Paseo por la Galería Palm Desert - Temporada 2023/2024

PUBLICADO EN: Visitas a galerías

Eche un vistazo a nuestro avance de la temporada de invierno en el que se muestra nuestra nueva exposición, ahora en nuestra sede de Palm Desert, California. Con maestros impresionistas como Sisley, Pissarro y Frieseke, pioneros modernos como Picasso y O'Keeffe, y creadores contemporáneos y de posguerra como Indiana, De Kooning y Richter, entre otros.

Nos complace anunciar nuestro horario de invierno en nuestra ubicación de Palm Desert en 45188 Portola Avenue: De lunes a sábado de 9:00 a 5:00.

OBRAS DE ARTE ACTUALMENTE EXPUESTAS EN HEATHER JAMES PALM DESERT

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

RICHARD DIEBENKORN

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

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

<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

<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

<div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div>

PIERRE-AUGUSTE RENOIR

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

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

<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

No artist bridged the gap between European Modernism and American Abstract Expressionism the same way Hans Hofmann did. The reason is simple. He was trained in Parisian academies prior to World War I and was friendly with Henri Matisse, Pablo Picasso, Georges Braque, and, most significantly, Robert and Sonia Delaunay. Conversely, his endeavors as a teacher and later, as a mature artist in full command of his abilities were stimulated — made possible even — by the exhilarating New York milieu that gave rise to Abstract Expressionism. So perhaps it is not surprising that unlike most of the Abstract Expressionists who pursued a single iconographic look — Rothko’s soft-edged rectangles, Franz Klein’s enlarged calligraphic strokes, Clyfford Still’s dark, ragged shapes — Hofmann was constantly reaching for different and contradictory effects. That meant his paintings were wildly varied and that they carved a wide swath toward the most exciting avenues available to contemporary abstraction. Hofmann proved to be a gallant experimenter, refusing to settle on a single style for long.<br><br>The Climb was painted in 1960 at a time when most American painters were pushing abstraction in new directions. Not surprisingly, as an outlier, it does not evoke Hofmann’s usual “push and pull’ technique. But it is very much a painting of its time, marked by a sensuousness and a deft, painterly touch. It suggests what Irving Sandler characterized as Hofmann’s hedonistic touch, an optimistic celebration of the lyrical abstraction that overcame the burning darkness of painting in the 40s and trumped even the lighter palette of Pollock or Pousette-Dart that emerged later. While the passages of The Climb are brushed rather than poured or stained, it reflects the delicate lyricism of his former student, Helen Frankenthaler who, since 1952 had experimented with floating areas of color, absorbed into the canvas with watercolor-like ease. She, in turn, had inspired a generation of Color Field painters including Morris Louis and Kenneth Noland. On the other hand, these short bands and prismatic slurries recall those halcyon days in Paris when Hofmann worked through color theory with his good friend Robert Delaunay and thought a lot about prisms. Hofmann not only retained elements of Synthetic Cubism, but the lessons he learned from the Fauves and the artists who verily invented abstraction, Wassily Kandinsky, Kasimir Malevich, Frantisek Kupka, and Piet Mondrian to name a few of the key players. The Climb is a glorious expression of a painter drawing from both the past and the present, painting in a playful, but not frivolous manner fully informed and prepared to express his abilities as a painter, simply, and with great conviction.<br><br>As New York City became the avant-garde’s global hub in the 1940s, radical, new approaches to art, such as action painting and abstraction, took root among the informally grouped New York School painters. By 1950, Abstract Expressionism was well underway, but the movement was often overlooked by institutions. When the Metropolitan Museum of Art announced its plan to exhibit a survey of contemporary American painting, many of the New York School painters felt there was a bias against more “progressive” art in the museum’s selection process, prompting them to draft an open letter protesting the show.<br><br>The letter garnered attention, and Life magazine published an article on the protest in January 1951, “The Irascible Group of Advanced Artists Led Fight Against Show.” To accompany the article, Nina Lee photographed 15 of the 18 painters who signed the letter, including Hans Hofmann, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyford Still, Robert Motherwell, Barnett Newman, and Mark Rothko. Today, this article is considered a turning point in the prominence of Abstract Expressionism, and the artists involved are often referred to as the “Irascibles.”

