Leger witnessed the horror and staggering loss of over 1 Million of his fellow countrymen during World War I.  This horrific experience of fighting in the trenches of Europe left an indelible mark on the artist.  The modern and mechanized aspects of this new form of warfare, with tanks, modern artillery, and gruesome tactics, inspired Leger to create some of his greatest masterpieces.  <br><br>The Present drawing, executed in 1930, is a relic from the decade following the First World War.  Untitled (1930) was purchased from the Katherine Kuh galley in Chicago- and has been impeccably preserved by the family of the original purchaser.  It is exceedingly rare to find drawings like Untitled outside of Museum collections.

FERNAND LEGER

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.  <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

ALEX KATZ - Peter - óleo sobre tablero de masonita - 15 7/8 x 7 1/8 pulg.

ALEX KATZ

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

HARRY BERTOIA

<div><font face=Calibri size=3 color=black>Art enthusiasts celebrate Harry Bertoia’s “Sonambient” sculptures for their ability to transcend the traditional boundaries of visual art. Rising 56 inches, this sculpture of sixteen tines, topped with cattail-like finials crafted from beryllium copper and aged to a unique patina, suggests a powdery effect reminiscent of cattails in their natural state. This richly mottled patina enhances its visual appeal and historical significance, reflecting the natural aging process that Bertoia, a naturalist, would have deeply admired. The large surface area of the finials allows the patina to express itself differently, adding texture and depth to the sculpture’s appearance. The effect gives the piece an organic quality, further connecting it to the natural world that inspired Bertoia.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>When activated by touch or the movement of air, the rods produce a continuous sound akin to an old church chime. This haunting, melodic tone transforms the sculpture from a static object into a dynamic auditory experience, evoking the serene and spiritual atmosphere of ancient places of worship. Bertoia always retained an awareness of the irony of using metal to produce the sounds of nature and organic forms. The sound resonates with a timeless quality, drawing listeners into a meditative state and highlighting the spiritual dimensions of Bertoia’s work.</font></div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 56-inch “Sonambient” sculpture exemplifies his belief in art as an immersive, evolving experience. It invites viewers to engage with it physically and emotionally, discovering new layers of beauty and meaning with each interaction. Through this piece, Bertoia continues to captivate and inspire, celebrating the profound connection between art, nature, and spirituality.</font></div>

HARRY BERTOIA

<div><font face=Calibri size=3 color=black>George Rickey's "Two Up One Down Staggered" exemplifies his ability to marry minimalist aesthetics with complex mechanical motion. Ninety-seven inches tall and meticulously crafted from stainless steel, the sculpture reflects this synthesis beautifully. It explores the intersection between the precise movements of machinery and the organic, unpredictable motions found in nature. It features two elongated stainless-steel arms (Rickey called 'blades) extending upwards, balanced by a single element pointing downwards; all arranged staggered. This staggered configuration creates a dynamic visual rhythm, emphasizing the interplay between balance and imbalance and enhancing the sculpture's kinetic properties. The title succinctly encapsulates the components' structural arrangement and dynamic interaction, providing insight into Rickey's thoughtful design and his exploration of geometric and kinetic relationships.<br><br><br><br>Stainless steel gives the sculpture a sleek, modern appearance and ensures its durability, allowing it to withstand outdoor conditions. This material choice underscores Rickey's intention for his works to engage directly with natural forces like wind and gravity. The components move gently with the slightest breeze, transforming static metal into a fluid, ever-changing form. A close inspection of Rickey’s solution for its fastening structure offers an appreciation for its precise engineering and a tribute to his attention to detail and craftsmanship. These fastening elements also show an artisanal touch, with visible welds, rivets, and sheet metal 'shaving' that emphasizes the handcrafted nature of the piece. These details reveal the manual labor and meticulous skill involved in the sculpture's creation while adding an element of authenticity and rawness to the artwork.<br><br><br><br>The simplicity of the design belies the complexity of "Two Up One Down Staggered.” Rickey's precision in engineering these delicate movements ensures that each component interacts seamlessly, inviting contemplation and highlighting the beauty of kinetic art. This interplay of balance and motion captures the viewer's attention, transforming the act of observing into an engaging experience, and his work continues to inspire and challenge our perceptions of art, mechanics, and the natural world, making him a pivotal figure in the evolution of kinetic sculpture.</font></div>

