Paseo por la Galería Palm Desert con Tom Venditti - Temporada 2022/2023

PUBLICADO EN: Visitas a galerías

Acompañe al director de Heather James Fine Art, Tom Venditti, en su recorrido por nuestra galería insignia en Palm Desert, California. Nos sentimos afortunados de contar con Tom. Antes de unirse a Heather James Fine Art, Tom pasó 14 años como Director Senior de Arte de la impresionante Colección Paul Allen , que recientemente estableció varios nuevos récords en subasta en una muestra triunfal de la fuerza del mercado del arte.

Heather James Fine Art se esfuerza por ofrecer una amplia selección de arte de importancia histórica y atractivo estético y no podemos pensar en nadie más capaz de proporcionar información sobre un Claude Monet, mientras que sin problemas ofrece una perspectiva informada sobre una fabulosa, nueva llegada de Wayne Thiebaud. Esperamos que disfruten del viaje de Tom a través de varios géneros y artistas de primera línea y que les informe e inspire una visita a nuestra sede de Palm Desert para ver la colección en persona.

Nos complace anunciar nuestro horario de invierno en nuestra ubicación de Palm Desert en 455188 Portola Avenue: De lunes a sábado de 9:00 a 5:00.

OBRAS DE ARTE ACTUALMENTE EXPUESTAS EN HEATHER JAMES PALM DESERT

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

PAUL SIGNAC

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

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

ALFRED SISLEY

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

ALEXANDER CALDER

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

EMIL NOLDE

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

TOM WESSELMANN

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

WINSLOW HOMER

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

SEAN SCULLY

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

MARC CHAGALL

"La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt.

PABLO PICASSO

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

TOM WESSELMANN

ALBERT BIERSTADT - El Golden Gate - óleo sobre lienzo - 27 3/8 x 38 3/4 pulg.

ALBERT BIERSTADT

El Retrato de Sylvie Lacombe de Théo van Rysselberghe, pintado en 1906, es una obra maestra clásica de uno de los retratistas más refinados y coherentes de su época. El color es armonioso, la pincelada vigorosa y adaptada a su tarea material, su cuerpo y su semblante verdaderos y reveladores. La modelo es la hija de su buen amigo, el pintor Georges Lacombe, que compartió una estrecha asociación con Gauguin y fue miembro de Les Nabis con los artistas Bonnard, Denis y Vuillard, entre otros. Ahora conocemos a Sylvie Lacombe porque Van Rysselberghe es muy hábil en la representación de sutiles expresiones faciales y, a través de una cuidadosa observación y atención al detalle, nos ha proporcionado una visión de su mundo interior. Ha elegido una mirada directa, sus ojos a los tuyos, un pacto ineludible entre sujeto y espectador independientemente de nuestra relación física con el cuadro. Van Rysselberghe había abandonado en gran medida la técnica puntillista cuando pintó este retrato. Sin embargo, siguió aplicando las directrices de la teoría del color, utilizando tintes rojos -rosas y malvas- frente a verdes para crear una armoniosa paleta ameliorada de colores complementarios a la que añadió un fuerte acento para atraer la mirada: un lazo rojo intensamente saturado colocado asimétricamente a un lado de la cabeza.

THÉO VAN RYSSELBERGHE

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

LARRY RIVERS

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

ROBERT INDIANA

Maestro indiscutible del floreciente movimiento neoimpresionista belga a partir de 1887, Théo van Rysselberghe pintó este retrato de su esposa, Maria (de soltera Monnom), durante la primera década del siglo XX. A partir de la influencia del tonalismo de Whistler, del impresionismo y del puntillismo de Seurat, perfeccionó una comprensión muy refinada del color, de sus resonancias armónicas y de la representación meticulosa de los elementos formales. Dibujante ejemplar, las impresiones ópticas basadas en las interacciones cromáticas siguieron siendo una de las principales preocupaciones de Van Rysselberghe. Aquí, los trazos cortos de color sustituyen a los pequeños puntos de un puntillista, y el esquema de color no es el homogeneizado y armonioso por el que el artista tiene una merecida reputación. Más bien, este retrato avanza la teoría del color de una manera totalmente diferente. Su interés visual reside en los contrastes dinámicos del peinado plateado de su esposa, su vestido platino y el manto blanco de la chimenea, todo ello enmarcado en la vitalidad óptica de un entorno dominado por rojos y verdes complementarios. Es una demostración visualmente estimulante de un pintor que comprendió el impacto dinámico de esta inusual combinación de colores y que dispuso al modelo con un fuerte acento en diagonal y ejecutó la fórmula con la destreza y agilidad de un pintor en pleno control de sus recursos pictóricos.

