ジャクソンホール・ギャラリーウォークスルー 2023

に掲載されました。ギャラリーツアー

国立公園を背景にしたワイオミング州ジャクソンホールの野生の美しさに位置するヘザー・ジェームズ・ジャクソンは、10年以上にわたりインターマウンテンウエストに最高の芸術作品とサービスをもたらしました。

ジャクソンホールをアメリカの文化とアウトドアの比類のない目的地にするユニークなコミュニティにケータリング、ヘザージェームズは、同様に地元の人々や訪問者のための芸術作品や白い手袋サービスの比類のない選択を提供するために努力しています。

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

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

ディエゴ・リベラ

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

グラント・ウッド

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

アレクサンダー・カルダー

<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>

トム・ヴェッセルマン

<div><font face=Aptos size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div>

ピエール=オーギュス・ルノワール

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

エミール・ノルデ

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

アレクサンダー・カルダー

No artist bridged the gap between European Modernism and American Abstract Expressionism the same way Hans Hofmann did. The reason is simple. He was trained in Parisian academies prior to World War I and was friendly with Henri Matisse, Pablo Picasso, Georges Braque, and, most significantly, Robert and Sonia Delaunay. Conversely, his endeavors as a teacher and later, as a mature artist in full command of his abilities were stimulated — made possible even — by the exhilarating New York milieu that gave rise to Abstract Expressionism. So perhaps it is not surprising that unlike most of the Abstract Expressionists who pursued a single iconographic look — Rothko’s soft-edged rectangles, Franz Klein’s enlarged calligraphic strokes, Clyfford Still’s dark, ragged shapes — Hofmann was constantly reaching for different and contradictory effects. That meant his paintings were wildly varied and that they carved a wide swath toward the most exciting avenues available to contemporary abstraction. Hofmann proved to be a gallant experimenter, refusing to settle on a single style for long.<br><br>The Climb was painted in 1960 at a time when most American painters were pushing abstraction in new directions. Not surprisingly, as an outlier, it does not evoke Hofmann’s usual “push and pull’ technique. But it is very much a painting of its time, marked by a sensuousness and a deft, painterly touch. It suggests what Irving Sandler characterized as Hofmann’s hedonistic touch, an optimistic celebration of the lyrical abstraction that overcame the burning darkness of painting in the 40s and trumped even the lighter palette of Pollock or Pousette-Dart that emerged later. While the passages of The Climb are brushed rather than poured or stained, it reflects the delicate lyricism of his former student, Helen Frankenthaler who, since 1952 had experimented with floating areas of color, absorbed into the canvas with watercolor-like ease. She, in turn, had inspired a generation of Color Field painters including Morris Louis and Kenneth Noland. On the other hand, these short bands and prismatic slurries recall those halcyon days in Paris when Hofmann worked through color theory with his good friend Robert Delaunay and thought a lot about prisms. Hofmann not only retained elements of Synthetic Cubism, but the lessons he learned from the Fauves and the artists who verily invented abstraction, Wassily Kandinsky, Kasimir Malevich, Frantisek Kupka, and Piet Mondrian to name a few of the key players. The Climb is a glorious expression of a painter drawing from both the past and the present, painting in a playful, but not frivolous manner fully informed and prepared to express his abilities as a painter, simply, and with great conviction.<br><br>As New York City became the avant-garde’s global hub in the 1940s, radical, new approaches to art, such as action painting and abstraction, took root among the informally grouped New York School painters. By 1950, Abstract Expressionism was well underway, but the movement was often overlooked by institutions. When the Metropolitan Museum of Art announced its plan to exhibit a survey of contemporary American painting, many of the New York School painters felt there was a bias against more “progressive” art in the museum’s selection process, prompting them to draft an open letter protesting the show.<br><br>The letter garnered attention, and Life magazine published an article on the protest in January 1951, “The Irascible Group of Advanced Artists Led Fight Against Show.” To accompany the article, Nina Lee photographed 15 of the 18 painters who signed the letter, including Hans Hofmann, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyford Still, Robert Motherwell, Barnett Newman, and Mark Rothko. Today, this article is considered a turning point in the prominence of Abstract Expressionism, and the artists involved are often referred to as the “Irascibles.”

