Je n'ai pas Je n'ai pas

Située dans la beauté sauvage de Jackson Hole, dans le Wyoming, avec les parcs nationaux en toile de fond, Heather James Jackson a apporté des œuvres d'art et des services du plus haut calibre à l'Intermountain West depuis plus d'une décennie.

Répondant à la communauté unique qui fait de Jackson Hole une destination inégalée pour la culture américaine et le plein air, Heather James s'efforce de fournir une sélection inégalée d'œuvres d'art et de services de gants blancs pour les habitants et les visiteurs.

172, rue Center, Bureau 101
Boîte P.O. 3580
Jackson Hole, WY 83001, États-Unis
(307) 200-6090

Heures d'ouverture : Du lundi au samedi de 11 h à 18 h

Expositions

AFFICHER TOUS LES

COURANT

Andy Warhol : Tout est beau

17 août 2023 - 29 février 2024

COURANT

Herb Alpert : Les peintures de café

22 décembre 2020 - 30 septembre 2023

COURANT

Max Pellegrini : Silence et fantaisie

30 juillet 2020 - 30 septembre 2023

Claude Monet : un génie impressionniste

18 août - 31 octobre 2022

L'impressionnisme chez Heather James Fine Art

1er septembre - 31 octobre 2022

Jackson Hole - Les meilleurs travaux

15 septembre - 15 octobre 2022

Picasso - Gravures et œuvres sur papier

Du 1er septembre au 12 octobre 2022

Marc Chagall : La couleur de l'amour

8 septembre - 12 octobre 2022

Tout ce que nous avons vu : Paysages impressionnistes de Monet à Kleitsch

9 août 2021 - 30 septembre 2022

Les merveilles de l'art impressionniste et moderne en Amérique et en Europe

26 août 2020 - 30 avril 2021

Portraits : Du XIXe siècle à nos jours

26 août 2020 - 30 avril 2021

Jackson Hole : Faits saillants de 1900 à aujourd'hui

1er novembre 2019 - 31 juillet 2020

Sam Francis : En vue dans le trou Jackson

1er juillet au 15 octobre 2019

Edouard Hopper

1er juillet au 30 septembre 2019

Andy Warhol

Du 16 juillet au 31 août 2019

David Levinthal

1 er 2018 - 31 janvier 2019

Herb Alpert: Une mélodie visuelle

1er août - 30 septembre 2018

Les peintures de Sir Winston Churchill

1er août - 16 septembre 2018

Elaine de Kooning

1er juillet - 4 août 2018

Norman Rockwell : L'artiste au travail

30 juin - 30 septembre 2016

Max Pellegrini : Une exposition rétrospective

27 novembre 2015 - 27 mars 2016

Earl Cunningham : Fauve américain

8 septembre - 29 octobre 2011

OEUVRED-ŒUVRE SUR LA VUE

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Le 15 mai 1886, le manifeste visuel d'un nouveau mouvement artistique a vu le jour lorsque Georges Seurat a dévoilé son œuvre phare, Un dimanche après-midi sur l'île de la Grande Jatte, à l'occasion de la huitième exposition impressionniste. Seurat peut se targuer d'être le premier "impressionniste scientifique", travaillant d'une manière qui sera connue sous le nom de pointillisme ou de divisionnisme. C'est cependant son ami et confident, Paul Signac, âgé de 24 ans, et leur dialogue constant qui ont conduit à une collaboration dans la compréhension de la physique de la lumière et de la couleur, et au style qui en a résulté. Signac était un peintre impressionniste sans formation, mais extrêmement talentueux, dont le tempérament était parfaitement adapté à la rigueur et à la discipline requises pour réaliser le travail laborieux et minutieux du pinceau et de la couleur. Signac assimile rapidement la technique. Il est également le témoin des deux années de travail ardu de Seurat, qui construit des myriades de couches de points de couleur non mélangés sur La Grande Jatte, une toile aux dimensions colossales. Ensemble, Signac, l'extraverti effronté, et Seurat, l'introverti secret, étaient sur le point de renverser le cours de l'impressionnisme et de changer le cours de l'art moderne.

PAUL SIGNAC

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.

GÉORGIE O'KEEFFE

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

RIVERA DIEGO

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.

ALEXANDRE 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

EMIL NOLDE

WAYNE THIEBAUD

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.