THÉO VAN RYSSELBERGHE

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion. <br><br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510. The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s. Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst. There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

IRVING NORMAN

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

JEAN-MICHEL BASQUIAT

Las figuras de Nues se desarrollan libremente en torno a una figura central de odalisca de una manera que sugiere un tema que ocupaba a Picasso ya en 1906, el de las indulgencias femeninas en un entorno de harén. Al describir sus últimos dibujos, Picasso señaló que "uno nunca sabe lo que va a salir, pero en cuanto el dibujo se pone en marcha, nace una historia o una idea... Me paso hora tras hora mientras dibujo, observando a mis criaturas y pensando en las locuras que hacen... Es muy divertido, créeme". Nues es una evocación de esa apreciación, un retozo libre como sólo Picasso puede lograr. Entre las muchas poses, la figura abreviada nadando en la piscina es especialmente encantadora.

PABLO PICASSO

MEL RAMOS - Desnudo bajando una escalera #2 - óleo sobre lienzo - 70 x 52 1/8 pulg.

MEL RAMOS

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

PIERRE BONNARD

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

JEAN ARP

GEORGES ROUAULT - Carlotta - óleo sobre lienzo - 15 7/8 x 12 1/4 pulg.

GEORGES ROUAULT

EDVARD MUNCH - Casa en la costa I - xilografía sobre papel tejido con acuarelas añadidas a mano por el artista - 16 x 23 in.

EDVARD MUNCH

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

SALOMON VAN RUYSDAEL

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

ALFRED SISLEY

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

HERB ALPERT

La reputación de Ruldof Bauer como precursor de la abstracción no objetiva suele ir unida a la de Wassily Kandinsky. Ese lugar sagrado entre los más grandes artistas abstractos es bien merecido. Pero, para bien y para mal, el lugar de Bauer en la historia del arte está inextricablemente ligado al nefasto contrato que firmó con Soloman R. Guggenheim bajo la dirección de su antigua amante, Hilla Rebay. Presto 10 fue creado en 1917, cuando Bauer era un fijo en la Galerie Der Sturm, la galería de Berlín, y probablemente se expuso en una de las exposiciones individuales del artista en 1917, 1918 y 1920. También fue uno de los cuadros elegidos por Bauer y Hilla Rebay para ser incluidos en la exposición "Art of Tomorrow" de la Feria Mundial de Nueva York, inaugurada el 1 de junio de 1939. Aparece en el quinto catálogo de la colección Solomon R. Guggenheim de pinturas no objetivas.

RUDOLF BAUER

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

ALEXANDER CALDER

Picasso scholars widely consider "Gros oiseau corrida" (1953) as one of the finest ceramic editions by the artist. The commanding presence and choice of subject matter show that the work held a deeply personal meaning for the artist. <br><br>Picasso's self-imposed exile from Franco-controlled Spain left an unquenched internal longing for his homeland. It was through the artist's depiction of the Spanish "Corrida," or bullfight, that Picasso could return to his native culture and traditions. The earthenware material used in the creation of this work is symbolic of the soil and raw earth of the Spanish countryside. Additionally, the avian vessel was a special theme for Picasso, who would often utilize the bird-like shape of ceramics. Picasso learned to paint birds as a child from his pigeon-breeding father, and as an adult, he had many pet birds.<br><br>The bohemian coastal setting of Vallauris became a refuge for Picasso, a place where he could escape his celebrity status in Paris. While working with Suzanne and Georges Ramié of the Madoura workshop in Vallauris, Picasso produced over 600 works. These works, created over a twenty-year period, are now ensconced in the canon of art history. Comparable Picasso ceramics can be found in prominent Museum collections worldwide.

PABLO PICASSO

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

CAMILLE PISSARRO

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

HERB ALPERT

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

JOAN MIRO

JOSEPH STELLA - Desnudo Reclinado - óleo sobre lienzo - 50 x 52 1/2 in.