ハンス・ホフマン

マルク・シャガールの世界は、私たちが貼るレッテルでは収まりきらないし、制限もできない。それは、イメージと意味の世界であり、それ自体が見事なまでに神秘的な言説を形成しているのです。この作品は、シャガールが90歳を迎えたときに制作されたもので、悲劇と苦悩を知りながらも、人生の歓喜の瞬間を忘れることはなかった。ここでは、ロシアの村の結婚式の夢のような喜びと、使い古された参列者の配置が、幸福なウィットと陽気な無邪気さで私たちにもたらされ、その魅力に抗うことはできません。油彩と不透明な水性ガッシュを組み合わせた黄金色のエマルジョンで、シャガールのいつものポジティヴィズムの暖かさ、幸福感、楽観性を、金箔の宗教イコンや神の光や悟りを感じさせるルネサンス初期の絵画の影響を感じさせる光り輝く輝きに包み込んでいます。油彩とガッシュの組み合わせは難しいものです。しかし、シャガールは、この《バルダックのマリア》で、油彩とグアッシュを併用することで、まるで自分の頭の中にある光景がそのまま具現化したかのような、別世界のような質感を与えています。そのテクスチャーの繊細さは、作品自体から光が発せられているような印象を与え、空に浮かぶ人物にスペクタルな質感を与えています。

マルク・シャガール

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

ラリー・リバーズ

若きグラント・ウッドが、1920年代に3度行ったヨーロッパ・ツアーの2回目に参加した直後に描いた作品。スーラの点描画に惹かれ、1925年にはパレットナイフで絵を描くことに夢中になった。しかし、1928年にミュンヘンを訪れ、北方ルネサンスの画家たちの影響を受け、成熟した作品に見られる構図の厳密さや細密な技法に興味を抱くようになる。妹ナンのために家を建てたシーダー・ラピッズ近郊のシーダー・リバー・バレーを見下ろすケンウッド・パークの丘の上から、ウッドの『若き芸術家』は素早く、そして果断に描かれた。

グラント・ウッド

<div><font face=Calibri size=3 color=black>Martha's Vineyard played a pivotal role in Thomas Hart Benton's artistic journey, offering him both inspiration and respite from urban life. His first visit to the sparsely populated island in 1920 marked a turning point, allowing him to escape the sweltering New York summers and find clarity in the island's serene environment. At a time before the island was deluged by the fabulously wealthy, Vineyard was a freewheeling community of artists and intellectuals that gave the ever-inquisitive Benton much-needed stimulation. It is here that Benton's bold colors and dynamic compositions achieved contour inflections, pictorial rhythms, and a strong-hued palette, which we associate with his mature style. Inspired early by Cézanne, Benton's landscapes transcend fleeting impressions. Yet he never abandoned the influence of Synchronism and its focus on color harmonies, tempo, and rhythm. That latter influence drives the energy and spirit of "Keith's Farm, Chilmark," organized into horizontal bands of visual information, creating a sense of motion and unity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its rolling pastures to the Atlantic Ocean and tranquil cloud formations beyond, the view over the Keith Farm pastures is one of the island's most spectacular. Overlooking Menemsha Pond to the Vineyard Sound, Benton captured and distilled the essential nature of the place, transforming it into a picturesque and personally significant composition. His use of modern techniques to strip the landscape down to its basic tendencies embodies pride in regional America and a reverence for the country's natural beauty in ways the streets of New York never could. Simultaneously, Benton imbues the work with what his daughter, Jessie, noted: music played a vital role in her father's art, informing a sense of motion using sinuous forms, each rendered in flowing complementary and contrasting colors and 'twisting, always moving, moving, moving.' Typical of Benton's best paintings, "Keith's Farm, Chilmark" is a well-orchestrated work that pulls individual elements into a unifying scheme of visual rhythm — a testament to his mastery of landscape painting and deep connection to Martha's Vineyard.</font></div>

トーマス・ハート・ベントン

PIERRE BONNARD - Soleil Couchant - 油彩・キャンバス - 14 1/2 x 22 1/2 in.

