パーム・デザート・ギャラリー・ウォークスルー - 2023/2024シーズン

に掲載されました。ギャラリーツアー

カリフォルニア州パームデザートで開催中の新しいエキシビションを紹介するウィンターシーズン・プレビューをご覧ください。シスレー、ピサロ、フリースケなど印象派の巨匠たち、ピカソやオキーフなど近代の画家たち、そしてインディアナ、デ・クーニング、リヒターなど戦後から現代にかけてのクリエーターたちを特集しています。

パームデザート店（45188 Portola Avenue）の冬季営業時間をお知らせいたします：月曜日から土曜日の9:00から17:00までです。

ヘザー・ジェームス・パーム・デザートで展示中の作品

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

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

ブランディワイン・リバー美術館が編纂したカタログ・レゾネによると、『Puritan Cod Fishers』の下絵は、N. C. ワイエスが1945年10月に亡くなる前に完成させたものである。この項目には、スケッチの画像、画家の碑文、タイトル「Puritan Cod Fishers」が記録されており、カタログでは「代替」とされている。いずれにせよ、この大きなキャンバスはアンドリュー・ワイエスの手によって描かれたユニークな作品であり、父親のデザインと構図が、優れた息子の手によって結実した、明確な共同作業であったと後にアンドリュー・ワイエスは回想している。アンドリューにとって、それは深く感じられ、感動的な体験だったに違いない。父親の細部と本物へのこだわりを考えると、小さな帆船のラインは16世紀に使われていたエシャロットを表している。その一方で、アンドリューは、父親がしたかもしれない以上に、落ち着きのない海の色合いを深めたと思われ、その選択は、作業の危険な性質を適切に高めている。

アンドリュー・ワイス＆N.C.ワイス

N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.

N.C. ワイス

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

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

<div><font face=Lato 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><font face=Lato size=3> </font></div><br><br><div><font face=Lato 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><font face=Lato size=3> </font></div><br><br><div><font face=Lato 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

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

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

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

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

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

サー・ウィンストン・チャーチル

<div>Still lifes like<em> Oranges and Lemons (C 455) </em>give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted <em>Oranges and Lemons</em> at La Pausa. Churchill would often frequent La Pausa as the guest of his literary agent, Emery Reves and his wife, Wendy.  Reves purchased the home from Coco Chanel.  While other members of the Churchill family did not share his enthusiasm, Churchill and his daughter Sarah loved the place, which Churchill affectionately called “LaPausaland”.  To avoid painting outside on a chilly January morning, Wendy Reves arranged the fruit for Churchill to paint. Surrounded by the Reves’s superb collection of Impressionist and Post-Impressionist works, including a number of paintings by Paul Cézanne, Oranges and Lemons illuminates Churchill’s relationships and the influence of Cézanne, who he admired. The painting, like Churchill, has lived a colorful life, exhibited at both the 1959 Royal Academy of Art exhibition of his paintings and the 1965 New York World’s Fair.</div>

サー・ウィンストン・チャーチル

JULIAN SCHNABEL - 無題 - 油彩、ワックス、防水シート - 120 x 96 in.

