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<div><font face=Lato size=3 color=black>Clyfford Still occupies a monumental position in the history of modern art, often heralded as the earliest pure abstract painter to work on an expansive scale. By the early 1940s, Still had already arrived at a radically abstract visual language that transcended the aesthetic frameworks of his peers, rejecting representational imagery and producing canvases that were immense in size and conceptual ambition. Pollock famously confessed that “Still makes the rest of us look academic,” and Rothko once kept a Still painting in his bedroom as a guiding inspiration. His work was, as critic Clement Greenberg remarked, “estranging and upsetting” in its genuine originality, a raw and elemental confrontation of form and color that defied conventional expectations.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>For viewers familiar with Still’s oeuvre, his paintings typically evoke a powerful physicality: vast canvases covered in richly textured layers of pigment—earthy blacks, ochres, siennas, and cadmiums—applied with a trowel-like rigor that recalls weathered geological formations. These thickly encrusted surfaces often alternate with more thinly painted passages, all juxtaposed against large swaths of bare canvas that lend his compositions a sense of immense scale and open-ended possibility. This aesthetic, rooted in the grandeur of raw and elemental presence, often manifests as jagged, opaque forms whose stark contrasts convey a primal energy.<br><br></font></div><br><br><div><font face=Lato size=3 color=black><em>“PH-589”,</em> on the other hand, marks a transition in Still’s career, where his already profound engagement with abstraction began to evolve toward greater spareness and a deeper exploration of the expressive potential of voids and open space. Painted in 1959, the expected density of his earlier surfaces gives way to a lighter touch and a more restrained use of paint. Against largely unpainted ground, two jagged shapes of continental significance hang suspended, their edges torn and irregular, as if wrested from the canvas itself. The bare canvas, which had served as a compositional counterpoint in Still’s earlier works, now asserts itself as a dominant feature, heightening the power of the painted forms while introducing an ethereal sense of light and space.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>This shift was both aesthetic and philosophical. By the late 1950s, Still had grown increasingly disenchanted with the art world, distancing himself from its commercial and critical structures<em>. “PH-589”</em> is an anticipatory event before his move to rural Maryland in 1961 that coincided with a period of introspection and formal refinement when Still began to strip his compositions down to their essential elements. As Still explained, he sought to fuse color, texture, and form into “a living spirit,” transcending their materiality to evoke the human capacity for transcendence.</font></div><br><br><div><font face=Lato size=3 color=black><br><br>This painting signals the burgeoning openness of Still’s later works, where the interplay of painted forms and unpainted ground would become a defining characteristic. By the 1960s and 1970s, Still’s palette grew lighter, his gestures sparser, and his use of emptiness more deliberate, creating compositions that were at once monumental and ephemeral. Yet the seeds of that evolution are already present here in the restrained yet powerful interplay of color and space. His revolutionary approach to abstraction—both in scale and in spirit—provided a foundation upon which the Abstract Expressionists built their legacy. At the same time, his work resists easy interpretation, demanding instead an unmediated confrontation with its raw, elemental presence. With its terse eloquence and rhythmic vitality, this painting is both a culmination of Still’s early achievements and a momentous portent of his later innovations.</font></div>

קליטפורד עדיין

ללא שם (PH-589)

114 x 165 אינץ'.

שמן על בד ציור

איי ווייווי

מעגל בעלי חיים/ראשי גלגל המזלות: זהב

ברונזה מצופה זהב ב-12 חלקים

<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>

פייר אוגוסט רנואר

פילה ל'תפוז

25 3/4 x 21 3/8 אינץ'.

שמן על בד ציור

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.”

הנס הופמן

84 x 47 1/2 אינץ '.

שמן בפאנל

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

אירווינג נורמן

המצב האנושי

120 x 182 אינץ'.

שמן על בד ציור

<div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div>

קורט שוויטרס

Ohne Title (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 אינץ'.

מכלול שמן ותבליט על דיקט

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>

הנס הופמן

59 3/8 x 47 1/4 אינץ'.

