新着情報

Heather James Fine Artは、当ギャラリーで最も新しいアート作品のセレクションを紹介します。フリーダ・カーロアルフレッド・シスレーなどの名作や アンセル・アダムス印象派、近代、戦後、現代美術のトップクラスの作品のほんの一部ですが、Heather Jamesで現在販売している作品です。 ご連絡と、お客様のコレクションを完成させるために、一緒に考えていきます。

(760) 346-8926
[email protected]

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

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

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

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>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.

トム・ヴェッセルマン

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing.  Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

アルフレッド・シスレー

In 1955, Sir John Rothenstein, representing the Trustees of the Tate Museum, approached Winston Churchill about donating one of his paintings "as a gift to the nation."  Churchill was flattered, but felt he did not deserve such an honor as an artist.  Eventually, Churchill agreed and sent two candidate paintings to the Tate – On the Rance and Loup River.  No record exists regarding his own thoughts on the works he submitted, but one can safely say that Churchill thought highly of On the Rance, especially since it was not one of the paintings Rothenstein identified as a strong option. Loup River, which clearly matched Rothenstein's taste, was selected.  Not only was On the Rance not returned, but somehow it ended up, without any inventory record, in a basement storeroom at the Tate. In the storeroom it sat for almost a half century, when it was discovered by an intern.  The Churchill family was notified and eventually the painting was auctioned in June 2005, where it set a new auction record for Churchill's work, despite the lot notes hardly touching on the Tate’s possible acquisition. In a letter to the buyers, Churchill’s daughter, Lady Soames, summarized what had occurred in somewhat more detail.<br><br>St. Malo is a walled city in Brittany, France on the coast of the English Channel. The city was nearly destroyed by bombings during WWII.

サー・ウィンストン・チャーチル

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

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

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

Painted from an unusually high vantage, “Riviera Coast Scene” vividly conveys the formidable distance and breadth of the scene from the perch where he set his easel.  Interestingly, Paul Rafferty did not include this painting in his book Winston Churchill: Painting on the French Riviera, believing it could likely be a scene from the Italian Lake District, where Churchill also painted in the same time period.<br><br>Paintings by Churchill can function as a glimpse into his extensive travels and his colorful life. Churchill most likely painted “Riviera Coast Scene” during a holiday at Chateau de l’Horizon, home of Maxine Elliot, a friend of his mother. Elliot, originally from Rockland, Maine, was a successful actress and socialite.<br><br>Within this painting, we see the influence of the Impressionists who utilized unusual viewpoints, modeled after Japanese woodblock prints, but also evidence of their attempts to push the boundaries of the landscape genre

サー・ウィンストン・チャーチル

An outstanding example of Churchill’s North African scenes, one in which he deftly captures the scenery and light that his artistic mentor, John Lavery, had told him about in the mid 1930s.  Another artist mentor, Walter Sickert, taught Churchill how to project photo images directly on to a canvas as an aid in painting, a technique used to advantage in this instance.  The Studio Archives at Chartwell include 5 photographs, one of the camel and four others, that Churchill used as aids.<br><br>With the visual aids, Churchill could focus on the vibrant colors, the tan of the sand and buildings contrasting with the brilliant blue skies, splashes of green adding energy to the painting. A different Marrakech scene, “Tower of the Koutoubia Mosque”, set an auction record for Churchill when it sold in 2021 for $11 million USD.

サー・ウィンストン・チャーチル

1945年、戦争が終結し、総選挙でまさかの敗北を喫したチャーチルは、ハロルド・アレグザンダー野戦司令官の招待を受け、コモ湖畔にある彼のイタリアの別荘に滞在した。チャーチルはホストの手厚いもてなしを楽しみ、この地をキャンバスに描くことに集中した。彼は15枚の絵画を制作し、絵画がいかに彼の注意を吸収し、充電を助ける万能薬を提供したかを体現している。この象徴的な絵は、1946年1月の『LIFE』の記事で紹介され、チャーチルの著書『Paintings as a Pastime』の複数の版でカラー図版として選ばれている。

サー・ウィンストン・チャーチル

Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history.