JOSEPH STELLA

GERARD CURTIS DELANO - Campamento Navajo - óleo sobre tabla - 23 1/2 x 29 1/2 pulg.

GERARD CURTIS DELANO

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

RODOLFO MORALES

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

ALEXANDER CALDER

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

LE PHO

IRVING NORMAN - La Academia - óleo sobre tela - 110 x 90 in.

IRVING NORMAN

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

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

FREDERICK CARL FRIESEKE

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

ALEXANDER CALDER

Ross Bleckner es un célebre pintor estadounidense cuyas obras hacen referencia a la pérdida, la memoria y el cambio, como las exploraciones de la célula durante la epidemia del SIDA o en respuesta al diagnóstico de cáncer de su padre. La exposición del MoMA de 1965 que puso de relieve el Op Art, The Responsive Eye, e incluyó a los artistas Richard Anuszkiewicz, Tadasky y Francis Celentano, tuvo una profunda influencia en él como artista. Esta pintura, al igual que otras obras inmersivas a gran escala, provocan un efecto poderoso, hipnótico y vertiginoso. Estéticamente agradables, los lienzos de Bleckner exploran la percepción - visual, emocional, física, del tiempo. Bleckner forma parte de la misma generación y es amigo de Julian Schnabel, David Salle, Eric Fischl y Peter Halley, quienes devolvieron la técnica pictórica al lienzo.

ROSS BLECKNER

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

PAUL JENKINS

IRVING NORMAN - Farewell - óleo sobre tela - 90 x 100 in.

IRVING NORMAN

ANSEL ADAMS - Winter Sunrise, Sierra Nevada from Lone Pine - gelatin silver print - 18 3/4 x 22 3/4 in.

ANSEL ADAMS

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

ALEXANDER CALDER

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

JAN JOSEPHSZOON VAN GOYEN

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

MARC QUINN

IRVING NORMAN - Totems - óleo sobre tela - 72 x 110 in.

IRVING NORMAN

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

HERB ALPERT

HERB ALPERT - Maestro de concierto - bronce - 93 x 14 pulg.

HERB ALPERT

EDGAR ALWIN PAYNE - Navajos en descanso - óleo sobre lienzo - 19 1/2 x 23 1/2 pulg.

EDGAR ALWIN PAYNE

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

ANDY WARHOL

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

ANDY WARHOL

MILTON AVERY - Village by the Sea - acuarela, pluma de caña y lápiz sobre papel - 21 1/2 x 30 1/4 in.

MILTON AVERY

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

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

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

ANDY WARHOL

ANSEL ADAMS - Aspens, Northern New Mexico - gelatin silver print - 15 1/4 x 19 1/4 in.

ANSEL ADAMS

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

EDGAR ALWIN PAYNE

Richard Diebenkorn explicó en una ocasión: "Todos los cuadros parten de un estado de ánimo, de una relación con cosas o personas, de una impresión visual completa". Conocido por su papel definitorio en el movimiento de arte figurativo de la zona de la bahía, una contraposición a la abstracción que dominaba la ciudad de Nueva York en la posguerra, Diebenkorn oscilaba a menudo entre la figuración y la abstracción. En 1952, aceptó un puesto de profesor en la Universidad de Illinois en Urbana durante un año académico. Allí enseñó a los estudiantes de arquitectura a empezar a dibujar y utilizó una de las habitaciones de su casa como estudio. Este periodo de 1952-53, conocido como la serie de Urbana, fue un momento productivo y crucial en el desarrollo del estilo de Diebenkorn. Su innovadora exploración de la figuración a través de la abstracción comenzó en estos primeros años cruciales y llegaría a su plena realización en su ampliamente celebrada serie Ocean Park de finales de los años 60-80.

RICHARD DIEBENKORN

ANDY WARHOL - Pepper Pot from Campbell's Soup - serigrafía en colores - 35 x 23 in.

ANDY WARHOL

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

HENRI MANGUIN

WAYNE THIEBAUD - Bote de pintura - litografía en colores sobre papel tejido - 38 3/4 x 29 1/8 pulg.

WAYNE THIEBAUD

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

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

WILLIAM WENDT - Paisaje de California - óleo sobre lienzo - 23 1/2 x 31 3/4 in.