שמן על בד ציור

<div><font face=Lato size=3 color=black>Hans Hofmann's "<em>Astral Image #1"</em> of 1947 captures a pivotal moment in his artistic evolution as he wrestled with the competing forces of linearity and painterly abstraction. Exhibited in the same year at Betty Parsons Gallery in New York—Hofmann's first show with Parsons — the painting represents a phase of intense experimentation in which Cubist-inspired linear elements took center stage. Lines arc and stretch across the canvas, creating a dynamic framework that opens into areas filled with flatly applied alizarin crimson. These contrasting forces give the work a sense of tension and vitality.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>During this period, Hofmann's reliance on linearity provided a departure from the more fluid, painterly dynamism of his earlier works. From 1944 to 1951, this linear impulse permeated his practice, signaling a prolonged exploration of modes of expression in which he grappled with reconciling abstraction and structure. While some viewed this phase as a retreat from the energetic breakthroughs that defined American art's rise to global prominence, others recognized the distinctiveness of these paintings. <em>Astral Image #1</em> challenged the framework of Hofmann's singular vision, blending Cubist discipline with the vibrant, unruly energy that remained a hallmark of his oeuvre.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work's flat planes of bright alizarin crimson, contrasted with the angular momentum of the lines, evoke a cosmos of restless energy, hinting at the celestial themes suggested by its title. This painting reflects Hofmann's deliberate explorations during the late 1940s that underscore his unique ability to create works that resist easy categorization, standing apart as deeply personal explorations of form and color.</font></div><br><br><div> </div>

הנס הופמן

תמונה אסטרלית מס' 1

48 x 60 אינץ'.

שמן על בד ציור

<div><font face=Lato size=3 color=black>Exhibited in the seventh Impressionist exhibition in 1882, Gustave Caillebotte's "<em>Vue de mer, Villers</em>" announced a pivotal shift in the artist's oeuvre, marking his transition from the urban realism of Parisian street scenes to the expansive, light-filled landscapes of Normandy. This change aligned Caillebotte more closely with his Impressionist contemporaries and allowed him to explore fresh compositional and stylistic innovations, enriching the movement's diversity.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Often called the "Urban Impressionist," Caillebotte built his reputation as a genre painter through meticulously rendered depictions of bustling city life. Like his contemporary Edgar Degas, he was a keen observer of modern reality and a superb draftsman. Both artists shared an enthusiastic interest in photography, and integrated elements from the emerging art form related to image cropping, focal length adjustments, and perspective effects. These influences can be seen in the exaggerated, plunging vantage points that became hallmarks of Caillebotte's dynamic compositions, often imbuing his works with thrilling optical depth.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>By the early 1880s, the allure of Normandy — a region deeply connected to Claude Monet and newly accessible by rail — seems to have drawn Caillebotte's attention. Monet, who had an intimate knowledge of the area, may have recommended Villers specifically, although painters interested in landscapes could choose from numerous seaside villages such as Trouville and Honfleur, each a haven for Paris's bourgeoisie. These locales, characterized by their natural beauty and the burgeoning influence of modern leisure culture, provided ample inspiration for Caillebotte's evolving artistic focus. His depictions of these locales celebrate their charm and engage with the Impressionist exploration of the changing relationship between people and their environments.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Created during one of his first visits to Normandy, "<em>Vue de mer, Villers</em>" reaffirms Caillebotte's skill as a compositional innovator, even as he embraced a new genre. While transitioning to landscape painting, he retained elements of his signature style, notably the detached, elevated vantage point familiar from his urban works. The rolling greenery of the foreground transitions seamlessly into the luminous pastel hues of the distant horizon. A red-roofed villa commands attention with its bold geometry, standing in stark, complementary contrast to the fluid forms of the surrounding natural landscape. The juxtaposition of the villa's pink walls with the greens and blues of the coast underscores the tension between the natural and the constructed, evoking a sense of transformation emblematic of late 19th-century France. At the same time, the painting exudes a quietude and contemplative mood that aligns with the Impressionist emphasis on capturing ephemeral moments and atmospheres rather than explicit narratives. Caillebotte's brushwork here is freer and more painterly than in his earlier works, with vibrant, varied strokes lending the foliage a dynamic, tactile quality. The distant sky, suffused with soft lavenders and blues, evokes the tranquil stillness of an evening on the coast, completing the composition with a sense of serene balance.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>In "<em>Vue de mer, Villers</em>," Caillebotte achieves a masterful fusion of observation and innovation, bridging his roots in urban realism with the Impressionist commitment to capturing the transient effects of light and atmosphere. Its inclusion in the 1882 exhibition reaffirmed Caillebotte's position within the Impressionist circle, demonstrating his ability to expand the movement's reach while maintaining his distinctive perspective. This painting is a celebration of the modern landscape and a profound meditation on the evolving relationship between nature and modernity, offering a timeless vision that continues to resonate.</font></div>

גוסטב קיילבוטה

Vue de Mer, Villers

20 3/4 x 25 3/8 אינץ'.

שמן על בד ציור

<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>

קמיל קלאודל

לה ואג (הגל)

ג. 1897 / צוות לאחר מותו 1997

24 1/4 x 19 x 24 אינץ'.

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

הנס הופמן

נוף מס' 108

23 1/4 x 29 1/4 אינץ'.