N.C. ワイス

Twenty kilometers from Marseille, Cassis is an old fishing port known for its sunlit, azure waters and the iconic limestone cliffs that act as a cocoon for those who approach the village by boat. For Churchill's purposes, the quay extending into port waters provided a man-built feature that accentuated as much as it contrasted with this rocky coastline's natural juts and jags. Churchill painted this view from the rooftop terrace of Madge Oliver, an art teacher who advised him on occasion. He painted the view twice, one of a handful of times Churchill found a motif that captivated him enough to paint it multiple times.  <br><br>It is important to keep in mind the dedication that Churchill found to make time to paint. “View Over Cassis Port” was painted around the time that the fifth and final volume of his WWI memoirs was published, and while he was working on a history of his ancestor, John Churchill, the first Duke of Marlborough

サー・ウィンストン・チャーチル

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

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut.  “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

トム・ヴェッセルマン

Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit.

マースデンハートリー

Painted while staying at Dunrobin Castle, the estate of the Duke of Sutherland, Churchill chose to set his easel behind a tree where he likely thought of it as a framing device, adding a layer of depth, creating a stronger sense of foreground, middle ground, and background, enhancing the three-dimensionality of the picture. Churchill painted at both Dunrobin as well as the Duke’s Sutton Place estate, later the home of John Paul Getty.<br><br>As Mary Soames describes it in her book, Winston Churchill, His Life as a Painter, “1921 had been a year of heavy personal tidings” for Churchill and his family, as he lost both his mother, Jennie Cornwallis-West, and his beloved child, Marigold, aged nearly four.  In a letter to his wife Clementine, Churchill wrote, “… Many tender thoughts, my darling one of you and yr sweet kittens.  Alas I keep on feeling the hurt of the Duckadilly [Marigold’s pet name].”  That Churchill chose to stay with the Duke and Duchess at Dunrobin just after Marigold’s death speaks to their close friendship and his fondness for the area, including Loch Choire. It is no surprise that Churchill gifted the painting to the Duke of Sutherland

サー・ウィンストン・チャーチル

1906年に描かれたテオ・ファン・ライセルベルヘの「シルヴィ・ラコンの肖像」は、当時最も洗練され、一貫した肖像画家の一人による古典的な傑作である。色彩は調和がとれており、筆致は力強く、素材に合わせたもので、彼女の体や表情は真実味を帯びたものである。ゴーギャンと親交があり、ボナール、ドニ、ヴュイヤールらとレ・ナビのメンバーだった親友の画家ジョルジュ・ラコムの娘である。私たちが今、シルヴィ・ラコンブのことを知ることができるのは、ヴァン・ライセルベルヘが微妙な表情を表現することに長けており、注意深い観察と細部へのこだわりによって、彼女の内面への洞察を与えてくれたからです。彼は、彼女の目をあなたの目に向けるという直接的な視線を選び、絵と私たちの物理的な関係にかかわらず、主題と鑑賞者の間に避けられない契約を結んでいるのです。この肖像画を描いたとき、ヴァン・ライセルベルグは点描画の技法をほとんど放棄していた。しかし、彼は引き続き色彩理論の指針を適用し、緑にピンクやモーヴといった赤の色合いを用いて、補色による調和のとれたアメリケーション・パレットを作り上げ、そこに強烈なアクセントとして、彼女の頭の横に非対称に置かれた強烈な彩度の赤いリボンが目を引きます。

テオ・ヴァン・ライゼルベルグ

Still lifes like Oranges and Lemons (C 455) give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted Oranges and Lemons 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”.<br><br>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.

サー・ウィンストン・チャーチル

ロバート・インディアナの4文字の2列配置が、1960年代のムーブメントにどのような影響を与えたかは、想像に難くない。その原点は、宗教に深く触れ、友人であり師であったエルズワース・ケリーの硬質なスタイルと官能的でアクセントのない色彩が印象に残ったことにある。しかし、インディアナが「LOVEが私を噛んだ!」と言うように、それは偶然のキスメットのようなもので、デザインはシャープで集中したものになった。もちろん、インディアナはこのデザインを何度も試行錯誤し、そして、このロゴはあちこちに芽を出し始めたのです。イタリア語の "Amor "は、"O "が右に傾いているのが特徴的です。しかし、このバージョンは、「L」の足で蹴られるのではなく、上の「A」に美しい演出で揺さぶりをかけているのである。これは、愛とその感情的な性質について、新しい、しかし決して深くない印象を与えます。  いずれにせよ、「Love」の傾いた「O」は、他の安定したデザインに不安定さを与え、「この言葉に関連するしばしば空虚な感傷、甘ったるい愛情ではなく、報われない憧れと失望を隠喩的に示唆する」(Robert Indiana's Best: A Mini Retrospective, New York Times, May 24, 2018)というインディアナの暗黙の批判を深く投影しています。繰り返しは、もちろん、シンプルさと、画期的なデザインの天才に対する私たちの評価を低下させる厄介な習慣があります。晩年、インディアナは「素晴らしいアイデアだったが、ひどい間違いでもあった」と嘆いている。あまりにも人気が出てしまった。人気が出るのを嫌う人もいるんだ」。しかし、分裂と混乱に満ちた世界の住人である私たちは、あなたに感謝します。"Love "とその多くのバージョンは、私たちの愛の能力を強く思い出させるものであり、それこそが、より良い未来への永遠の希望なのです。

ロバート・インディアナ

FRANK STELLA - The Musket - ミクストメディア、アルミニウム - 74 1/2 x 77 1/2 x 33 in.