ジュリアン・シュナベル

<div><font face=Calibri size=3 color=black>Fernando Botero's legendary ascension as an international sensation began when Museum of Modern Art curator Dorothy Miller stumbled upon his Greenwich Village studio in 1961 and purchased "<em>Mona Lisa, Age Twelve</em>." His trademark portly figures and playful, lighthearted humor became known as "Boterismo." More importantly, the art leaving his easel revealed an unbridled respect for the Old Masters, the compelling chiaroscuro of a Zurbarán still life, the sfumato of da Vinci, and always the craftsmanship of van Eyck, Dürer, or Rubens. Botero continues that thread of technical mastery with "<em>L'Atelier de Sánchez Cotán</em>" even as he reshapes these classical themes through his unique lens. A mixed media collage and oil on canvas, the work pays homage to the Spanish Baroque still life painter Juan Sánchez Cotán by subverting and modernizing the traditional still life genre. Botero captures Cotán's hyperrealism with a surreal, almost whimsical aesthetic. An oversized apple suspended on a string dominates the composition, a nod to Cotán's meticulously arranged still life paintings, known for the striking suspended effect of fruit or vegetables. Botero's rendition, however, imbues the scene with a sense of playfulness and detachment from reality, as seen in the box-like contraption, resembling a stage or a viewing device containing miniature versions of objects within the painting. The stark, flat backdrop, devoid of Cotán's characteristic chiaroscuro, accentuates the sense of artifice.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Fernando Botero's death on September 15, 2023, was a significant loss for the art world. Although his roots are deeply Colombian, his appeal is global, coupling commercial success with critical acclaim—a balance few artists have achieved. Works such as “<em>L'Atelier de Sánchez Cotán</em>” are not just whimsical or aesthetic; they prompt the viewer to appreciate the enduring dialogue between tradition and innovation, showcasing an artist of great technical finesse and mastery.</font></div>

フェルナンド・ボテロ

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

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

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

<div><font face=Calibri size=3 color=black>Born in 1982, French native and Brooklyn-based artist Julie Curtiss is celebrated for her beguiling paintings that reimagine a surrealist's conceptual and aesthetic principles for the contemporary era. Her work draws heavily on the Surrealist fascination with Freudian psychology and the subconscious, themes championed by figures like André Breton and Louis Aragon. By blending these Surrealist influences with the dreamlike, graphic qualities reminiscent of the Chicago Imagists, Curtiss creates a visual language that is both referential and distinctly hers. Her imagery often focuses on deconstructing the female form and symbolically representing stereotypical feminine aesthetics, echoing the work of early 20th-century female Surrealists who used dreamlike settings and humor to explore and critique the female experience.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“D'apres l'Olympia”</em> epitomizes Curtiss's painterly approach to 21st-century sexuality, combining a distinctive yet referential visual lexicon that has earned her international acclaim. By destabilizing the art historical trope of the female nude and reinterpreting Manet's iconic painting of the same name, Curtiss melds elements of French modernism with the graphic sensibilities she developed after moving to Tokyo in 2006, where she honed her signature comic book-like aesthetic. The large red shoes—a striking departure from Manet's original—introduce a sense of humor, simultaneously evoking pop-cultural references while critiquing stereotypical femininity. These oversized, vivid shoes might symbolize the exaggerated expectations placed upon women or serve as a playful nod to the absurdity of societal norms. While her admiration for Manet is evident, it is Curtiss's ability to merge these historical references with contemporary concerns and aesthetics that makes<em> “D'apres l'Olympia”</em> a powerful commentary on the evolving nature of female.</font></div>

ジュリー・カーティス

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

カミーユ・クローデル

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

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

<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

FRANZ KLINE - 無題、No.7246 - ボードに敷かれた紙に油彩 - 18 1/8 x 23 1/4 in.

フランツ・クライン

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

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

エレーン・デ・クーニング

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

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

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

ハーブアルパート - アローヘッド - ブロンズ - 201 x 48 x 48インチ。

ハーブ・アルパート

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

フランシスコ・スニガは、少年時代に地元の木製サントス彫刻家である父親を手伝ったことをきっかけに彫刻を制作しました。1936年に母国コスタリカからメキシコに渡った後、彼は彫刻に決定的に転向し、木彫り、粘土での造形、硬い石への直接彫刻、ブロンズ鋳造など、人物像を題材にした幅広い作品を展開しました。「Desnundo Reclinado de Dolores」は、コロンブス以前の芸術への関心も、誇張された腰とお腹を持つ先住民風の女性を描くことへの彼の執念を反映していないという点で、出発点です。その代わりに、腰を回し、前腕を支えてひざまずく女性の古典的なモデル化された力強いパフォーマンスであり、ロダンが自分のものだと主張したことを誇りに思っていたでしょう。