RICLAJE GEORGE

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

ARMAND GUILLAUMIN

"Ray Gun became a catch title for all sorts of things. Looking down on the street, I would find this angle in the shape of a ray gun everywhere. And I would collect the ray guns. They became quite an obsession."<br>-Claes Oldenburg<br><br>"Two Ray Guns" (1964) was initially sold through the venerable Sidney Janis Gallery. The work draws upon Oldenburg's keen observational sense and fascination with science fiction and popular American culture. The fascination with Ray Guns became a conceptual art practice for Oldenburg; he would not construct them in the traditional sense but instead, find objects that could be reduced into the form. Ray Gun Examples exist in plastic, bronze, plaster, and many different media.  <br><br>Our example from the Ray Gun series has been in the same important American collection for many years. Several examples from this series are in prominent museum collections worldwide, including the Museum of Modern Art, New York.

CLAES OLDENBURG

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

EDGAR ALWIN PAYNE - Barcos venecianos en Sotto Marino - óleo sobre panel - 23 3/8 x 26 1/4 in.

EDGAR ALWIN PAYNE

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

RICLAJE GEORGE

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div><br><br><div><font size=3> </font></div><br><br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

HARRY BERTOIA

Karl Benjamin y sus colegas Lorser Feitelson, Frederick Hammersley y John McLaughlin ocupan un lugar destacado en la historia del arte abstracto estadounidense. Conocidos por sus formas geométricas precisas y sus bordes limpios que enfatizan la planitud, son los pintores californianos del Hard-edge que surgieron a finales de la década de 1950. A diferencia de Ellsworth Kelly, por ejemplo, su obra refleja un brillo, una claridad y una paleta que sugieren el entorno natural y construido de California en lugar de las influencias más urbanas e industriales que se perciben en la Costa Este. Además, en comparación con la competitiva escena artística de la Costa Este, el grupo californiano era una comunidad de artistas relativamente pequeña y muy unida, con un sentido de la colaboración y la exploración compartida que contribuyó a crear un movimiento cohesionado con una identidad propia.

KARL BENJAMIN

MARY ABBOTT - Sin título - óleo y óleo en barra sobre papel montado en lienzo - 23 x 29 in.

MARY ABBOTT

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

ELAINE DE KOONING

A menudo pasados por alto, los dibujos en tinta y color de Warhol muestran su habilidad para reducir motivos y elementos a su naturaleza esencial utilizando una economía de línea y una maravillosa jovialidad que caracteriza a cada uno de ellos. A menudo nos recuerdan que el arte puede ser el mejor proveedor de humor y capricho si no se complica y fluye libremente. Sin título, Flores es un anticipo de su famoso diseño para Vogue de 1960, que combina dibujos de flores en colores fluorescentes. Anticipa la temprana inclinación de Warhol a separar la línea del color, un recurso que más tarde daría a sus imágenes serigrafiadas su inmediatez abstracta.

ANDY WARHOL

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971).  Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

JESSIE ARMS BOTKE

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

ROBERTO MATTA

La "Silla eléctrica" de Warhol es, sin duda, la más macabra de las 70 pinturas y grabados de la serie Muerte y desastre, pero sus brillantes colores aportan un marcado contraste al tema. Lo irónico es que la repetición y la pureza mecanizada de las serigrafías, que elevaron las latas de sopa Campbell's a la categoría de obras de arte, tienen aquí una finalidad diferente. Actúan como agentes desensibilizadores que, por grados, crean una separación emocional de lo truculento, lo macabro, la muerte y la mortalidad. Como para declarar aún más sus intenciones, Warhol redujo la cavernosa habitación de las versiones anteriores a un plano poco profundo, ofreciendo una visión más centrada de la propia silla, cuya morbosidad se suaviza bajo bloques de color amarillo, rosa, azul y naranja.

ANDY WARHOL