PIERRE BONNARD（ピエール・ボンナード

DAMIEN HIRST - Forgotten Thoughts - 蝶と家庭用グロス、キャンバス - 48 x 48 in.

ダミアン・ハースト

JEAN-MICHEL BASQUIAT - 無題（ハトの解剖学） - 紙に油彩、グラファイト、チョーク - 22 x 30 in.

ジャン=ミシェル・バスキア

<div><font face=Calibri size=3 color=black>Deeply influenced by his populist views and commitment to social realism, Thomas Hart Benton became an advocate for the common man, often depicting the struggles and resilience of ordinary Americans in his work. Coal strikes were frequent occurrences in the late 1920s and early 1930s, and <em>"Mine Strike"</em> is a visually compelling account of such an uprising, rich with social commentary. At the time, Benton traveled the nation seeking inspiration for a mural project and was particularly interested in social issues. In 1933, he illustrated the modern social history of the United States for <em>“We the People”,</em> published by Harper & Brothers, New York. <em>"Mine Strike"</em> is carefully constructed to highlight the chaos and human drama. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The figures are robust and grounded, reflecting Benton's signature style of muscular forms. The scene, though aggressive and violent, displays commitment and sacrifice. Two officers fire on the strikers, one of whom has fallen to the ground, shot. Set against the backdrop of an imposing mining complex, a towering black structure known as a 'tipple' looms ominously over the strikers. Its darkly sinister anthropomorphic shape contrasts sharply with the lighter, more organic human figures — an appearance intensified by its coal chutes resembling mechanical arms. This visual metaphor of industrial oppression underscores the pervasive threat posed by the coal mining industry and those paid to protect its interests.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Through <em>"Mine Strike,"</em> Benton not only documents a specific historical moment but also critiques the broader socio-economic conditions of his time. His depiction of the workers' plight is a powerful statement on the exploitation and struggles the working-class faces. Benton's political leanings towards advocating for social justice and his commitment to portraying the reality of American life are vividly encapsulated in this painting, making it a poignant and enduring piece of art.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Benton made two compositions about strike activities during this time: this painting and another, <em>“Strikebreakers”</em>, painted in 1931. Of the two, Benton used <em>"Mine Strike"</em> as the basis for a well-known lithograph issued in 1933. Benton described the scene as a "Strike battle" in the coal country. This is an imaginary reconstruction of a situation only too common in the late twenties and early thirties."</font></div>

トーマス・ハート・ベントン

トーマス・ハート・ベントンは、農民や現場労働者の描写に共感し、献身と勤勉さのテーマを好み、当時の多くのアメリカ人にとって残酷な日常生活であった生存のための闘争を描いた何百もの研究を作成しました。ホーイング・コットン(Hoeing Cotton)には、大恐慌期の南部の農業の苦難を思い起こさせる、暗く不機嫌な蒼白さが多くあります。差し迫った嵐を予期しているかのように演出されたベントンは、空と風景のダイナミックな相互作用を利用して、深南部の田舎の生活のテーマ的な影響を深めています。これらの要素は、人々と環境とのつながり、そしてレジリエンス(回復力)の永続的な精神を浮き彫りにしています。

トーマス・ハート・ベントン

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

アメデオ・モディリアーニ - カリアティード - バフ紙に青クレヨン - 24 x 18インチ

アメデオ・モディリアーニ

HIROSHI SENJU - Waterfall - 天然顔料、プラチナ、楮紙、ボードマウント - 36 x 46 in.