フランク・ステラ

Churchill counted as both a friend and political ally, Phillip Sassoon – one of Britain's great hosts, cousin of famed poet Siegfried Sassoon, and the man upon whom Noël Coward crowned "a phenomenon that will never recur”. Sassoon and his sister Sybil were among Winston and Clementine’s great friends.  As described by Lady Soames in her book, “Philip Sassoon was a man of charm and distinction, and he dispensed princely hospitality to a brilliant and varied circle of friends at his two country houses, Port Lympne and Trent Park.  He made a remarkable collection of works of art.  Winston received much help and encouragement from Sassoon, and painted many pictures of both his house and gardens.  One of the ways in which Winston taught himself to paint was by copying pictures he admired.  With his large and varied collection, Sir Philip was able to be of help in this way, too, and Winston studied and copied quite a number of his friend’s pictures.  Sassoon was a friend and patron of John Singer Sargent, and owned many of his works.  Winston admired several of these, and found them highly instructive; in 1926, [less than two years before this painting was created] Philip Sassoon wrote Winston this note, which accompanied a generous present and a helpful loan:<br><br>My dear Winston,<br><br>You have often admired the picture of John Lewis Brown of the two horsemen that hung at Trent, so I am sending it to you with my best wishes in the hope that you find a corner for it at Chartwell.  I am also sending th little Sargent picture wh you asked for.  He painted it when he was 18!”<br><br>One is struck by Sassoon’s generosity, and can see in later works how his close study of Sargent influenced Churchill.

サー・ウィンストン・チャーチル

Uniquely among Winston Churchill’s known work, “Coastal Town on the Riviera” is in fact a double painting with the landscape on one side and an oil sketch on the other. The portrait sketch bears some resemblance to Viscountess Castlerosse who was a frequent guest in the same Rivera estates where Churchill visited. Churchill painted her in C 517 and C 518 and gives us a larger picture of the people who inhabited his world. <br><br>Of his approximately 550 works, the largest portion (about 150) were of the South of France, where Churchill could indulge in both the array of colors to apply to his canvas and in gambling, given the proximity of Monte Carlo.

サー・ウィンストン・チャーチル

SALOMON VAN RUYSDAEL - 休息する人物と馬に乗ったカップルのいる砂丘の風景、その向こうにナイメーヘン大聖堂の眺め - 油彩・キャンバス - 26 1/2 x 41 1/2 in.

サロモン・バン・リュイスダール

JAN JOSEPHSZOON VAN GOYEN - 風車とチャペルのある川の風景 - パネルに油絵 - 22 1/2 x 31 3/4 in.