フランシスコ・ズニガ

「階段を降りる裸婦 No.2」では、メル・ラモスがマルセル・デュシャンのモダニズムの傑作の遺産とポップアートの鮮やかな美学を遊び心たっぷりに絡み合わせ、巧妙で視覚的に刺激的な再解釈を生み出しています。デュシャンの抽象的な動きと彼の特徴的なピンナップスタイルを関連付けることで、ラモスは、美術の尊敬される伝統と商業イメージの大胆でグラフィックな品質の間にダイナミックな対話を生み出します。この作品は、女性のヌードの魅力を利用して、美、欲望、商品化に対する社会の強迫観念を探求し、風刺し、美術史と現代文化をナビゲートするラモスのスキルを例示しています。そうすることで、ラモスの作品は典型的なポップアートの調合となり、デュシャンとの遊び心のある関係を楽しむと同時に、当時の視覚文化を批判し、称賛しています。

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

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

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

ハリー・ベルトイア

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

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

アレクサンダー・カルダー

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

ハーブ・アルバートの多くのブロンズ鋳造、絹のような黒色のパテント仕上げのスピリット・トーテムの中で、ウォーリアほどはっきりとした男性的な雰囲気を持つものは他にありません。猛禽類の紋章や平原インディアンの酋長の頭飾りを思わせるような鋸歯状の冠をかぶった「戦士」というタイトルは、強さ、勇気、不屈の精神などの特徴を適切に表現している。 ヘンリー・ムーアの作品と同様に、これらの連想は、この力強い彫刻がダイナミックで強い印象を与えるために、ネガティブ・スペースに依存している部分があります。

ハーブ・アルパート

<div><font face=Calibri size=3 color=black>Donald Judd's role in defining the Minimalist movement is pivotal. He rejected traditional modes of representation, favoring the creation of objects that challenge viewers to find beauty in simplicity and the precision of industrial materials. Judd transformed the landscape of modern art with forms that are clean, unembellished, and elegant in their simplicity.<em> "Untitled"</em> exemplifies this minimalist approach, where form, material, and longevity are the primary focus.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In the context of Judd's oeuvre, the anodized aluminum surface of <em>"Untitled"</em> allows for a smooth, consistent finish that enhances the minimalist aesthetic by highlighting pure form and material, free from the distractions of imperfections or the need for additional surface treatments like paint. More significantly, an anodized surface is corrosion-resistant, underscoring that Judd is not merely creating art for the present moment but crafting pieces intended to endure indefinitely, preserving their pristine, minimalist aesthetic for posterity. Created in an edition of 12 and measuring 41.5 inches in length, with a depth and height of 6.25 inches, <em>"Untitled" </em>exemplifies this meticulous approach, showcasing the industrial aesthetic that Judd so effectively brought into the realm of fine art. Its clean, unembellished form emphasizes the importance of material and the geometric purity that Judd sought to achieve.</font></div>

ドナルド・ジャッド（DONALD JUDD

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

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

<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

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

マニュエル・ネリは、1960年代のベイエリア・フィギュラティブ・ムーブメントの中心人物である。抽象的な形ではなく、人間の形の力によって感情を表現することを重視した。本作「Untitled」（1982年）は、等身大の女性の姿を追求した作品である。 ネリは60年のキャリアを通じて、マリア・ユリア・クリメンコという一人のモデルとの制作を好んだ。多くの作品に顔がないことが、謎と曖昧さの要素を加えている。無題 "の構図は、人物の構造と形態に焦点が当てられている。 マニュエル・ネリは、アディソンギャラリー/フィリップスアカデミー、スタンフォード大学アンダーソンコレクション、シカゴ美術館、スタンフォード大学カンターアートセンター、シンシナティ美術館、サクラメント・クロッカー美術館、デンバー美術館、テキサス州エルパソ美術館、サンフランシスコ美術館、ハーバード大学美術館、ワシントンDCハーシュホーン美術館と彫刻庭園など世界中の多くの美術館でコレクションされ、その作品は世界的に知られています。ホノルル美術館、メトロポリタン美術館（ニューヨーク）、ナショナルギャラリー（ワシントンD.C.）。