שמן בפאנל

$<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>$

הנס הופמן

קערת פירות מס' 1

29 1/2 x 37 1/2 אינץ'.

שמן על בד ציור

הנס הופמן

גן החיות

21 3/8 x 24 1/2 אינץ'.

שמן בפאנל

HANS HOFMANN - ללא כותרת - שמן על בד - 25X30 1/4 אינץ'

הנס הופמן

ללא כותרת

25 x 30 1/4 אינץ'

שמן על בד ציור

<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>

הירושי סנג'ו

36 x 46 אינץ'.

פיגמנטים טבעיים ופלטינה על נייר תות יפני המורכב על הסיפון

HANS HOFMANN - שיר האהבה - שמן על בד - 36 1/4 x 48 1/4 אינץ'.

הנס הופמן

שיר האהבה

36 1/4 x 48 1/4 אינץ'.

שמן על בד ציור

ANDREW WYETH - רבע וחצי - צבעי מים על נייר - 21 x 29 1/4 אינץ'.

אנדרו וייט

רבע וחצי

21 x 29 1/4 אינץ'.

צבעי מים על נייר

<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>

הארי ברטויה

ללא כותרת (פסל נשמע)

103 x 16 x 16 אינץ'

<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>

לי קרסנר

12 1/4 x 9 1/4 אינץ'.

גואש על נייר האוול

<div><font face=Aptos size=3 color=black>Chinese contemporary artist Zhang Xiaogang is renowned for his portraits that explore themes of memory, identity, and the collective experiences shaped by China's socio-political history. When China's art scene shifted toward deeper introspection following the 1989 Tiananmen Square incident, Zhang sought a modern artistic language to express personal and historical narratives. His breakthrough arrived with the era-defining <em>Bloodline: Big Family series</em>, inspired by old family photographs, which became central to his work.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Zhang's portraits, such as "<em>Portrait of a Boy</em>," bear the influence of Gerhard Richter's 1960s photo paintings, particularly in the soft, contour-dissolving technique. Yet, Zhang magnifies this effect by dramatically enlarging his postcard-sized source photographs into monumental works that deepen the emotional resonance of his subjects. The style is hauntingly ethereal, with its softened contours and muted palette evoking emotional distance and suppressed tension, an isolated figure suspended between memory and reality. A faint red discharge emanates from the corner of the mouth, trailing over the chin and neck, symbolizing the inescapable ties of family bloodlines. Given Zhang's personal experiences during the Cultural Revolution, this red mark seems to carry the weight of personal and collective struggle, adding a layer of political commentary to his otherwise introspective work. Through these subtle but poignant symbols, Zhang Xiaogang remains a vital voice in contemporary art, addressing the intersections of personal identity and national trauma.</font></div>

דיוקן של ילד

39 3/8 x 31 5/8 אינץ'.

שמן על בד ציור

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

הנס הופמן

22 x 15 אינץ'.

מדיה מעורבת על נייר

<div><font face=Calibri size=3 color=black>Gouaches became integral to Alexander Calder's artistic practice in the late 1930s and early 1940s. By the early 1960s, they were a well-established part of his repertoire, parallel to his more significant works and featuring prominently in his exhibitions. These smaller-scale pieces offered collectors an intimate glimpse into Calder's creative process, revealing his ability to capture the essence of his playful, dynamic forms with immediacy and intuition, often characterized by bold, energetic shapes and vibrant colors.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In this gouache from 1970, Calder employs a densely populated, diverse range of visual motifs. Large, bright red, blue, and black circles float among spirals and other abstract forms, while a central yellow orb, streaked with red, seems to radiate energy, suggesting movement or heat. To the left, a structure of intersecting lines and shapes introduces an architecturally restrained wave, while dynamic spirals animate the composition. The result is a celebratory display of Calder's signature elements—bold primary colors, geometric shapes, and flowing lines—each interacting in a lively, harmonious rhythm.</font></div>

אלכסנדר קלדר

ללא כותרת

29 1/2 x 43 1/4 אינץ'.

גואש על נייר

ג'ון צ'מברליין - ASARABACA - רדיד אלומיניום במשקל תעשייתי עם לכה אקרילית ושרף פוליאסטר - 20 x 23 x 22 אינץ '.

ג'ון צ'מברליין

20 x 23 x 22 אינץ'

רדיד אלומיניום במשקל תעשייתי עם לכה אקרילית ושרף פוליאסטר

GEORGE RICKEY - Space Churn with Squares - פיסול קינטי מנירוסטה - 35 1/2 x 20 x 13 אינץ'.

ג'ורג' ריקי

מחסום שטח עם ריבועים

35 1/2 x 20 x 13 אינץ'.