千住博

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

マックス・ウェーバーは1905年にパリに移り住み、パリは芸術的革新の中心地でした。彼の初期の作品は、フォーヴィスムの大胆な色彩パレットとキュビスムの現実の断片的な表現の同時代の影響を示しています。しかし、ウェーバーは単にこれらのスタイルを模倣しただけではありません。彼はそれらを統合し、再解釈して、彼自身のものを作り上げました。ウェーバーの重要性は、抽象的な作品だけでなく、モダニズムのアイデアのパイプ役としての役割にもあります。ウェーバーは、20世紀のアメリカ美術の進路を形作るのに役立った大西洋横断の対話において重要な役割を果たしました。彼の女性像の描写は、抽象と具象の融合を示し、伝統的な具象作品から脱却しながら、主題の本質を捉えています。

マックス・ウェーバー

敬虔なカトリック信者であったルオーの芸術的進化は、モダニストの中でも異彩を放っていた。鮮やかな色彩と、中世のステンドグラスを通過する光の表現に魅了された彼は、厚く豊かな絵具を塗り重ね、重厚な黒の線の中に深い青をたたえた生々しく大胆なフォルムを増幅させた。ルオーはしばしば、救済の力に捧げられた宗教的なテーマを強く繰り返し支持した。カルロッタは、そのような崇高な召命にも、道化師、娼婦、磔刑像などの疎外された苦悩にも奉仕していない。その代わりにカルロッタは、ルオーのより繊細な色彩の変化と、インパストの荒々しく触感的な質感と、人間の苦痛や絶望というテーマに邪魔されないモデルの、擦れたパッセージの柔らかく拡散した効果との間のダイナミックな相互作用を賞賛する機会となっている。

ジョージ・ルオー

ジェニエール・フィギスは、現代アイルランド・アート・シーンで注目される人物であり、しばしば昔の社会通念を揶揄する、巧妙で批評的なグループ肖像画で知られている。絵画の世界では比較的後発の彼女は、アメリカのアプロプリエーション・アーティスト、リチャード・プリンスのツイッターで注目を集め、プリンスは彼女の作品を購入し、ニューヨークのアート・コミュニティの影響力のあるサークルに彼女を紹介した。フィギスの作品は、過去の芸術家によって不朽のものとされた裕福な中流階級の消費習慣や贅沢なライフスタイルを遊び心たっぷりに批評し、風刺と生々しい本物の生活描写を織り交ぜて、そうした題材を現代にしっかりと持ち込んでいる。フィギスは、現代社会を風刺する作品を多く残したドーミエやホガースに時間の砂を越えて手を伸ばし、社会風刺に取り組み、鋭い観察力で知られる芸術家たちの仲間入りを果たしたと考えてほしい。

ジュニーヴ・フィギス

JOHN CHAMBERLAIN - ASARABACA - 工業用アルミニウム箔、アクリルラッカー、ポリエステル樹脂 - 20 x 23 x 22 in.

ジョン・チェンバレン

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

RICHARD SERRA - Cape Breton Horizontal Reversal No.

リチャード・セラ

ロジャー・ブラウンは、個人的でしばしば幻想的なイメージと、日常的な体験への関心を反映した人物やオブジェを用いた高度に様式化された絵画で知られている。アシッド・レイン』は、社会におけるアーティストの役割や、変化を促すアートの可能性を反映した、現代生活や社会的な批評のテーマを探求している。より個人的なレベルでは、酸性雨というテーマは、鬱や不安、自分の力ではどうにもならない状況に圧倒される感覚など、腐食した感情や心理状態を象徴しているのかもしれない。酸性雨が、ほとんど目に見えないが壊滅的な環境問題であったように、HIV/AIDSの流行の危機は、個人的な悲しみを処理し、政治指導者の不十分な対応を批判し、思いやり、理解、医学研究を提唱するために、ブラウンを作品制作に駆り立てたのだろう。