マヌエル・ネリ

ミニマリストの彫刻家トニー・スミスの娘であるキキの芸術は、単一の媒体や技法に限定されるものではなく、彼女の作品はしばしば複数の解釈を誘う。クラブは、動きと安定に不可欠な要素である人間の脚の形と寸法を具現化したものだ。スミスのタイトルは、足を武器として再想像し、人間の状態のもろさ、身体の自律性のパワー・ダイナミクス、強さと弱さの間の複雑な相互作用について考えるよう、見る者を誘う。このような身体の一部から物体への変換は、保護と攻撃性の両方を伝え、性差のある身体が私たちの社会的・個人的環境をどのようにナビゲートするかを考察する。クラブは、象徴性に富み、解釈の余地があり、人間の経験について思考を喚起する作品を創り出すスミスの能力を例証している。

キキ・スミス

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

馬が横になるのは、安全だと感じるからであり、デボラ・バターフィールドにとっては、自分自身を無防備にしても大丈夫だという言い方です。「エコー」は、彼女の採集技術と金属加工を溶接する能力を尊重して構築されており、伝統的な馬の描写に固執するのではなく、その本質的な性質を明らかにしています。スチールシートをつなぎ合わせ、波打つものもあれば、折りたたまれたり、圧着されたりしたこの作品は、錆びた茶色の緑青に経年変化し、不完全さを隠すのではなく、称賛する、時の痕跡を帯びた作品です。バターフィールドの意図的な素材の選択とその処理は、深みと個性を加え、Untitled, Echoを単なる馬の表現以上のものに変えます。

デボラ・バターフィールド

<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

マヌエル・ネリの初期のペーパー・マシェの作品は、彫刻技法の先駆けであり、彼の彫刻の絵画へのアプローチは、色彩と形態の表現の可能性への深い関与を反映しています。『Hombre Colorado II』における色の選択と配置は、色の心理的・感情的な側面に対する彼の微妙な理解を反映した、特に本能的な反応を生み出します。1958年に構想され制作された『Hombre Colorado II』は、ネリと妻のジョーン・ブラウンが豊かな芸術的創造性の交流を行い、それぞれのスタイルとベイエリアの具象運動の進化に大きく貢献した時代を反映しています。

マヌエル・ネリ

"夢の中の夢 "は、エドガー・アラン・ポーの有名な詩からその名を取った、ライアン・マクギネスの絵画とシルクスクリーンの重要なシリーズである。知覚、現実、潜在意識といったテーマを探求するマクギネスは、幾何学的な形、植物的な要素、具象的なモチーフなど、さまざまなシンボルやモチーフを取り入れ、見る者の目の前で変化し変容していくような複雑なパターンに配置している。タイトルは、現実のとらえどころのなさや、人間の経験の逃げやすさを反映した、あいまいで不確かな感覚を示唆している。知覚と幻想というテーマに取り組むことで、マクギネスは鑑賞者に世界についての思い込みを疑い、現実が見かけよりも流動的で主観的である可能性を考えるよう促す。

ライアン・マクギネス

デボラ・バターフィールドはアメリカの彫刻家で、木材、金属、その他の見つかった物体から作られた馬の彫刻で最もよく知られています。1981年の作品「無題(馬)」は、ワイヤーアーマチュアの棒と紙で構成されています。この作品の印象的なスケールは、バターフィールドの有名な主題の顕著な例を提示し、人に顕著な効果を作成します。バターフィールドはもともとモンタナ州ボーズマンの彼女の財産で見つかった木材や他の材料から馬を作成し、これらの形態の感情的な共鳴を採掘し、比喩的な自画像として馬を見ました。

