ヘザー・ジェームズ・ファインアートは、最高のパーソナライズされたロジスティクス、キュレーター、金融サービスを提供しながら、世界中の民間のクライアントや美術館に優れたアートをもたらすことに専念しています。

ヘザー・ジェームズの物語。
オーナーとの対話

ヘザー・ジェームズ・ファインアート
チーム紹介

<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>

クリフォード・スチル

Of the many modernist painters who imbued their geometries with a spiritual dimension, Agnes Martin is the one whose paintings resonate most deeply with a life of ascetic simplicity. In 1967, she left New York City and the art world, renounced worldly pursuits, and embarked on an eighteen-month odyssey across the untamed Western American landscape. It was the prelude to a life of seclusion, where on a remote mesa near Cuba, New Mexico, Martin built a sanctuary by hand, shaping adobe and timber into a unique domicile. Living without the conveniences of a telephone, electricity, or indoor plumbing, she practiced the art of life, not the life of a painter. That deeply devoted spiritual and moral quest separates Agnes Martin from the geometric visionaries such as Piet Mondrian or Ad Reinhardt, with whom she would otherwise be associated. After a seven-year hiatus, 62-year-old Martin reemerged in 1974 to renew her journey creating radiant minimalist paintings. <br><br>"No. 7" (1974) is among the earliest paintings from this second major phase of her career. Intent upon emphasizing a dramatic reorientation emphasizing color rather than the line or tabulated grids of her pre-1967 work, a distanced viewing of the pale, luminescent bands allows for an expansive appreciation of subtle, radiant shifts between the color zones. Numerous natural phenomena and elements embedded in the New Mexican desert experience may have inspired these new and expansive ideas. The sheer verticality of its mesas, cliffs, and ravines, or the shafts of light that dramatically stream through gaps in clouds to the desert floor, may have inspired the vertical orientation here. Yet the impact of "No. 7" (1974) is most assuredly delivered via her devotion to Buddhist and Daoist ideals that seek beauty from within, not from extraneous points of reference. Martin asks the viewer to think of her repetitive shafts or bands of pale color as a sort of mantra as much as a visual experience. She challenges the capacity of our imagination, encouraging it to run free and consider this work as an object of contemplation, knowing well that her paintings require a degree of commitment. And as if to admonish those without the patience to absorb the impact of the otherworldly mystical radiance inherent in the paintings or how they affect one's greater awareness of the potential for expressing the sublime, we have her comment, "There's nobody who can't stand all afternoon in front of a waterfall."

アグネス・マーチン

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.

ジョージア・オキーフ

WILLEM DE KOONING - 手漕ぎボートの女 - マソナイトに敷き詰められた紙に油彩 - 47 1/2 x 36 1/4 in.

ウィレム・デ・クーニング

<div>The stands are: 32 H x 19-3/4 W x 19-3/4 D in.  Rat: 27 7/8 x 12 7/8 x 20 7/8 in. Ox: 29 1/8 x 20 1/8 x 16 7/8 in. Tiger: 25 7/8 x 14 7/8 x 16 7/8 in. Rabbit: 27 7/8 x 9 7/8 x 18 7/8 in. Dragon: 35 7/8 x 18 1/8 x 25 7/8 in. Snake: 27 7/8 x 14 1/8 x 6 3/4 in. Horse: 29 1/8 x 12 1/4 x 22 in. Ram: 25 1/4 x 20 7/8 x 16 1/8 in. Monkey: 27 1/8 x 12 7/8 x 14 7/8 in. Rooster: 24 x 9 x 16 7/8 in. Dog: 25 1/4 x 14 7/8 x 18 7/8 in. Boar: 27 1/8 x 16 1/8 x 20 7/8 in.  World-renowned Chinese contemporary artist Ai Weiwei is a sculptor, installation artist, architectural designer, curator, and social and cultural critic who has been exhibiting his work internationally since the late 1990s. His artistic practice is inextricably linked with cultural engagement and willingly crosses barriers between different media—cultural, artistic, and social. It was perhaps his detention from 2011 until August 2015 by the Chinese government that brought his views to the greatest audience. Ai Weiwei now lives in Germany and continues to create new works and uses his significant international profile to promote artistic and personal freedom.  These twelve sculptures depict the animals associated with the traditional Chinese zodiac. Ai Weiwei’s cycle references a European rendering of the zodiac animals designed by the Italian Jesuit Giuseppe Castiglione. The original sculptures were built in the eighteenth century for an elaborate water-clock fountain at the Yuanming Yuan (Old Summer Palace), which was ransacked in 1860. By recreating the lost and displaced statues, Ai Weiwei engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in his work concerning the “fake” and “copy” in relation to the original.  Ai Weiwei now works in Berlin, Germany.</div>