ALEXANDRE CALDER

GERHARD RICHTER

WINSLOW HOMER

When Frida Kahlo died in 1954, a grief-stricken Diego Rivera had her belongings locked away for fifteen years, and her personal effects remained sealed, undisturbed, and undocumented until 2004 when the small room in the home her father built in Coyoacán, Mexico was opened to the world. Among the many belongings revealed at Casa Azul were her clothes, jewelry, drawings, letters, documents, and more than 6,500 photographs (among them works by Edward Weston, Tina Modotti, Man Ray, and Nickolas Muray) as well as the most personal and ironically moving item: the orthopedic plaster corsets she turned into an extension of herself. These harsh clinical objects assaulted her free-spirited nature, yet they remain today as the most palpable reminders that as she suffered through unbearable pain — over thirty surgeries, batteries of tests, X-rays, spinal taps, blood transfusions, physical therapy and strong pain killing drugs, she was an absolute survivor, not a victim.<br><br>It was Frida’s father, Guillermo who gave her his box of paints and brushes as she was recovering from the bus accident that had shattered her spine. The devastation she suffered is shown in excruciating detail in her 1944 painting, The Broken Column. Yet the first canvas she painted upon was the most convenient one — the plaster cast bodice encasing her body. As she related, she had dreamed of becoming a doctor, yet “to combat the boredom and pain (and) without giving it any particular thought, I started painting.” Later, her mother asked a carpenter to fashion an easel “if that’s what you can call the special apparatus which could be fixed to my bed because the plaster cast didn’t allow me to sit up.” (Andrea Kettenmann, Frida Kahol: 1907-1954: Pain and Passion, Taschen, 1999, pg. 18)<br><br>On this particular corset, Kahlo painted a blood-red Hammer and Sickle, the symbolic configuration representing proletarian solidarity — a union between the peasantry and working-class expressing her lifelong political sympathies and below, a developing fetus entering perhaps its third trimester, a reminder of the still deeper insult of the accident, the one that added a layer of suffering and regret to Frida’s personal tragedy — her inability to bear children. Frida’s corsets hardened around her resolve as much as her body, but they also speak of her almost unbearable longing. They are ruminations on the power of creativity to heal as well as demonstrations of Frida Kahlo’s unbounded capacity for confronting the very bodily enclosures that imprisoned her, transforming them, taking them over as much as she could, and turning them into something beautiful and expressive.

KAHLO FRIDA

N.C. WYETH

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 (EN)

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.

RIVIÈRES LARGES

THÉO VAN RYSSELBERGHE

JAMES ROSENQUIST

JEAN-MICHEL BASQUIAT

DAMIEN HIRST

PIERRE BONNARD

JEAN ARP

ELAINE DE KOONING

GEORGES ROUAULT

ALFRED SISLEY

La réputation de Ruldof Bauer en tant que précurseur de l'abstraction non-objective est le plus souvent associée à celle de Wassily Kandinsky. Cette place sacrée parmi les plus grands artistes abstraits est bien méritée. Mais, pour le meilleur et pour le pire, la place de Bauer dans l'histoire de l'art est inextricablement liée au contrat malheureux qu'il a signé avec Soloman R. Guggenheim, avec les conseils de son ancienne amante, Hilla Rebay. Presto 10 a été créé en 1917 alors que Bauer était un habitué de la Galerie Der Sturm, la galerie berlinoise, et a probablement été exposé lors de l'une des expositions personnelles de l'artiste en 1917, 1918 et 1920. Il a probablement été exposé lors de l'une des expositions personnelles de l'artiste en 1917, 1918 et 1920. Il fait également partie des peintures choisies par Bauer et Hilla Rebay pour figurer dans l'exposition "Art of Tomorrow" de l'Exposition universelle de New York, qui a ouvert ses portes le 1er juin 1939. Elle figure dans le cinquième catalogue de la collection Solomon R. Guggenheim de peintures non-objectives.

RUDOLF BAUER

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - pastel sur papier posé sur carton - 10 3/8 x 14 3/4 in.

PISSARRO CAMILLE

FERNANDO BOTERO

JOAN MIRO - L'Oiseau - bronze et parpaing - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO (EN)

GERARD CURTIS DELANO

WILLIAM B. EGGLESTON

Andy Warhol est synonyme de l'art américain de la seconde moitié du XXe siècle. Il est connu pour ses portraits iconiques et ses produits de consommation, mêlant culture populaire et beaux-arts, redéfinissant ainsi ce que l'art pouvait être et la manière dont nous l'abordons. Si de nombreuses œuvres de Warhol ne représentent pas des personnes célèbres, ses représentations d'objets inanimés élèvent ses sujets à un niveau de célébrité. Warhol a représenté des chaussures pour la première fois au début de sa carrière, alors qu'il travaillait comme illustrateur de mode. Il est revenu à ce thème dans les années 1980, combinant sa fascination pour le consumérisme et le glamour. Dans son désir constant de fusionner la haute et la basse culture, Warhol a choisi de mettre en avant un objet aussi omniprésent que les chaussures. Le sujet peut dénoter la pauvreté ou la richesse, la fonction ou la mode. Warhol donne un aspect glamour à la pile de chaussures, en les recouvrant d'une patine de poussière de diamant brillante, brouillant encore plus le sens entre besoin utilitaire et pièce de style.