デボラ・バターフィールド

ジョセフ・ステラは、生まれ故郷のイタリアで形作られ、アメリカに養子縁組され、驚くほどの多様性と独創性を持つ作品の中で、並外れた範囲のスタイルと媒体を調査しました。1911年、ステラはフォーヴィスム、キュビスム、未来派の前衛的な波に乗ったが、イタリアのオールドマスターたちと日々を共にした唯一のアメリカのモダニストだった。「横たわる裸婦」のポーズと扱いは、ステラが1920年代に描いた「レダと白鳥」や、19世紀のロマンチックなドイツのおとぎ話に登場する美しい水の精オンディーヌなど、神話やファンタジーに登場する魅惑的な女性を描いた一連の作品に関連しています。1930年代に描かれた《横たわる裸婦》は、花や象徴のイメージを使わずに描かれており、その冷静な時代をより適切に反映しています。

JOSEPH STELLA

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

HERB ALPERT - Inspired - bronze - 100 x 20 x 12 in.

ハーブ・アルパート

1990年代後半、マニュエル・ネリは、数多くの石膏彫刻をブロンズに作り変え始めた。これらのシリーズは、形も表面のディテールもほとんど見分けがつかず、さまざまな配色や、材料を切り開く、磨く、削る、重ねるなど、さまざまな行為を伴うマーク・メイキングの影響を探求している。さまざまなマーキング技法を試すことで、ネリは形、色、テクスチャー、光の相互作用を探求することができた。Standing Figure No.3では、ネリはパレットを類似の配色に限定し、絵具を薄めることで微妙なグラデーションを作り出し、彫刻のなめらかで洗練された外観を引き立てた。

マヌエル・ネリ

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

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

ハリー・ベルトイア

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

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

中国語

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

中国語

MARC QUINN - Lovebomb - フォトラミネート、アルミニウム - 108 1/4 x 71 3/4 x 37 3/4 in.

マルク・クイン

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

<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

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

ジョージ・リッキー

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

<div><font face=Calibri size=3 color=black>In 1853, a twenty-three-year-old Bierstadt commenced study at the Düsseldorf Academy, the school primarily responsible for shaping the technical precision and atmospheric depth of the preeminent American landscape painters of the second half of the 19th century. Four years later, in the company of fellow artist Sanford Robinson Gifford, he painted <em>“Capri.”</em> Inscribed with the title and dated “June 11, 1857,” it is a striking example of the young artist’s early mastery, painted just two years before his watershed campaign in 1859 in the company of Frederick W. Lander, a land surveyor for the United States government. It is a fully realized study emphasizing the precision, detailed observation, and careful glazing technique indicative of the academic tradition of gradually building up the surface. He would begin with a detailed drawing, followed by monochromatic underpainting and successive layers of thin, transparent color glazes that achieve depth and luminosity in the translucent hues of the seawater rarely matched in the annals of landscape painting. <em>“Capri”</em> is a lovely achievement that foreshadows the drama and grandeur that would define Bierstadt’s later work, illustrating how his time in Italy helped shape his approach to landscape painting.</font></div>

アルバート・ビアスタット

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

中国語

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

EDGAR ALWIN PAYNE - Sotto Marinoのヴェネツィアのボート - パネルに油彩 - 23 3/8 x 26 1/4 in.

エドガー・アルウィン・ペイン

JOANNA POUSETTE-DART - 無題（赤い砂漠の習作） - 木製パネルにアクリル - 33 1/2 x 42 x 3/4 in.

ジョアンナ・プーゼット・ダート

SETH KAUFMAN - Lignum Spire - ブロンズ、グリーンパティナ - 103 1/2 x 22 x 17 in.

セス・カウフマン

フランシスコ・トレド - 無題 - 紙上の混合メディア - 8 x 10 1/4インチ。

フランシスコ・トレド

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

AI WEIWEI

アンリ・マティス

LOUISE NEVELSON - カナダ・シリーズ - プレキシガラス、金属ファスナー - 44 1/4 x 31 x 11 1/2 in.

ルイーズ・ネヴェルソン

Provenance: <br>Heather James, CA<br>Private collection, NV (acquired from above May, 2000)

中国語