ジャクソンホール・ギャラリー ウォークスルー 2021

に掲載されました。ギャラリーツアー

ヘザー・ジェームズ・ジャクソンホールで現在展示中のアートワーク

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

リチャード・ディベンコーン

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

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

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

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

<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>

ハンス・ホフマン

<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>

ハンス・ホフマン

<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>

ハンス・ホフマン

<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>

ハンス・ホフマン

<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>

ハンス・ホフマン

HANS HOFMANN - 無題 - キャンバスに油彩 - 25 x 30 1/4 in.

ハンス・ホフマン

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

中国語

HANS HOFMANN - Song of Love - キャンバスに油彩 - 36 1/4 x 48 1/4 in.

ハンス・ホフマン

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

メル・ラモス

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - Pastel on paper laid down on board - 10 3/8 x 14 3/4 in.

カミール・ピサロ

<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>

リー・クラスナー

ROLAND PETERSEN - Waiting Figure - キャンバスに油彩 - 68 x 56 in.

ローランド・ピーターセン

GEORGE RICKEY - Space Churn with Squares - ステンレススチール製の運動彫刻 - 35 1/2 x 20 x 13 in.

ジョージ・リッキー

<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>

ハンス・ホフマン

ANDY WARHOL - Mick Jagger - スクリーンプリント、カラー - 43 5/8 x 28 3/4 in.

アンディ・ウォーホル

ANDY WARHOL - Howdy Doody - スクリーンプリント - 38 x 38 in.

アンディ・ウォーホル

<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>

リチャード・プリンス

HARRY BERTOIA - 柳の彫刻 - ステンレススチール - 61 1/2 x 39 x 39 in.

ハリー・ベルトイア

HARRY BERTOIA - Untitled (Sounding Sculpture) - ベリリウム銅とブロンズ、木製ベース - 36 1/2 x 8 x 8 in.

ハリー・ベルトイア

<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>

マリア・ブランチャード

<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>

マリア・ブランチャード

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

アーヴィング・ノーマン

IRVING NORMAN - Man and Time - キャンバスに油彩 - 58 x 30 in.

アーヴィング・ノーマン

Signed, titled and dated ‘81 verso<br>JR-198-81

ジャック・ロス

カール・ベンジャミンとその同世代のローサー・フェイテルソン、フレデリック・ハマースリー、ジョン・マクラフリンは、アメリカ抽象美術史の中で独特の位置を占めている。精密で幾何学的なフォルムと、平面性を強調した端正なエッジで知られる彼らは、1950年代後半に登場したカリフォルニアのハードエッジ画家である。例えば、エルズワース・ケリーとは異なり、彼らの作品には、東海岸で感じられたより都会的で工業的な影響よりもむしろ、カリフォルニアの自然や建築環境を示唆する明るさ、明瞭さ、色彩が反映されている。さらに、東海岸の競争的なアートシーンに比べ、カリフォルニアのグループは比較的小規模で緊密なアーティスト・コミュニティであり、共同作業と探求の共有意識が、明確なアイデンティティを持つまとまりのあるムーブメントに貢献した。

カール・ベンジャミン

KHMER - 男性トルソ - 砂岩 - 24 x 9 x 5 in.

クメール

PAUL JENKINS - Phenomena with Black Anadem - インク、アクリル、オイル、キャンバス - 51 x 51 in.

ポール・ジェンキンス

ANDY WARHOL - Northwest Coast Mask - Lenox Museum Boardにカラーでスクリーンプリント - 38 x 38 in.

アンディ・ウォーホル

1944年生まれのトーマス・ノスコウスキーは、クーパー・ユニオンで学んだ抽象表現主義者やバウハウス出身者から受けた二項対立的な影響を反映して、小さくて豊かな色彩の絵画を制作しました。小さなブラシを使い、絵の具を削ったり、こすったりして作品に反映させています。タイルの床、細胞の集合体、建築物や宇宙空間など、さまざまなものを連想させるバイオモルフィックな幾何学的形態を、さまざまな配色で表現し、独特の幅広い語彙を身につけました。これらの作品は、彼自身の記憶や経験から抽出されたものであることが多いのです。ノズコフスキーは、この作品（Untitled, 1994）について、ルネッサンス期のカッソーネ様式の箪笥のパネルに描かれた神話的な場面に魅了されたことを反映しているとコメントしています。彼はこのシリーズの15インチ×30インチのパネル3、4枚の中で最も良い作品だと評しています。ノスコウスキーは長年、ペース・ギャラリーで扱われていた。2019年に亡くなりました。

トマス・ノズコウスキー

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

東南アジア

THEASTER GATES - 残骸の期間のためのスタンドイン 25 - 白いコンクリートと磁器 - 48 x 12 x 12インチ。

テアスター・ゲイツ

ROY LICHTENSTEIN - Interior with Chair, from Leo Castelli 90th Birthday Portfolio - Somerset paperにカラーでスクリーンプリント - 27 x 20 1/2 in.

ロイ・リヒテンシュタイン

KHMER - 観音像 - 灰色砂岩 - 13 x 7 x 7 in.

クメール

ROY LICHTENSTEIN - Modern Print - アルジョマリ紙にカラーリトグラフとスクリーンプリント - 24 x 24 in.

ロイ・リヒテンシュタイン

FRANK STELLA - Fattipuff, from Imaginary Places II - TGLハンドメイドペーパーにリトグラフ、スクリーンプリント、エッチング、アクアチント、カラーレリーフ - 32 1/2 x 32 1/2 in.

フランク・ステラ

ALEX KATZ - Vivien - シルクスクリーン、ミュージアムボード - 39 x 41 in.

アレックス・カッツ

NATIVE AMERICAN - ソコロ 黒地に白の貯蔵瓶 - 塗装土鍋 - 16 x 14 x 14 in.

ネイティブアメリカン

この文字は長寿を表す文字で、中国語では「寿」、日本語では「寿」と読む。特に草書体で描かれたときの優雅さは、織物、陶磁器、漆器など、さまざまな媒体の装飾モチーフとして人気を博している。ここでは、金糸を巻いて作られた文字が、菊の花に囲まれている。菊の花は、健康に良いことから長寿の象徴でもある。このような袱紗は、おそらく誕生祝いのカバーとして作られたのだろう。

日本語