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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 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> <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> <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> <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> <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> <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> <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> <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> <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> <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>
フルーツボウルNo.1194929 1/2 x 37 1/2 in.(74.93 x 95.25 cm)キャンバスに油彩
出所
アーティスト・コレクション、ニューヨーク、ニューヨーク
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＆ヨーエ・ファイン・アート（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
展示会
ニューヨーク、ニューヨーク、クーツ・ギャラリー、1950-51年シーズンの履歴書、1951年6月4日-29日
マサチューセッツ州ボストン、ハルカス・クラコフ・ローゼン・ゾンナベンド・ギャラリー、ハンス・ホフマン絵画展、1973年11月17日～12月22日
カナダ、トロント、マリアンヌ・フリードランド・ギャラリー、「ハンス・ホフマン：主な絵画と紙作品」、1981年4月4日～25日
ニューヨーク、ニューヨーク...もっとその。。。k, Ameringer Yohe Fine Art, Hans Hofmann: The Unabashed Unconscious：ホフマンとシュルレアリスムについての考察」2006年3月30日～4月27日
文学
Kootz Gallery, Resumé of the 1950-51 Season, New York, 1951, cat no.10, as Fruit Bowl.
マリアンヌ・フリードランド・ギャラリー「ハンス・ホフマン：主な絵画と紙作品」（トロント、1981年
シンシア・グッドマン『ホフマン：アッベヴィル・モダン・マスターズ』ニューヨーク、1986年、37ページ。
Jed Perl, Hans Hofmann, the Unabashed Unconscious：Reflection on Hofmann and Surrealism, New York, 2006, p. 40 (illustrated in color)
Suzi Villiger, Hans Hofmann: Catalogue raisonne of painting, volume II, Surrey, 2014, HH cat.327-1949, p. 453 (カラー図版)
...少ない。。。 価格425,000
ハンス・ホフマンは1940年代後半、直線性と色彩を粘り強く探求し、キュビスム的構造と身振り手振りの抽象性との間に緊張を生み出した。この作品《フルーツボウル#1》では、直線的な衝動が主役となり、ダイナミックな黒い輪郭がキャンバスを縦横無尽に駆け巡り、静物画の構図をほのめかすにすぎないフォルムを際立たせている。伝統的なフルーツ・ボウルは分断され、幾何学的な形と有機的な形の抽象的な相互作用へと再構築されている。緑、赤、黄色の鮮やかで平らに塗られた斑点や境界線が構図を際立たせ、エネルギッシュなエントロピーと活力を加えている。ホフマンの生々しく、魅惑的でありながら少し違和感のあるパレットと身振り手振りの自由さは、この作品をキュビズムの起源を超えて高め、20世紀半ばの抽象の課題に深く取り組んでいたアーティストであることを明らかにしている。





Fruit Bowl #1は、ホフマンがアメリカ抽象表現主義のより自由な本能に向かって突き進む一方で、初期のヨーロッパのモダニストたちとの対話を続けていることを反映している。ジェスチャーを多用した抽象画が台頭する中、この時期の作品は、しばしばその方向性がずれていると批判されるが、ホフマンのキャリアの中でこの時期の作品は、活気にあふれ、探求的であり、そして無条件に個人的なものである。
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