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ハンス・ホフマン (1880-1966)

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<div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div> <div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div>
動物園194421 3/8 x 24 1/2 インチ(54.29 x 62.23 cm)パネルに油彩
出所
アーティスト・コレクション
レナート、ハンス＆マリア・ホフマン信託、ニューヨーク、ニューヨーク
アメリンガー｜マッケンリー｜ヨーエ（ニューヨーク、ニューヨーク
プライベート・コレクション（ニュージャージー州
展示会
ニューヨーク、ニューヨーク、アメリンガー｜マッケンリー｜ヨーエ、ハンス・ホフマン：夏の写真：絵画と紙作品 2010年12月9日～2011年1月29日
文学
Ameringer | McEnery | Yohe, Hans Hofmann: Pictures of Summer：Paintings & Works on Paper, "Art in America", 展覧会告知, ニューヨーク, ニューヨーク, 2010, p. 11 (illustrated in color)
アメリンジャー｜マッケナリー ...もっとその。。。| ハンス・ホフマン：夏の絵：Painting & Works on Paper, "ARTnews", 109, no. 11, 展覧会告知, ニューヨーク, ニューヨーク, 2010, 裏表紙（カラー図版あり）
Suzi Villiger, Hans Hofmann: Catalogue raisonne of painting, volume II, Surrey, 2014, HH cat.351-1944, p. 279 (カラー図版)
...少ない。。。 価格425,000
ハンス・ホフマンの『動物園』（1944年）は遊び心に溢れ、その抽象的なフォルムは、動物的な形や仕草の気まぐれな探求を示唆している。赤、緑、黄色の大胆なストロークで区切られた鮮やかな青のフィールドが支配的で、形式的な要素と構図が色彩の生き生きとした相互作用を生み出している。タイトルは、動物園を連想させるが、フォルムは曖昧でありながら喚起的である。赤の弧は尾のカーブを暗示し、緑の三角形は囲いや檻の横顔を思わせる。





シュルレアリスムのオートマティスムやジョアン・ミロの生物形態学的フォルムから多大な影響を受け、有機的な形と大胆な色彩は、抽象と具象の境界を曖昧にし、生命を脈打たせるかのようだ。しかし、ミロの繊細な夢幻画とは異なり、ホフマンの筆致には筋肉質なエネルギーが感じられ、彼の特徴であるジェスチャー的なスタイルで構図を構成している。


The Zooは、自発性と意図的な構図の選択のバランスをとるホフマンの能力を反映している。その結果、彼のキャリアの中でも極めて重要な時期であるこの時期に、世界の視覚的な複雑さと抽象画の無限の創造的自由を讃える、活気に満ちた喜びに満ちた作品となった。
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