ロジャー・ブラウン

ディーベンコーンの「オーシャン・パーク」シリーズは、光と色彩の繊細なバランス、思慮深い構図、風景的要素の微妙な統合など、サンタモニカにある彼のスタジオの海岸の雰囲気を思わせるものばかりである。1990年代初頭、ディーベンコーンはオーシャン・パーク・シリーズのテーマと美的感覚を再考し、さまざまな版画技法を駆使して、絵画で培った抽象的な言語の探求を広げた。「High Green, Version I "は、この追求を象徴する作品であり、オーシャン・パーク・シリーズを特徴づける構図、色調、空間的関心を示唆すると同時に、これらの要素を再解釈する版画のユニークな可能性を示している。

リチャード・ディベンコーン

JOAN MIRO - L'Oiseau - ブロンズとシンダーブロック - 23 7/8 x 20 x 16 1/8 in.

ジョアン・ミロ

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

アンディ・ウォーホルは、20世紀後半のアメリカン・アートの代名詞であり、その象徴的な肖像画や消費財で知られ、大衆文化と美術をミックスし、芸術のあり方や芸術に対するアプローチの仕方を再定義しました。ウォーホルの作品の多くは、有名な個人を描いたものではありませんが、無生物の描写は、被写体を有名人のレベルにまで高めています。ウォーホルは、ファッション・イラストレーターとして活躍した初期に初めて靴を描き、1980年代に再びこのテーマに取り組み、消費主義やグラマラスへの憧れを融合させたのです。ハイカルチャーとローカルチャーを融合させたいと常に考えていたウォーホルは、靴というどこにでもあるものにスポットを当てることを選択したのです。その対象は、貧困や富、機能、ファッションを示すことができます。ウォーホルは、積み上げられた靴を華やかにし、きらびやかなダイヤモンドの粉で覆い、実用的な必要性と様式化されたステートメントピースの間の意味をさらに曖昧にしました。

アンディ・ウォーホル

KEITH HARING - Untitled (Figure Balancing On Dog) - アルミニウム - 35 1/2 x 25 x 29 in.

キース・ヘリング

アレクサンダー・カルダーによる魅惑的なグワッシュ画 "Wigwam rouge et jaune "は、デザインと色彩の鮮やかな探求である。頂点付近で交差する対角線の格子によって支配された構図は、ダイナミックなバランスを醸し出している。カルダーは赤と黄色の菱形で気まぐれな要素を取り入れ、作品に遊び心を吹き込み、祝祭的な雰囲気を作り出している。右寄りの線の頂点にある赤い球は気まぐれな印象を呼び起こし、左寄りの線の上にある小さな灰色の球はコントラストと均衡を与えている。カルダーはシンプルさと重要なデザイン要素を見事に融合させ、「ウィグワム・ルージュ・エ・ジョーヌ」を視覚的に楽しませている。

アレクサンダー・カルダー

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

デボラ・バターフィールドは、アメリカの彫刻家の殿堂の中で重要な位置を占めており、そのパイオニア精神と多様な媒体の習得で有名です。成形スティールで作られた「Beacon」は、芸術の限界を押し広げる彼女の大胆さと献身の証です。バターフィールドは、この要求の厳しい媒体の課題を受け入れ、革新と伝統の融合です。広大でエレガントなラインが特徴のモダンな美学を持つこの馬の彫刻は、現代アートと時代を超越した美しさが融合する領域に見る者を誘い、魅惑の源です。ビーコンは、馬の形の古典的な優雅さを称え、現代彫刻の風景の中で先見の明のあるバターフィールドの位置を再確認します。

デボラ・バターフィールド

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

ハリー・ベルトイア

"A drawing is simply a line going for a walk."<br>-Paul Klee<br><br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br><br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