HANS HOFMANN

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

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

<div><font face=Calibri size=3 color=black>Fernando Botero's legendary ascension as an international sensation began when Museum of Modern Art curator Dorothy Miller stumbled upon his Greenwich Village studio in 1961 and purchased "<em>Mona Lisa, Age Twelve</em>." His trademark portly figures and playful, lighthearted humor became known as "Boterismo." More importantly, the art leaving his easel revealed an unbridled respect for the Old Masters, the compelling chiaroscuro of a Zurbarán still life, the sfumato of da Vinci, and always the craftsmanship of van Eyck, Dürer, or Rubens. Botero continues that thread of technical mastery with "<em>L'Atelier de Sánchez Cotán</em>" even as he reshapes these classical themes through his unique lens. A mixed media collage and oil on canvas, the work pays homage to the Spanish Baroque still life painter Juan Sánchez Cotán by subverting and modernizing the traditional still life genre. Botero captures Cotán's hyperrealism with a surreal, almost whimsical aesthetic. An oversized apple suspended on a string dominates the composition, a nod to Cotán's meticulously arranged still life paintings, known for the striking suspended effect of fruit or vegetables. Botero's rendition, however, imbues the scene with a sense of playfulness and detachment from reality, as seen in the box-like contraption, resembling a stage or a viewing device containing miniature versions of objects within the painting. The stark, flat backdrop, devoid of Cotán's characteristic chiaroscuro, accentuates the sense of artifice.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Fernando Botero's death on September 15, 2023, was a significant loss for the art world. Although his roots are deeply Colombian, his appeal is global, coupling commercial success with critical acclaim—a balance few artists have achieved. Works such as “<em>L'Atelier de Sánchez Cotán</em>” are not just whimsical or aesthetic; they prompt the viewer to appreciate the enduring dialogue between tradition and innovation, showcasing an artist of great technical finesse and mastery.</font></div>

FERNANDO BOTERO

JULIAN SCHNABEL - Sin título - óleo y cera sobre lona - 120 x 96 pulg.

JULIAN SCHNABEL

Pintado por el joven Grant Wood poco después de la segunda de las tres giras europeas que realizó durante la década de 1920, El joven artista prolonga el interés del artista por la pintura en plein air iniciado en el norte de Francia. El puntillismo de Seurat atrajo a Wood, y la pintura con espátula le consumió en 1925. Sin embargo, aún no había viajado a Múnich, donde, en 1928, cayó bajo la influencia de los pintores del Renacimiento septentrional, lo que despertó su interés por la severidad compositiva y la técnica minuciosa asociadas a sus obras de madurez. Pintando con rapidez y decisión, Wood realizó The Young Artist desde lo alto de una colina del parque Kenwood, que domina el valle del río Cedar, cerca de Cedar Rapids, donde construyó una casa para su hermana Nan.

GRANT WOOD

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

PIERRE BONNARD

Wojciech Fangor is a Polish painter who became one of the nation’s more preeminent artists by experimenting with abstraction in the years following the end of World War II. Born in 1922, Fangor studied and taught art during the early years of his career, producing paintings inspired by various styles of the European avant-garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field painting.<br><br>Fangor’s first exhibitions in the United States took place in the 1960s, where he was included in two group exhibitions at the Museum of Modern Art in New York City, including “15 Polish Painters” (1961) and “The Responsive Eye” (1965), the latter of which explored contemporary developments in Optical Art. Fangor received a major solo exhibition at the Guggenheim Museum in 1970, returning to Poland in 1999 where he continued to work until his death in November 2015.<br><br>Maintaining that Contemporary painting should “radiate a force onto literal space which defines a zone of physical activity,” Fangor created captivating works such as “#29” from 1963. Here, the centrifugal force of the spiral prompts one to investigate the formal qualities of the work, actively engaging in what he called “a zone of physical activity” in front of the painting.