פיסול קינטי מנירוסטה

אירווינג נורמן - איך זה - שמן על בד - 90X60 אינץ'

אירווינג נורמן

איך זה ש?

90 x 60 אינץ'.

שמן על בד ציור

Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“It was early one morning on a calm sea, off Guatemala, when over my couch — a coil of rope — I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.

אלכסנדר קלדר

זיגזג שמש וצוקים

29 1/2 x 43 אינץ'.

גואש ודיו על נייר

<div><font face=Aptos size=3 color=black>Michael Corinne West’s story is a significant one. A prolific painter and poet at the forefront of the Abstract Expressionist movement, West is the artist least likely to be acknowledged as standing among the first generation with the core group of male artists. Placed in a confrontational role as one of the few women defying a male-dominated mythology, she shifted to gestural painting in the mid-1940s, often laying the canvases on the floor and working like Jackson Pollock. Her earliest work in black and white predates Franz Kline’s by several years. It included “<em>Black and White” </em>of 1947, which impressed Clement Greenberg, who was never inclined to dish a gratuitous compliment. Despite the changing tides of art and fashion, her devotion to mysticism, inner emotional states, and the subconscious as they relate to Abstract Expressionism continued unfazed and steady.  </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>“<em>The Day After</em>,” painted in 1963, is West’s visceral, abstract response to a pivotal moment in American history — the assassination of President John F. Kennedy. The overlapping layers of saturated blood-red tones clashing with forceful strokes of black suggest the rupture in the national consciousness and evoke feelings of disruption and confusion, embodying the artist’s internalized grief. West transformed the event into a deeply personal expression of mourning, capturing the weight of a nation’s sorrow in a form that defies literal representation yet speaks volumes emotionally.  </font></div>

מייקל קורין ווסט

היום שאחרי

85 1/4 x 50 1/8 אינץ'.

שמן על בד ציור

אלכסנדר קלדר - הספירלה הסגלגלה - גואש ודיו על נייר - 43 1/4 x 29 1/2 אינץ'.

אלכסנדר קלדר

הספירלה הסגלגלה

43 1/4 x 29 1/2 אינץ'.

גואש ודיו על נייר

© 2023 קרן קאלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

אלכסנדר קלדר

30 x 43 3/8 אינץ'.

גואש ודיו על נייר

<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>

ריצ'רד פרינס

ללא כותרת (צנזור צובע ורוד)

35 1/2 x 30 אינץ'

אקריליק על לוח הזרקת דיו

אירווינג נורמן - תמונות - שמן על בד - 40X90 אינץ'

אירווינג נורמן

40 x 90 אינץ'

שמן על בד ציור

© 2023 קרן קאלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

אלכסנדר קלדר

סרקלס (1991)

30 3/4 x 22 1/2 אינץ'.

גואש ודיו על נייר

<div><font face=Lato size=3 color=black>The monotype holds a distinctive place within Gauguin's oeuvre, offering a window into the artist's innovative process and his quest to reconcile the challenge of unifying painting and drawing. This medium became the foundation of an impressive corpus that evolved from his innovative Brittany woodcuts and, later, as the means to reimagine the boundaries between printmaking, drawing, and painting during his years in Tahiti and the Marquesas. </font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>“<em>Bathers”</em> belongs to Gauguin's 1899–1903 series of "traced monotypes," a technique where the artist drew or pressed on the back of paper placed over an inked or painted surface, resulting in a single reversed impression. This process introduced subtle textures and a sense of immediacy while allowing Gauguin to explore the interplay of positive and negative forms. By late 1902, the artist had begun keying the drawings on the versos of these monotypes to the direction of his paintings, resulting in a deliberate reversal of themes. The reversed orientation of this monotype, for example, is associated with the painting "<em>Famille tahitienne</em>" (W.618, Stephen A. Cohen collection, a.k.a., “<em>A Walk by the Sea</em>”), and it exemplifies this practice, raising intriguing questions about the creation sequence.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The reversed orientation offers a compelling argument for understanding the monotype as a concurrent experiment rather than a preparatory study. Rather than serving as a preliminary blueprint, the monotype served as a dynamic tool for experimentation, allowing Gauguin to analyze and retest compositional ideas, color harmonies, and spatial relationships in real-time. The act of transferring the image introduced an element of unpredictability—textures softened, colors became more fluid, and linear forms took on painterly qualities. This spontaneity enabled Gauguin to step outside the constraints of oil painting, offering him fresh insights into how elements of the composition could evolve. Through this iterative process, the monotype would have informed adjustments to “<em>Famille tahitienne</em>,” enriching the painting's vibrancy, depth, and compositional balance. The interplay between the two mediums underscores Gauguin's innovative approach, treating the monotype not as a secondary exercise but as an integral part of his artistic vision.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>While the monotype lacks the polished refinement of the painting, its raw immediacy and formal sensitivity reveal Gauguin's fascination with experimentation and spontaneity. Far from being a preparatory study, “<em>Bathers”</em> likely enabled Gauguin to deconstruct and reimagine <em>“Famille tahitienne” </em>as he worked. This creative interplay underscores Gauguin's broader artistic quest during his later years: to distill the essence of life and nature into forms that combine immediacy with timeless resonance.</font></div>

פול גוגן

8 7/8 x 10 3/4 אינץ'.