AI WEIWEI

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.

アルフレッド・シスレー

1870年代初頭、ウィンスロー・ホーマーは、ニューヨーク州のハドソン川とキャッツキル山脈の間に位置する、小麦の栽培が盛んな小さな集落での田舎暮らしの風景を頻繁に描いていました。ハーリーといえば、1872年の夏に描かれたホーマーの代表作『鞭打ちのスナップ』のインスピレーション源として知られる。この地域からインスピレーションを得た他の多くの絵画の中でも、「麦畑に立つ少女」は情感に富んでいるが、過度に感傷的になることはない。この作品は、1866年にフランスで描いた習作「麦畑で」と、アメリカに戻った翌年に描いた別の作品に直接関連している。しかし、ホーマーが最も誇りに思ったのは間違いなくこの作品であろう。肖像画であり、衣装の習作であり、ヨーロッパの牧歌的な絵画の偉大な伝統に則った風俗画であり、ドラマチックな逆光と雰囲気のある力作で、すぐに消えてしまう宵闇の時間に、花の香りと麦の穂のタッチで浮き立たせた。1874年、ホーマーはナショナル・アカデミー・オブ・デザイン展に4点の絵画を出品した。そのうちの1枚に「少女」というタイトルがつけられていた。それはこの作品ではないだろうか?

ウィンスロー・ホーマー

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.

ゲルハルト・リヒター

<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>

ルフィーノ・タマヨ

KENNETH NOLAND - Passage - キャンバスにアクリル - 69 1/2 x 140 1/2 in.

ケネス・ノーランド

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.”

ショーン・スカリー

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.

トム・ヴェッセルマン

ALBERT BIERSTADT - The Golden Gate - キャンバスに油彩 - 27 3/8 x 38 3/4 in.