WOJCIECH FANGOR

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

DAMIEN HIRST

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

CAMILLE CLAUDEL

<div><font face=Calibri size=3 color=black>Deeply influenced by his populist views and commitment to social realism, Thomas Hart Benton became an advocate for the common man, often depicting the struggles and resilience of ordinary Americans in his work. Coal strikes were frequent occurrences in the late 1920s and early 1930s, and <em>"Mine Strike"</em> is a visually compelling account of such an uprising, rich with social commentary. At the time, Benton traveled the nation seeking inspiration for a mural project and was particularly interested in social issues. In 1933, he illustrated the modern social history of the United States for <em>“We the People”,</em> published by Harper & Brothers, New York. <em>"Mine Strike"</em> is carefully constructed to highlight the chaos and human drama. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The figures are robust and grounded, reflecting Benton's signature style of muscular forms. The scene, though aggressive and violent, displays commitment and sacrifice. Two officers fire on the strikers, one of whom has fallen to the ground, shot. Set against the backdrop of an imposing mining complex, a towering black structure known as a 'tipple' looms ominously over the strikers. Its darkly sinister anthropomorphic shape contrasts sharply with the lighter, more organic human figures — an appearance intensified by its coal chutes resembling mechanical arms. This visual metaphor of industrial oppression underscores the pervasive threat posed by the coal mining industry and those paid to protect its interests.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Through <em>"Mine Strike,"</em> Benton not only documents a specific historical moment but also critiques the broader socio-economic conditions of his time. His depiction of the workers' plight is a powerful statement on the exploitation and struggles the working-class faces. Benton's political leanings towards advocating for social justice and his commitment to portraying the reality of American life are vividly encapsulated in this painting, making it a poignant and enduring piece of art.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Benton made two compositions about strike activities during this time: this painting and another, <em>“Strikebreakers”</em>, painted in 1931. Of the two, Benton used <em>"Mine Strike"</em> as the basis for a well-known lithograph issued in 1933. Benton described the scene as a "Strike battle" in the coal country. This is an imaginary reconstruction of a situation only too common in the late twenties and early thirties."</font></div>

THOMAS HART BENTON

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

JEAN-MICHEL BASQUIAT

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

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

AMEDEO MODIGLIANI

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

HIROSHI SENJU

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

FRANZ KLINE

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

HANS HOFMANN

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

HERB ALPERT

ANDREW WYETH - Quart and a Half - acuarela sobre papel - 21 x 29 1/4 in.

ANDREW WYETH

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

HARRY BERTOIA

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

MEL RAMOS

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

CAMILLE PISSARRO

En "Desnudo bajando una escalera nº 2", Mel Ramos entrelaza juguetonamente el legado de la obra maestra modernista de Marcel Duchamp con la estética vibrante del Pop Art, creando una reinterpretación inteligente y visualmente estimulante. Al asociar el movimiento abstracto de Duchamp con su característico estilo pin-up, Ramos crea un diálogo dinámico entre las veneradas tradiciones de las bellas artes y las cualidades audaces y gráficas de las imágenes comerciales. Esta obra ejemplifica la habilidad de Ramos para navegar por la historia del arte y la cultura contemporánea, utilizando el encanto de la desnudez femenina para explorar y satirizar las obsesiones sociales con la belleza, el deseo y la mercantilización. Al hacerlo, la pieza de Ramos se convierte en una mezcla de arte pop por excelencia, deleitándose en su asociación lúdica con Duchamp y, al mismo tiempo, criticando y celebrando la cultura visual de su tiempo.

MEL RAMOS

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

Francisco Zúñiga creó esculturas cuando era niño cuando ayudaba a su padre, un escultor local de santos de madera. Se dedicó decididamente a la escultura después de llegar a México desde su Costa Rica natal en 1936 y desarrolló un amplio cuerpo de trabajo basado en la figura que abarcó la talla directa en madera, el modelado en arcilla, la escultura directa sobre piedra dura y la fundición en bronce. "Desnundo Reclinado de Dolores" es un punto de partida en el sentido de que no refleja su interés por el arte precolombino ni su persistencia en representar a mujeres de aspecto indígena con caderas y estómagos exagerados. En cambio, es un tour de force modelado clásicamente de una mujer arrodillada con la cadera rotada y apoyada en el antebrazo que Rodin habría estado orgulloso de haber reclamado como suya.