ヤン・ヨセフスゾーン・ヴァン・ゴエン

アンセル・アダムス生命の肯定
現在の

アンセル・アダムス生命の肯定

2023年12月1日~2024年6月30日
ピカソ:キャンバスを超えて
現在の

ピカソ:キャンバスを超えて

2023年10月4日~2024年4月30日
他にはない土地アメリカの風景の世紀
現在の

他にはない土地アメリカの風景の世紀

2023年9月21日~2024年3月31日
アメリカ西部の芸術著名なコレクション
現在の

アメリカ西部の芸術著名なコレクション

2023年8月24日~2024年2月29日
アレクサンダー・カルダー原初の宇宙を形作る
現在の

アレクサンダー・カルダー原初の宇宙を形作る

2023年8月23日~2024年2月29日
アンディ・ウォーホル:オール・イズ・プリティ
現在の

アンディ・ウォーホル:オール・イズ・プリティ

2023年8月17日~2024年2月29日
春を彩る花々、画期的な
現在の

春を彩る花々、画期的な

2023年5月8日~2024年2月29日
ファーストサークルアートの中のサークル
現在の

ファーストサークルアートの中のサークル

2023年2月14日~2024年2月29日
ユア・ハートズ・ブラッド芸術と文学の交差点
現在の

ユア・ハートズ・ブラッド芸術と文学の交差点

2022年9月12日~2024年3月31日
アンディ・ウォーホル ポラロイド邪悪な不思議
現在の

アンディ・ウォーホル ポラロイド邪悪な不思議

2021年12月13日~2024年3月31日
ハーブ・アルパート:コーヒーの絵
現在の

ハーブ・アルパート:コーヒーの絵

2020年12月22日~2024年3月31日
パターンと装飾。フェミニズムと友情
現在の

パターンと装飾。フェミニズムと友情

2020年9月14日~2024年3月31日
マックス・ペレグリーニ:沈黙と幻想
現在の

マックス・ペレグリーニ:沈黙と幻想

2020年7月30日~2024年3月31日
スティルライフ、スティル
現在の

スティルライフ、スティル

2020年4月10日~2024年4月30日
ジェコンパーク:ライフとルート
現在の

ジェコンパーク:ライフとルート

2020年3月12日~2024年3月31日
アーヴィング・ノーマン:ダークマター
現在の

アーヴィング・ノーマン:ダークマター

2019年11月27日~2024年3月31日
ポップアートキャント・バイ・マイ・ラブ
アーカイブ

ポップアートキャント・バイ・マイ・ラブ

2023年1月26日~10月31日
アンディ・ウォーホル:グラマー・アット・ザ・エッジ
アーカイブ

アンディ・ウォーホル:グラマー・アット・ザ・エッジ

2021年10月27日~2023年9月30日
80年代には受け入れられていた
アーカイブ

80年代には受け入れられていた

2021年4月27日~2023年8月31日
美しき時:金ぴか時代のアメリカ美術
アーカイブ

美しき時:金ぴか時代のアメリカ美術

2021年6月24日~2023年8月31日
モネを中心とした印象派の対話集
アーカイブ

モネを中心とした印象派の対話集

2022年8月17日~2023年8月31日
アレクサンダー・カルダー絵画の宇宙
アーカイブ

アレクサンダー・カルダー絵画の宇宙

2022年8月10日~2023年8月31日
N.C.ワイエス絵画の10年
アーカイブ

N.C.ワイエス絵画の10年

2022年9月29日~2023年3月31日
ポール・ジェンキンス:驚異の色彩
アーカイブ

ポール・ジェンキンス:驚異の色彩

2019年12月27日~2023年3月31日
ノーマン・ザミット:色の進行
アーカイブ

ノーマン・ザミット:色の進行

2020年3月19日~2023年2月28日
五感で楽しむ彫刻。野外彫刻
アーカイブ

五感で楽しむ彫刻。野外彫刻

2021年8月4日~2023年2月28日
アメリカ大陸のフィギュラティヴ・マスターたち
アーカイブ

アメリカ大陸のフィギュラティヴ・マスターたち

2023年1月4日~2月12日
ジェームズ・ローゼンクイスト:ポテント・ポップ
アーカイブ

ジェームズ・ローゼンクイスト:ポテント・ポップ

2021年6月7日~2023年1月31日
抽象表現主義。ラジカルの超克
アーカイブ

抽象表現主義。ラジカルの超克

2022年1月12日~2023年1月31日
きらめく休日。みんなのアート
アーカイブ

きらめく休日。みんなのアート

2022年12月15日~2023年1月7日
私自身の肌フリーダ・カーロとディエゴ・リベラ
アーカイブ

私自身の肌フリーダ・カーロとディエゴ・リベラ

2022年6月16日~12月31日
ヨーゼフ・アルバース絵画の心
アーカイブ

ヨーゼフ・アルバース絵画の心

2022年5月12日~11月30日
印象派の天才:クロード・モネ
アーカイブ

印象派の天才:クロード・モネ

2022年8月18日~10月31日
ヘザー・ジェームズ・ファインアートの印象派
アーカイブ

ヘザー・ジェームズ・ファインアートの印象派

2022年9月1日~10月31日
ジャクソンホール - 代表作品
アーカイブ

ジャクソンホール - 代表作品