מונוטייפ עם גואש על נייר

<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>

מריה בלנצ'רד

לה קומידה

21 1/2 x 28 3/4 אינץ'.

שמן על בד ציור

<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>

מריה בלנצ'רד

פילט א-לה-פום

28 1/4 x 23 5/8 אינץ'.

שמן על בד ציור

<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>

הארי ברטויה

ללא כותרת (פסל נשמע)

48 x 15 3/4 x 8 אינץ'

מוטות בריליום ונחושת עם בסיס פליז

<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>

הארי ברטויה

ללא כותרת (ערבה)

61 x 32 x 32 אינץ'.

אירווינג נורמן - אדם וזמן - שמן על בד - 58X30 אינץ'

אירווינג נורמן

אדם וזמן

58 x 30 אינץ'

שמן על בד ציור

CHARLES ARNOLDI - דביק Wicket - אקריליק, הדבק דוגמנות ומקלות על דיקט - 44 1/4 x 91 x 3 אינץ '.

צ'ארלס ארנולדי

פתיל דביק

44 1/4 x 91 x 3 אינץ'.

אקריליק, הדבק דוגמנות ומקלות על דיקט

CONRAD MARCA-RELLI - ללא כותרת H/S E - קולאז' על בד - 26 1/4 x 20 אינץ'

קונרד מארקה-רלי

ללא כותרת H/S E

26 1/4 x 20 אינץ'

קולאז' על בד

הצגת חדר עובד

<div><font face=Lato size=3 color=black>Clyfford Still occupies a monumental position in the history of modern art, often heralded as the earliest pure abstract painter to work on an expansive scale. By the early 1940s, Still had already arrived at a radically abstract visual language that transcended the aesthetic frameworks of his peers, rejecting representational imagery and producing canvases that were immense in size and conceptual ambition. Pollock famously confessed that “Still makes the rest of us look academic,” and Rothko once kept a Still painting in his bedroom as a guiding inspiration. His work was, as critic Clement Greenberg remarked, “estranging and upsetting” in its genuine originality, a raw and elemental confrontation of form and color that defied conventional expectations.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>For viewers familiar with Still’s oeuvre, his paintings typically evoke a powerful physicality: vast canvases covered in richly textured layers of pigment—earthy blacks, ochres, siennas, and cadmiums—applied with a trowel-like rigor that recalls weathered geological formations. These thickly encrusted surfaces often alternate with more thinly painted passages, all juxtaposed against large swaths of bare canvas that lend his compositions a sense of immense scale and open-ended possibility. This aesthetic, rooted in the grandeur of raw and elemental presence, often manifests as jagged, opaque forms whose stark contrasts convey a primal energy.<br><br></font></div><br><br><div><font face=Lato size=3 color=black><em>“PH-589”,</em> on the other hand, marks a transition in Still’s career, where his already profound engagement with abstraction began to evolve toward greater spareness and a deeper exploration of the expressive potential of voids and open space. Painted in 1959, the expected density of his earlier surfaces gives way to a lighter touch and a more restrained use of paint. Against largely unpainted ground, two jagged shapes of continental significance hang suspended, their edges torn and irregular, as if wrested from the canvas itself. The bare canvas, which had served as a compositional counterpoint in Still’s earlier works, now asserts itself as a dominant feature, heightening the power of the painted forms while introducing an ethereal sense of light and space.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>This shift was both aesthetic and philosophical. By the late 1950s, Still had grown increasingly disenchanted with the art world, distancing himself from its commercial and critical structures<em>. “PH-589”</em> is an anticipatory event before his move to rural Maryland in 1961 that coincided with a period of introspection and formal refinement when Still began to strip his compositions down to their essential elements. As Still explained, he sought to fuse color, texture, and form into “a living spirit,” transcending their materiality to evoke the human capacity for transcendence.</font></div><br><br><div><font face=Lato size=3 color=black><br><br>This painting signals the burgeoning openness of Still’s later works, where the interplay of painted forms and unpainted ground would become a defining characteristic. By the 1960s and 1970s, Still’s palette grew lighter, his gestures sparser, and his use of emptiness more deliberate, creating compositions that were at once monumental and ephemeral. Yet the seeds of that evolution are already present here in the restrained yet powerful interplay of color and space. His revolutionary approach to abstraction—both in scale and in spirit—provided a foundation upon which the Abstract Expressionists built their legacy. At the same time, his work resists easy interpretation, demanding instead an unmediated confrontation with its raw, elemental presence. With its terse eloquence and rhythmic vitality, this painting is both a culmination of Still’s early achievements and a momentous portent of his later innovations.</font></div>

קליטפורד עדיין

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.