FRANCISCO ZUNIGA

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

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

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

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

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

JOHN CHAMBERLAIN

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

JOAN MIRO

© 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

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

"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

<div><font face=Calibri size=3 color=black>Richard Prince's "<em>Untitled</em>" from 2009 is a provocative and multilayered piece that engages with the themes of censorship, appropriation, and the boundaries of art. Prince uses a photographic montage of naked, intertwined bodies—imagery that evokes the explicit nature of an orgy and obscures its tawdry nature with a pattern of pink, egg-shaped acrylic elements covering much of the underlying image. The placement of these shapes is seemingly arbitrary, yet they play a crucial role in how the viewer perceives the piece. This obscuring overlay can be interpreted as a visual metaphor for censorship, alluding to how society imposes restrictions on what is deemed acceptable for public consumption. By covering parts of the bodies, Prince draws attention to the act of censorship itself rather than merely the content being censored. The viewer is left to imagine what lies beneath, heightening the sense of curiosity and the taboo.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Prince's work often critiques mass media and the commercialization of culture, and this piece is no exception. By altering found images, he questions the ownership and authorship of visual culture. The "censorship" elements in this work might also reference the commodification of sex and how the media sanitizes or obscures the raw, human aspects of such imagery to make it more palatable for the public.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In "<em>Untitled</em>," Prince challenges viewers to confront their perceptions of morality, art, and the power dynamics inherent in censorship. The work serves as a commentary on how images are manipulated and controlled in society, pushing the boundaries of what is considered art and what is considered obscene. Through this layered approach, Prince continues his exploration of the intersections between art, culture, and societal norms.</font></div>

RICHARD PRINCE

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

DONALD JUDD

Hija del escultor minimalista Tony Smith, el arte de Kiki no se limita a un único medio o técnica, y su obra invita a menudo a múltiples interpretaciones. Club encarna la forma y las dimensiones de una pierna humana, elemento esencial para el movimiento y la estabilidad. El título de Smith invita al espectador a reimaginar una pierna como arma y a considerar la fragilidad de la condición humana, la dinámica de poder de la autonomía corporal y la compleja interacción entre fuerza y vulnerabilidad. Esta transformación de una parte del cuerpo en objeto transmite tanto protección como agresión y reflexiona sobre cómo los cuerpos específicos de un género navegan por nuestro entorno social y personal. Club ejemplifica la capacidad de Smith para crear piezas ricas en simbolismo, abiertas a la interpretación y que provocan la reflexión sobre la experiencia humana.

KIKI SMITH

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

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

KEITH HARING

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

MARIA BLANCHARD

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

MARIA BLANCHARD

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

"Un sueño dentro de otro sueño" es una significativa serie de pinturas y serigrafías de Ryan McGinnes que toma su nombre de un famoso poema de Edgar Allan Poe. Explorando temas como la percepción, la realidad y el subconsciente, McGinnes incorpora diversos símbolos y motivos, como formas geométricas, elementos botánicos y motivos figurativos, que organiza en intrincados patrones que parecen cambiar y transformarse ante los ojos del espectador. El título sugiere una sensación de ambigüedad e incertidumbre, que refleja la naturaleza esquiva de la realidad y la cualidad huidiza de la experiencia humana. Al abordar los temas de la percepción y la ilusión, McGinnes anima al espectador a cuestionar sus suposiciones sobre el mundo y a considerar la posibilidad de que la realidad sea más fluida y subjetiva de lo que parece.

RYAN MCGINNESS

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

HERB ALPERT - Vibrato - bronce - 93 x 14 pulg.

HERB ALPERT

HERB ALPERT - Inspirado - bronce - 108 x 30 x 26 in.

HERB ALPERT

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

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

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

ANDY WARHOL

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

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

<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

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINO

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

CHINO

<div><font face=Lato size=3 color=black>In Harry Bertoia's oeuvre, "<em>Willow</em>" stands apart as an extraordinary synthesis of natural inspiration and innovative metalwork. Its cascading strands of stainless-steel capture the weeping elegance of a willow tree's drooping branches while introducing a dynamic, interactive quality through its shimmering surface and subtle responsiveness to movement. The strands—whether referred to as "tinsels," "filaments," or "tendrils"—reflect the delicacy of natural forms, blending artistry with technical mastery.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bertoia, a visionary sculptor with an unparalleled ability to transform industrial materials into organic beauty, likely employed meticulous processes to create "<em>Willow,</em>" cutting thin sheets of stainless steel into fine strips and expertly attaching them to a central core, positioning each strand to flow like water or sway like leaves in the breeze. The tactile quality of the strands, which respond to air currents or touch, invites the viewer into a contemplative engagement with the work, much like one might feel beneath the canopy of a willow tree.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>This piece epitomizes Bertoia's lifelong fascination with nature, stemming from his early years in the rural village of San Lorenzo, Italy. His sensitivity to the organic world continually informed his artistic practice, from his celebrated Sonambient sound sculptures to creations like “<em>Willow</em>, “which reimagine the relationship between form and environment. As he once said, "I no longer hold onto terms like music and sculpture. Those old distinctions have lost all their meaning."</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Once again , Bertoia captivates us by reaching beyond the traditional boundaries of sculpture, delivering a work that is as much a sensory experience as a visual one. It is a harmonious blend of natural inspiration and innovative artistry, a reminder of the sacred beauty found in the intersection of art and the natural world.</font></div>