アルバート・ビアスタット

<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>

アーヴィング・ノーマン

抽象化:今日のツール
現在の

抽象化:今日のツール

2025年7月1日~10月31日
ハンス・ホフマン:抽象表現主義の父
現在の

ハンス・ホフマン:抽象表現主義の父

2025年2月3日~7月31日
彫刻のセレクション
現在の

彫刻のセレクション

2024年10月23日~2025年9月30日
アンディ・ウォーホル:オール・イズ・プリティ
アーカイブ

アンディ・ウォーホル:オール・イズ・プリティ

2023年8月17日~2025年6月30日
アンディ・ウォーホルのポラロイドアルスロンガ
アーカイブ

アンディ・ウォーホルのポラロイドアルスロンガ

2024年12月10日~2025年6月30日
アンディ・ウォーホルのポラロイド私と私と私
アーカイブ

アンディ・ウォーホルのポラロイド私と私と私

2024年12月10日~2025年6月30日
アンディ・ウォーホル ポラロイド邪悪な不思議
アーカイブ

アンディ・ウォーホル ポラロイド邪悪な不思議

2021年12月13日~2025年6月30日
アレクサンダー・カルダー原初の宇宙を形作る
アーカイブ

アレクサンダー・カルダー原初の宇宙を形作る

2023年8月23日~2025年3月25日
ハンス・ホフマン
アーカイブ

ハンス・ホフマン

2024年8月14日~2025年2月28日
10万ドル以下のアート
アーカイブ

10万ドル以下のアート

2024年7月25日~2025年1月31日
2024年の休日贈り物の極意
アーカイブ

2024年の休日贈り物の極意

2024年11月4日~2025年1月31日
ユア・ハートズ・ブラッド芸術と文学の交差点
アーカイブ

ユア・ハートズ・ブラッド芸術と文学の交差点

2022年9月12日~2024年12月31日
春を彩る花々、画期的な
アーカイブ

春を彩る花々、画期的な

2023年5月8日~2024年8月31日
アメリカ西部の芸術著名なコレクション
アーカイブ

アメリカ西部の芸術著名なコレクション

2023年8月24日~2024年8月31日
ファーストサークルアートの中のサークル
アーカイブ

ファーストサークルアートの中のサークル

2023年2月14日~2024年8月31日
ドロシー・フッドの絵画
アーカイブ

ドロシー・フッドの絵画

2024年3月18日~7月19日
アーヴィング・ノーマン:ダークマター
アーカイブ

アーヴィング・ノーマン:ダークマター

2019年11月27日~2024年6月30日
ピカソ:キャンバスを超えて
アーカイブ

ピカソ:キャンバスを超えて

2023年10月4日~2024年4月30日
創造性の発見アメリカン・アートの巨匠たち
アーカイブ

創造性の発見アメリカン・アートの巨匠たち

2024年1月10日~3月17日
ペーパーカット紙を使ったユニークな作品
アーカイブ

ペーパーカット紙を使ったユニークな作品

2022年4月27日~2023年10月31日
アンディ・ウォーホル:グラマー・アット・ザ・エッジ
アーカイブ

アンディ・ウォーホル:グラマー・アット・ザ・エッジ

2021年10月27日~2023年9月30日
アレクサンダー・カルダー絵画の宇宙
アーカイブ

アレクサンダー・カルダー絵画の宇宙

2022年8月10日~2023年8月31日
モネを中心とした印象派の対話集
アーカイブ

モネを中心とした印象派の対話集

2022年8月17日~2023年8月31日
美しき時:金ぴか時代のアメリカ美術
アーカイブ

美しき時:金ぴか時代のアメリカ美術

2021年6月24日~2023年8月31日
80年代には受け入れられていた
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80年代には受け入れられていた

2021年4月27日~2023年8月31日
N.C.ワイエス絵画の10年
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N.C.ワイエス絵画の10年

2022年9月29日~2023年3月31日
ポール・ジェンキンス:驚異の色彩
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ポール・ジェンキンス:驚異の色彩

2019年12月27日~2023年3月31日
ノーマン・ザミット:色の進行
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ノーマン・ザミット:色の進行

2020年3月19日~2023年2月28日
アメリカ大陸のフィギュラティヴ・マスターたち
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アメリカ大陸のフィギュラティヴ・マスターたち

2023年1月4日~2月12日
抽象表現主義。ラジカルの超克
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抽象表現主義。ラジカルの超克

2022年1月12日~2023年1月31日
ジェームズ・ローゼンクイスト:ポテント・ポップ
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ジェームズ・ローゼンクイスト:ポテント・ポップ

2021年6月7日~2023年1月31日
私自身の肌フリーダ・カーロとディエゴ・リベラ
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私自身の肌フリーダ・カーロとディエゴ・リベラ

2022年6月16日~12月31日
ヨーゼフ・アルバース絵画の心
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ヨーゼフ・アルバース絵画の心

2022年5月12日~11月30日
印象派の天才:クロード・モネ
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印象派の天才:クロード・モネ

2022年8月18日~10月31日
ヘザー・ジェームズ・ファインアートの印象派
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ヘザー・ジェームズ・ファインアートの印象派

2022年9月1日~10月31日
ピカソ - 版画・紙本作品
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ピカソ - 版画・紙本作品

2022年9月1日~10月12日
マルク・シャガール:愛の色
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マルク・シャガール:愛の色

2022年9月8日~10月12日
All We Have Seen:印象派の風景:モネからクライシュまで
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All We Have Seen:印象派の風景:モネからクライシュまで