ג'ורג'יה אוקיף

<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.

דייגו ריברה

על פי הקטלוג שנערך על ידי מוזיאון ברנדיוויין ריבר לאמנות, השרטוט הראשוני של דייגי הבקלה הפוריטניים הושלם על ידי נ.צ. ויית' לפני מותו באוקטובר 1945. הערך מתעד תמונה של הסקיצה וכן כתובות של האמן וכותרתו, "דייגי בקלה פוריטנים", המאופיינים בקטלוג כ'חלופיים'. בכל מקרה, הבד בקנה מידה גדול הוא יצירה ייחודית שאנדרו ויית' נזכר מאוחר יותר שצוירה אך ורק בידו, שיתוף פעולה מתוחם של עיצובו וקומפוזיציה של האב שהובא לידי ביטוי על ידי הוצאה להורג יוצאת דופן של בן. עבור אנדרו, זו בוודאי הייתה חוויה רגשית ומורגשת עמוקה. בהתחשב בתשומת לבו של אביו לפרטים ולאותנטיות, קווי ספינת המפרש הקטנה מייצגים שאלוט, שהיה בשימוש במהלך המאה השש עשרה. מצד שני, סביר להניח שאנדרו העמיק את גווני הים חסר המנוחה יותר מאשר אביו, בחירה שמעצימה כראוי את האופי המסוכן של המשימה.

אנדרו ווית' ונ.C ווית'

וילם דה KOONING - אישה בסירת משוטים - שמן על נייר הניח על הבונים החופשיים - 47 1/2 x 36 1/4 ב.

וילם דה קונינג

איי ווייווי

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.

אלפרד סיסלי

<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>

פייר אוגוסט רנואר

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.

אמיל נולדה

בתחילת שנות ה-70 של המאה ה-19 צייר וינסלו הומר לעתים קרובות סצנות של חיים כפריים ליד כפר חקלאי קטן שנודע במשך דורות בזכות דוכני החיטה המרשימים שלו, הממוקם בין נהר ההדסון לקטסקיל במדינת ניו יורק. כיום הארלי מפורסם הרבה יותר כהשראה לאחת מיצירותיו הגדולות ביותר של הומרוס, Snap the Whip שצויר בקיץ 1872. בין הציורים הרבים האחרים בהשראת האזור, נערה עומדת בשדה החיטה עשירה בסנטימנטים, אך לא סנטימנטלית מדי. הוא מתקשר ישירות למחקר משנת 1866 שצויר בצרפת בשם "בשדות החיטה", ומחקר נוסף שצויר שנה לאחר מכן לאחר שובו לאמריקה. אבל הומרוס היה ללא ספק גאה ביותר בזה. זהו דיוקן, חדר לימוד תלבושות, ציור ז'אנרי במסורת הגדולה של הציור הפסטורלי האירופי, וטור דה פורס מואר בדרמטיות, ספוג באור השעה הזוהר הדועך במהירות, מצופה בתווים פרחוניים ונגיעות קוצים של חיטה. בשנת 1874 שלח הומרוס ארבעה ציורים לתערוכה של האקדמיה הלאומית לעיצוב. אחד מהם נקרא "ילדה". יכול להיות שזה לא זה?

וינסלו הומר

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

גרהרד ריכטר

<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>

רופינו טמאיו

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.”

הנס הופמן

KENNETH NOLAND - מעבר - אקריליק על קנבס - 69 1/2 x 140 1/2 אינץ'.