HARRY BERTOIA

Formado por su Italia natal y su América adoptiva, Joseph Stella investigó una extraordinaria gama de estilos y medios en obras de arte de asombrosa diversidad y originalidad. En 1911, Stella se subió a la ola vanguardista de las tendencias fauvistas, cubistas y futuristas, pero fue el único modernista estadounidense que convivió día a día con los antiguos maestros italianos. La pose y el manejo de "Desnudo reclinado" se relacionan con una serie de obras que Stella pintó durante la década de 1920 que representaban a mujeres seductoras de fuentes mitológicas o fantásticas como "Leda y el cisne" y Ondine, una hermosa ninfa acuática de un popular cuento de hadas romántico alemán del siglo XIX. Retratada, en cambio, sin imágenes florales o simbolistas, Desnudo reclinado, pintada en la década de 1930, refleja más apropiadamente esa época aleccionadora.

JOSEPH STELLA

JESSIE ARMS BOTKE - Dos pavos reales blancos - óleo sobre tabla - 29 1/4 x 24 1/2 in.

JESSIE ARMS BOTKE

WILLIAM WENDT - Laguna Hills - óleo sobre lienzo - 25 x 30 in.

WILLIAM WENDT

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

ALEX KATZ

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

MARC QUINN

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western. <br><br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

VALERIE JAUDON

<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

<div><font face=Calibri size=3 color=black>In 1853, a twenty-three-year-old Bierstadt commenced study at the Düsseldorf Academy, the school primarily responsible for shaping the technical precision and atmospheric depth of the preeminent American landscape painters of the second half of the 19th century. Four years later, in the company of fellow artist Sanford Robinson Gifford, he painted <em>“Capri.”</em> Inscribed with the title and dated “June 11, 1857,” it is a striking example of the young artist’s early mastery, painted just two years before his watershed campaign in 1859 in the company of Frederick W. Lander, a land surveyor for the United States government. It is a fully realized study emphasizing the precision, detailed observation, and careful glazing technique indicative of the academic tradition of gradually building up the surface. He would begin with a detailed drawing, followed by monochromatic underpainting and successive layers of thin, transparent color glazes that achieve depth and luminosity in the translucent hues of the seawater rarely matched in the annals of landscape painting. <em>“Capri”</em> is a lovely achievement that foreshadows the drama and grandeur that would define Bierstadt’s later work, illustrating how his time in Italy helped shape his approach to landscape painting.</font></div>

ALBERT BIERSTADT

JOANNA POUSETTE-DART - Sin título (Estudio sobre el desierto rojo) - acrílico sobre panel de madera - 33 1/2 x 42 x 3/4 in.

JOANNA POUSETTE-DART

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

SETH KAUFMAN

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

EDGAR ALWIN PAYNE

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINO

LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - pastel sobre papel colocado sobre lienzo - 17 1/2 x 13 3/4 pulg.

LÉON AUGUSTIN LHERMITTE

FRANCISCO TOLEDO - Sin título - técnica mixta sobre papel - 8 x 10 1/4 in.

FRANCISCO TOLEDO

MEL RAMOS - Tomato Catsup; A.C. Annie; Lola Cola; Tobacco Red - cuatro litografías offset impresas en colores - 30 3/4 x 25 1/4 pulg. c/u.

MEL RAMOS

AI WEIWEI - Sillas "Fairytale" - madera - 49 x 45 x 17 1/2 in.

AI WEIWEI

HENRI MATISSE

Provenance: <br>Heather James, CA<br>Private collection, NV (acquired from above May, 2000)

CHINO

ANDY WARHOL - Vaca, 1976 - serigrafía sobre papel pintado - 42 7/8 x 27 7/8 pulg.

ANDY WARHOL

LOUISE NEVELSON - Serie Canadá - plexiglás con cierres metálicos - 44 1/4 x 31 x 11 1/2 pulg.

LOUISE NEVELSON