2021年8月9日~2022年9月30日
抽象表現主義。執拗なまでの女性たち
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抽象表現主義。執拗なまでの女性たち

2021年11月1日~2022年8月31日
アレクサンダー・カルダーコスモスを描く
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アレクサンダー・カルダーコスモスを描く

2022年3月2日~8月12日
メルセデス・マター。奇跡のような品質
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メルセデス・マター。奇跡のような品質

2021年3月22日~2022年6月30日
ムーア!ムーア!ムーア!ヘンリー・ムーアと彫刻
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ムーア!ムーア!ムーア!ヘンリー・ムーアと彫刻

2021年3月3日~2022年4月30日
アレクサンダー・カルダー大胆なグアッシュ
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アレクサンダー・カルダー大胆なグアッシュ

2020年3月25日~2022年3月2日
エレーヌ&ウィレム・デ・クーニング光の中で描く
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エレーヌ&ウィレム・デ・クーニング光の中で描く

2021年8月3日~2022年1月31日
グロリア・ルリアコレクション
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グロリア・ルリアコレクション

2020年3月16日~2021年10月31日
ポップフィギュア。メル・ラモスとトム・ウェッセルマン
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ポップフィギュア。メル・ラモスとトム・ウェッセルマン

2020年3月26日~2021年4月30日
印象派と近代美術の宝石
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印象派と近代美術の宝石

2020年2月19日~10月31日
クールブリタニア:イギリスの若手アーティスト
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クールブリタニア:イギリスの若手アーティスト

2020年4月2日~9月30日
ザ カリフォルニアンズ
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ザ カリフォルニアンズ

2019年11月1日~2020年2月14日
サム・フランシス:夕暮れから夜明けまで
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サム・フランシス:夕暮れから夜明けまで

2018年11月15日 ~ 2019年4月29日
デ・クーニング x デ・クーニング
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デ・クーニング x デ・クーニング

2018年11月8日 ~ 2019年2月28日
ウィンストン・チャーチル卿の絵画
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ウィンストン・チャーチル卿の絵画

2018年8月1日~9月16日
ウィンストン・チャーチル卿の絵画
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ウィンストン・チャーチル卿の絵画

2018年6月1日~7月27日
ヴォイチェフ・ファンゴール:1960年代初頭
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ヴォイチェフ・ファンゴール:1960年代初頭

2018年4月19日~6月30日
N.C. ワイス:絵画とイラスト
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N.C. ワイス:絵画とイラスト

2018年2月1日~5月31日
ウィンストン・チャーチル卿の絵画
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ウィンストン・チャーチル卿の絵画

2018年3月21日~5月30日
フェラーリと未来派:イタリアのスピードを見る
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フェラーリと未来派:イタリアのスピードを見る

2016年11月21日 ~2017年1月30日
アレクサンダー・カルダー
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アレクサンダー・カルダー

2015年11月21日 - 2016年5月28日
カリフォルニア印象派の巨匠
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カリフォルニア印象派の巨匠

2014年11月22日 - 2015年5月23日
画家的抽象化:AbExの球体
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画家的抽象化:AbExの球体

2011年11月25日 - 2012年5月31日
印象派と近代美術の修士
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印象派と近代美術の修士

2010年11月20日 - 2011年9月25日
ピカソ
アーカイブ

ピカソ

2009年11月20日 - 2010年5月25日
グラフ

アートマーケット 2023年3月

Heather James Fine Artの共同設立者であるジム・キャロナは、アート市場の回復力について語り、金融危機の時代にアート投資をするための洞察を提供しています。

動画_インタビューサム

アートマーケット・レジリエンス

Heather James Fine Artの共同設立者であるジム・キャロナは、過去の不況期におけるアート市場のパフォーマンスを検証し、なぜアート市場が他の資産よりも回復力があることが証明されているのかについて、重要な見解を示しています。

アルタスインベストメント1

投資としてのアート

2022年のベストベットにファインアートが挙げられています。ポートフォリオにおける資産としてのアートに関する詳細な分析をご覧ください。

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