קנת' נולנד

עולמו של מארק שאגאל אינו יכול להיות מוכל או מוגבל על ידי התוויות שאנו מצמידים אליו. זהו עולם של דימויים ומשמעויות היוצרים שיח מיסטי להפליא משלהם. Les Mariés sous le baldaquin (החתן והכלה מתחת לחופה) החל עם כניסתו של האמן לשנתו ה-90, אדם שידע טרגדיה וסכסוכים, אך מעולם לא שכח את רגעי ההנאה של החיים. כאן, התענוגות החלומיים של חתונה כפרית רוסית עם סידורי המשתתפים השחוקים היטב מובאים אלינו בשנינות כה שמחה ותמימות עליזה, שאין התנגדות לקסמה. באמצעות תחליב בגוון זהוב המשלב שמן וגואש אטום על בסיס מים, החום, האושר והאופטימיות של הפוזיטיביזם הרגיל של שאגאל עטופים בזוהר זוהר המרמז על השפעתם של איקונות דתיות בעלות עלי זהב או ציורים מראשית הרנסנס שביקשו להקנות רושם של אור אלוהי או הארה רוחנית. שימוש בשילוב של שמן וגואש יכול להיות מאתגר. אבל כאן, ב-Les Mariés sous le baldaquin, שאגאל משתמש בו כדי להעניק לסצנה איכות אחרת, כמעט כאילו זה עתה התממשה מתוך עינו. עדינותו הטקסטואלית יוצרת את הרושם שהאור נובע מהיצירה עצמה ומעניקה איכות ספקטרלית לדמויות המרחפות בשמיים.

מארק שאגאל

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.”

שון סקאלי

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.

טום ווסלמן

אלברט בירשטאדט - שער הזהב - שמן על בד - 27 3/8 x 38 אינץ'

אלברט בירסטאדט

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

אירווינג נורמן

דיוקן סילבי לאקומב של תיאו ואן רייסלברגה, שצויר בשנת 1906, הוא יצירת מופת קלאסית של אחד מציירי הדיוקנאות המעודנים והעקביים ביותר של זמנו. הצבע הרמוני, עבודת המכחול נמרצת ומותאמת למשימתה החומרית, גופה וארשת פניה אמיתיים וחושפניים. היושבת היא בתו של חברו הטוב, הצייר ז'ורז' לאקומב, שחלק קשר הדוק עם גוגן, והיה חבר בלה-נאביס עם האמנים בונאר, דניס ווילאר, בין היתר. כיום אנו יודעים על סילבי לאקומב משום שואן ריסלברג מיומנת כל כך בעיבוד הבעות פנים עדינות ובאמצעות התבוננות זהירה ותשומת לב לפרטים, סיפקה תובנות על עולמה הפנימי. הוא בחר במבט ישיר, עיניה אליך, ברית בלתי נמנעת בין הסובייקט לצופה, ללא קשר ליחסנו הפיזי לציור. ואן ריסלברג נטש במידה רבה את הטכניקה הפוינטיליסטית כשצייר דיוקן זה. אבל הוא המשיך ליישם את הקווים המנחים של תורת הצבעים על ידי שימוש בגוונים של אדום - ורוד וסגול - כנגד ירוקים כדי ליצור פלטת צבעים הרמונית ומשופרת של צבעים משלימים, שאליהם הוסיף מבטא חזק כדי למשוך את העין - קשת אדומה רוויה מאוד המונחת באופן א-סימטרי בצד ראשה.

תיאו ואן רייסלברג

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© זכויות יוצרים 2025 הת'ר ג'יימס. כֹּל הַזְכוּיוֹת שְׁמוּרוֹת.

מדיניות פרטיות
תנאים והתניות

תודה שיצרת איתנו קשר!

האם ברצונך להתאים אישית את העדפות האמנות שלך?

עבור אל העדפות תקשורת

חינוך

חינוך הוא בעל חשיבות עליונה בייעוץ לאמנות הת'ר ג'יימס. בין אם אתה אספן מנוסה או רק מתחיל, אנו שואפים לצמוח עם לקוחותינו ומאמינים באופן מלא במתן מידע ותובנות כדי לעזור ללקוחותינו ללמוד ולטפח את תחומי האמנות שלהם.

אוצרות

Heather James Art Advisory מביאה עשרות שנות ניסיון אוצרותי בהדרכת צוות האוצרות הבכיר שלנו שארגן תערוכות ברחבי העולם במוזיאונים, גלריות ובבתים פרטיים. בשילוב אלמנטים היסטוריים אסתטיים ואמנותיים, נעזור לאוסף ולבית שלך לשקף את תחומי העניין האמנותיים שלך.

לוגיסטיקה

HJ Art Advisory מספקת לוגיסטיקה מלאה בעת טיפול, שינוע ופיקוח על יצירות האמנות של לקוחותינו. הפיקוח שלנו כולל כל היבט של טיפול ביצירות האמנות. אנו מפקחים על כל שלב בתהליך עם הובלה, התקנה ואחסון של יצירות אמנות. אנו מייעצים ומסייעים בעיצוב מסגור, תאורה, דרישות אבטחה, שימור והערכת מצב.