ポール・クレー（PAUL KLEE

アンディ・ウォーホルは、名声、セレブリティ、文化的アイコンに魅了されたことで知られるが、時には同時代の人物にとどまらず、歴史的な人物にも手を伸ばした。特に興味深いのは、ゲーテの色彩理論で、一般的なニュートン物理学に基づく科学的現象としての色彩理解とは対照的に、色がどのように知覚され、心理的な影響を与えるかを強調している。ゲーテの色彩理論がウォーホルに直接インスピレーションを与え、彼を被写体に選んだという直接的な関連性はないが、ウォーホルの芸術が歴史的伝統と関わり、それぞれの分野と時代の結びつきを象徴していると私たちが見ていることをテーマ的に浮き彫りにしている。この意味で、この作品は、ウォーホルの視覚言語と、知覚における強力で刺激的な要素としての色彩に対するゲーテの認識を結びつける、オマージュであり、時代を超えたコラボレーションである。

アンディ・ウォーホル

ANDY WARHOL - Goethe - シルクスクリーン、カラー - 38 x 38 in.

アンディ・ウォーホル

JENNIFER BARTLETT - Counting Polygon - 油彩・キャンバス - 34 1/4 x 46 1/2 x 2 in.

ジェニファー・バートレット

SALVADOR DALI - The Harbinger (Mystische Hochzeit) - 厚紙にインク、グワッシュ、水彩 - 10 1/2 x 8 1/8 in.

サルバドールダリ

サルバドール・ダリ - アダムとイヴ - グワッシュ、水彩、インク、厚紙 - 10 1/2 x 8 in.

サルバドールダリ

JESSIE ARMS BOTKE - Two White Peacocks - 油彩・板 - 29 1/4 x 24 1/2 in.

ジェシー・アームズ・ボトケ

ALEX KATZ - Peter - 油彩、メゾナイトボード - 15 7/8 x 7 1/8 in.

アレックス・カッツ

A veteran of the battle of Verdun, Fernand Leger witnessed the horror and staggering loss of over 1 Million of his fellow countrymen during World War I. This horrific experience of fighting in the trenches of Europe left an indelible mark on the artist. The modern and mechanized aspects of this new form of warfare, with tanks, modern artillery, and gruesome tactics, inspired Leger to create some of his greatest masterpieces. <br><br>The Present drawing, executed in 1930, is a relic from the decade following the First World War. Untitled (1930) was purchased from the Katherine Kuh galley in Chicago- and has been impeccably preserved by the family of the original purchaser. It is exceedingly rare to find drawings like Untitled outside of Museum collections.

フェルナンド・レガー

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

アンディ・ウォーホルのキャンベル・スープ缶シリーズは、彼のキャリアとポップ・アート・ムーブメントにおける極めて重要な瞬間である。それぞれ異なる味を描いた32枚のキャンバスからなるこのシリーズは、ありふれた日常的な消費財をハイアートの地位へと昇華させ、アートの世界に革命をもたらした。1968年に発表されたスクリーンプリントの「ペッパー・ポット」は、大量生産と消費文化の特徴である、鮮やかで平坦な色彩と繰り返されるイメージという彼の特徴的なスタイルを採用している。商業的技法であるスクリーン・プリントは、ハイ・アートと商業アートの境界線を曖昧にし、芸術的価値観や認識に挑戦するウォーホルの関心と一致している。

アンディ・ウォーホル

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

メアリー・コルス

WILLIAM WENDT - Laguna Hills - キャンバスに油彩 - 25 x 30 in.

ウィリアム・ウェント

ANSEL ADAMS - Moon and Half Dome, Yosemite, CA - シルバー・ゼラチン・プリント - 19 x 14 1/2 in.

アンセル・アダムス

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div><br><br><div><font size=3> </font></div><br><br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

ハリー・ベルトイア

LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - Pastel on paper laid on canvas - 17 1/2 x 13 3/4 in.

レオン・オーギュスタン・レルミット

MARY ABBOTT - 無題 - キャンバスにマウントされた紙に油彩とオイルスティック - 23 x 29 in.

メアリー・アボット

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

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971). Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

ジェシー・アームズ・ボトケ

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

ROBERTO MATTA - L'epreuve - キャンバスに油彩 - 29 1/2 x 25 1/2 in.

ロベルト・マッタ

PABLO PICASSO - リノカット - 21 1/2 x 17 in.

パブロピカソ

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