ANDY WARHOL (EN)

RODOLFO MORALES

ANDY WARHOL - Chaussures - sérigraphie en couleurs avec poussière de diamant sur Arches Aquarelle - 39 3/4 x 59 1/2 in.

ANDY WARHOL (EN)

WILLIAM B. EGGLESTON

ANSEL ADAMS

EDGAR ALWIN PAYNE

ANDY WARHOL - Voiture Ford - graphite sur papier - 11 1/2 x 15 3/4 in.

ANDY WARHOL (EN)

ANSEL ADAMS

EDGAR ALWIN PAYNE

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

ANDY WARHOL (EN)

MARY CORSE

CARLOS LUNA - La Mia (1225 OC) - huile sur toile - 47 x 58 in.

CARLOS LUNA (EN)

OLAF WIEGHORST

HASSEL SMITH - 9000 et 9 Nuits - acrylique et graphite sur toile - 68 x 68 1/8 po.

ISSÉL SMITH

ROBERTO MATTA - L'epreuve - huile sur toile - 29 1/2 x 25 1/2 in.

ROBERTO MATTA (EN)

ROBERT NATKIN

ANDY WARHOL - Electric Chair - sérigraphie en couleurs sur papier tissé - 35 3/8 x 47 3/4 in.

ANDY WARHOL (EN)

IMOGEN CUNNINGHAM

KIM DOUGLAS WIGGINS

KARL BENJAMIN - Sans titre (#13) - huile sur toile - 50 1/4 x 50 in.

KARL BENJAMIN (EN)

EDWARD WESTON

KIM DOUGLAS WIGGINS

ANDY WARHOL - Cow, 1976 - sérigraphie sur papier peint - 42 7/8 x 27 7/8 in.

ANDY WARHOL (EN)

ANDY WARHOL - Jimmy Carter III - sérigraphie sur papier J. Green - 28 x 20 3/4 in.

ANDY WARHOL (EN)

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

SHELDON ORRIN PARSONS

CARLOS LUNA - Sans titre - supports mixtes sur papier - 30 x 22 1/2 in.

CARLOS LUNA (EN)

KIM DOUGLAS WIGGINS

Aspevig est un Montanais né en 1951, dont le talent évident de peintre de paysages réalistes lui a valu une reconnaissance et des prix prestigieux, notamment le Frederick Remington Award et le Robert M. Lougheed Memorial Award décernés par le National Cowboy Hall of Fame. Ses peintures sont bien accueillies dans toutes les grandes maisons de vente aux enchères spécialisées dans l'art occidental et ont été vendues pour plus de 100 000 dollars. Largement autodidacte, Aspevig a adopté une approche variée des détails, des points de vue, des subtilités de la palette et de la composition. Il se délecte de la peinture en plein air et de "l'immédiateté de la présence dans le paysage, de l'absorption de son caractère unique, de la lumière, du terrain, de la coloration". Cette peinture, une vue profonde et resplendissante du Grand Canyon, est une grande peinture sur un petit panneau de toile, magnifiquement rendue, qui transmet la structure profonde de la terre et la merveille de ses étendues.

CLYDE ASPEVIG

DUNCAN MARTIN

PREMIER VICE-PRÉSIDENT

ANDREA RICO DAHLIN

Directeur principal
Jackson Hole, Wyoming

[email protected]

c : 913 306 4982

o : 307 200 6090

Présente depuis près de 20 ans dans le secteur, Andrea est titulaire d'une licence en histoire de l'art avec une mineure en beaux-arts de l'université de Binghamton, NY, et d'un master en art moderne, connaissance et histoire du marché de l'art de Christie's Education, New York, NY. Elle apporte l'expertise de son expérience dans les musées et les maisons de vente aux enchères, ayant travaillé au Nelson-Atkins Museum of Art à Kansas City et chez Christie's à New York.

Depuis qu'elle a rejoint Heather James Fine Art en 2015, Andrea a assuré des envois et a contribué à la constitution de collections privées et muséales remarquables avec des artistes importants, parmi lesquels Claude Monet, Alfred Sisley, Henri Matisse, Edgar Degas, Norman Rockwell, Andrew Wyeth, Elaine de Kooning, Andy Warhol et Tom Wesselmann.

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