תיעוד

בעת רכישת יצירות אמנות, HJ Art Advisory חוקרת את מקור יצירת האמנות ותבקש מצגים ואחריות מהמוכר, כי למוכר יש בעלות תקפה וכי החפץ נקי מכל שעבודים, תביעות ושעבודים.
HJ Art Advisory תבקש שיפוי עבור החזר מלא עבור יצירת האמנות במקרה של הפרת אחריות (ייתכן שתכלול שורה זו???) .
תהליך מכירה פרטית ומכירה פומבית: מידע קריטי ללכידה כולל: אמן, כותרת יצירה, תאריך, מדיום, מידות, מחיר, תמונה, ישות מציעה, מקור, אישורים, חשבונית (במידת האפשר), דוח מצב, שעבודים, ליטיגציה, כותרת בעלות.

הלוואות למוזיאונים

הת'ר ג'יימס זכתה לכבוד להקל על הלוואות למוזיאונים מובילים ברחבי העולם, כולל MoMA, מרכז פומפידו ועוד. HJ Art Advisory דואגת לכל הניירת והלוגיסטיקה הדרושים לאספנים שלנו שמחליטים להשאיל יצירת אמנות לתערוכה במוזיאון.

אימות

HJ Art Advisory שומרת על הסטנדרטים הגבוהים ביותר של בדיקת נאותות באמצעות חקירה, מחקר ומקור של חפצים לפני הרכישה כדי לקבוע שניתן להשיג כותרת ברורה. מחקר כזה כולל, אך אינו מוגבל לקביעה:

היסטוריית הבעלות על האובייקט
מדינות שבהן נמצא האובייקט ומתי.
תולדות התערוכה של האובייקט
היסטוריית הפרסום של האובייקט
כל תביעה מתנגדת לבעלות אם הוגשה
מאגרי מידע של חפצים גנובים הרלוונטיים לחפץ
הנסיבות שבהן מוצע החפץ
מקורות מחקר רלוונטיים, כולל: ArtLoss Register או מאגרי מידע אחרים.
מצגי אחריות ושיפוי מהמוכר, המבטיחים שלמוכר יש בעלות תקפה, והחפץ נקי מכל שעבודים, תביעות ושעבודים
מחקר ותיעוד מתקופת הנאצים/מלחמת העולם השנייה בעקבות הנחיות הנוגעות לרכישת חפצים שסביר להניח שהיו באירופה הכבושה על ידי גרמניה בין השנים 1933 ו-1945

מימון

HJ Art Advisory מסייעת ללקוחות בהלוואות מגובות נכסים, רכישת אמנות לנאמנויות, תכנון עיזבונות. אנו מציעים את המומחיות שלנו בתובנות שוק האמנות כדי למצב את לקוחותינו בצורה הטובה ביותר בעת קבלת החלטות עבור האוסף שלהם. אנו עובדים עם עזבונות, צוותים משפטיים ויועצים פיננסיים כדי לתמוך בצורה הטובה ביותר בלקוחותינו ובמטרותיהם.
הת'ר ג'יימס פיין ארט אינה יועצת השקעות, משפטית או מס רשומה. כל ההשקעות והדעות הפיננסיות המובעות על ידי הת'ר ג'יימס פיין ארט הן דעות המבוססות על מחקר אישי. ביצועי העבר אינם ערובה לתשואה עתידית, ואינם מעידים בהכרח על ביצועים עתידיים.

מכירות ורכישות

HJ Art Advisory מתמקדת במיקור יצירות אמנות לרכישות פוטנציאליות ממכירות פרטיות, בתי מכירות פומביות ועמלות אמנים. HJ Art Advisory עוקבת ללא הרף אחר השוק הפרטי והציבורי אחר יצירות אמנות משמעותיות הנוגעות לאינטרסים של לקוחותינו שישפרו את האוספים שלהם. אנו מנהלים משא ומתן על מחיר המכירה או המכירה בשם אספן על מנת להשיג את העסקה הטובה ביותר האפשרית עבור לקוחותינו.

ערך וביטוח

קבוצת HJ Art Advisory מעריכה ומעריכה אוספי אמנות לצורך הערכת שווי ביטוח, רכישה וביטול גישה. זה כרוך במחקר מעמיק של ניתוח שוק האמנות הפרטי והציבורי כאחד כדי לקבוע ערך.

אנינות טעם

HJ Art Advisory עובדת עם, ובשמם, של לקוחות המפתחים אוספים חדשים או עם אוספים מבוססים, ומספקת ייעוץ והיצע מעמיק של שירותים. הידע והניסיון הרב שלנו יחד עם שנים רבות בעסקי האמנות מציבים את הצוות המיומן והמנוסה שלנו לספק הדרכה והכוונה במספר מישורים.

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