WILLIAM WENDT

ANDY WARHOL - Sin título (Flores) - tinta y acuarela sobre papel - 15 1/4 x 12 3/8 pulg.

ANDY WARHOL

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

ANDY WARHOL

DONALD SULTAN - Yellow Tulip #18 - aceite y alquitrán sobre papel - 20 x 20 in.

DONALD SULTAN

BLANCHE LAZZELL - Estudio nº 4 para "Pintura XII" - gouache sobre papel - 8 7/8 x 8 pulg.

BLANCHE LAZZELL

ANDY WARHOL - Amor - serigrafía - 25 1/2 x 19 1/4 in.

ANDY WARHOL

HERB ALPERT - Contrapeso - bronce - 28 x 28 in.

HERB ALPERT

HERB ALPERT - Naturaleza Humana - bronce - 44 x 10 x 7 in.

HERB ALPERT

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

AI WEIWEI

JULIAN OPIE - Bijou Gets Undressed 5 - serigrafía sobre papel Fedrigoni Sirio - 20 1/2 x 38 1/8 pulg.

JULIÁN OPIE

JULIAN OPIE - Bijou Gets Undressed 8 - serigrafía sobre papel Fedrigoni Sirio - 20 1/2 x 38 1/8 pulg.

JULIÁN OPIE

ANDY WARHOL - Amor - serigrafía - 25 1/4 x 19 1/2 pulg.

ANDY WARHOL

ANDY WARHOL - Amor - serigrafía - 25 1/2 x 19 3/8 pulg.

ANDY WARHOL

CARL MORRIS - White Field - acrílico sobre lienzo - 75 x 63 in.

CARL MORRIS

HERB ALPERT - Now Hear This - acrílico sobre lienzo - 48 x 72 in.

HERB ALPERT

ROSS BLECKNER - Sin título - óleo sobre papel fotográfico - 37 1/2 x 24 3/4 pulg.

ROSS BLECKNER

HERB ALPERT - Contra el viento - acrílico sobre lienzo - 48 x 72 pulg.

HERB ALPERT

HERB ALPERT - Sueños dorados - acrílico sobre lienzo - 48 x 72 pulg.

HERB ALPERT

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - impresión en gelatina de plata - 10 x 8 in. ea.

ANDY WARHOL

ANDY WARHOL - George - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ROY LICHTENSTEIN - Pajar #6 - litografía - 13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN

ROY LICHTENSTEIN - Pajar #4 - litografía - 13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN

PAUL JENKINS - Sin título - acuarela y tinta sobre papel - 29 3/4 x 42 3/4 pulg.

PAUL JENKINS

HERB ALPERT - El observador - acrílico sobre lienzo - 60 x 36 pulg.

HERB ALPERT

HERB ALPERT - Fractured Memories - acrílico sobre lienzo - 60 x 36 in.

HERB ALPERT

HERB ALPERT - Just a Dream Away - acrílico sobre lienzo - 60 x 36 in.

HERB ALPERT

MICAELA AMATO - Chica de Camerún - vidrio fundido - 16 x 12 x 10 1/2 in.

MICAELA AMATO

JOHN BALDESSARI - Front Row (Valentine) - Serigrafía a 17 colores - 37 3/4 x 33 3/4 in.

JOHN BALDESSARI

JOHN MILLEI - Sin título - aceite sobre mylar - 24 x 28 in.

JOHN MILLEI

JOSEF ALBERS - Formulación: Articulación - serigrafía - 12 x 14 5/8 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 10 x 13 pulg. c/u

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 9 1/8 x 13 7/8 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 11 3/4 x 11 3/4 in. ea.

JOSEF ALBERS

MELVIN MARTINEZ - Bubble - técnica mixta sobre papel - 14 x 18 in.

MELVIN MARTINEZ

JOSEF ALBERS - Formulación: Articulación - serigrafía - 10 x 12 7/8 in.

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 12 7/8 x 15 3/4 pulg.

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 12 1/4 x 12 1/4 pulg.

JOSEF ALBERS

GEORGE ORTMAN - Ten Works X Ten Painters - serigrafía - 24 x 20 in.

GEORGE ORTMAN

JOSEF ALBERS - Formulación: Articulación - serigrafía - 8 1/4 x 17 in.

JOSEF ALBERS