2022年9月15日~10月15日
ピカソ - 版画・紙本作品
アーカイブ

ピカソ - 版画・紙本作品

2022年9月1日~10月12日
マルク・シャガール:愛の色
アーカイブ

マルク・シャガール:愛の色

2022年9月8日~10月12日
All We Have Seen:印象派の風景:モネからクライシュまで
アーカイブ

All We Have Seen:印象派の風景:モネからクライシュまで

2021年8月9日~2022年9月30日
抽象表現主義。執拗なまでの女性たち
アーカイブ

抽象表現主義。執拗なまでの女性たち

2021年11月1日~2022年8月31日
繊細な華やかさ
アーカイブ

繊細な華やかさ

2021年9月8日~2022年8月31日
アレクサンダー・カルダーコスモスを描く
アーカイブ

アレクサンダー・カルダーコスモスを描く

2022年3月2日~8月12日
見えない状態。アジア系アメリカ人アーティストと抽象化
アーカイブ

見えない状態。アジア系アメリカ人アーティストと抽象化

2020年4月23日~2022年6月30日
メルセデス・マター。奇跡のような品質
アーカイブ

メルセデス・マター。奇跡のような品質

2021年3月22日~2022年6月30日
残りはとても美しい。現代美術と中国
アーカイブ

残りはとても美しい。現代美術と中国

2020年5月12日~2022年6月30日
ムーア!ムーア!ムーア!ヘンリー・ムーアと彫刻
アーカイブ

ムーア!ムーア!ムーア!ヘンリー・ムーアと彫刻

2021年3月3日~2022年4月30日
アレクサンダー・カルダー大胆なグアッシュ
アーカイブ

アレクサンダー・カルダー大胆なグアッシュ

2020年3月25日~2022年3月2日
エレーヌ&ウィレム・デ・クーニング光の中で描く
アーカイブ

エレーヌ&ウィレム・デ・クーニング光の中で描く

2021年8月3日~2022年1月31日
かっこいい学校
アーカイブ

かっこいい学校

2020年3月30日~2021年12月31日
ランドと身体
アーカイブ

ランドと身体

2020年3月13日~2021年12月31日
アンディ・ウォーホルのポラロイド私と私と私
アーカイブ

アンディ・ウォーホルのポラロイド私と私と私

2020年12月10日~2021年12月31日
アンディ・ウォーホルのポラロイド。ランウェイに持ち込む
アーカイブ

アンディ・ウォーホルのポラロイド。ランウェイに持ち込む

2020年12月10日~2021年12月31日
アンディ・ウォーホルのポラロイドアルスロンガ
アーカイブ

アンディ・ウォーホルのポラロイドアルスロンガ

2020年12月10日~2021年12月31日
グロリア・ルリアコレクション
アーカイブ

グロリア・ルリアコレクション

2020年3月16日~2021年10月31日
アンディ・ウォーホル:ウェイワード・アリュール
アーカイブ

アンディ・ウォーホル:ウェイワード・アリュール

2020年7月30日~2021年9月30日
モダンプリント
アーカイブ

モダンプリント

2020年12月26日~2021年6月19日
肖像画。19世紀から現代まで
アーカイブ

肖像画。19世紀から現代まで

2020年8月26日~2021年4月30日
ポップフィギュア。メル・ラモスとトム・ウェッセルマン
アーカイブ

ポップフィギュア。メル・ラモスとトム・ウェッセルマン

2020年3月26日~2021年4月30日
アメリカとヨーロッパの印象派と近代美術の不思議
アーカイブ

アメリカとヨーロッパの印象派と近代美術の不思議

2020年8月26日~2021年4月30日
抽象表現主義。崇高なイメージ
アーカイブ

抽象表現主義。崇高なイメージ

2020年8月11日~2021年1月31日まで
ズニガ×カスタニェーダ
アーカイブ

ズニガ×カスタニェーダ

2020年4月30日~11月30日
印象派と近代美術の宝石
アーカイブ

印象派と近代美術の宝石

2020年2月19日~10月31日
クールブリタニア:イギリスの若手アーティスト
アーカイブ

クールブリタニア:イギリスの若手アーティスト

2020年4月2日~9月30日
アーヴィング ノーマン エステート
アーカイブ

アーヴィング ノーマン エステート

2019年10月1日~2020年8月31日
ザ カリフォルニアンズ
アーカイブ

ザ カリフォルニアンズ

2020年2月3日~8月31日
ジャクソンホール:1900年から今日までのハイライト
アーカイブ

ジャクソンホール:1900年から今日までのハイライト

2019年11月1日~2020年7月31日まで
グレース・ハーティガン:レイト・ワークス
アーカイブ

グレース・ハーティガン:レイト・ワークス

2019年10月15日~2020年7月5日まで
リチャード・ディーベンコーン
アーカイブ

リチャード・ディーベンコーン

2019年10月16日~2020年2月29日
メサモダン
アーカイブ

メサモダン

2020年2月13日~2月29日
ザ カリフォルニアンズ
アーカイブ

ザ カリフォルニアンズ

2019年11月1日~2020年2月14日
オピュレント・ミニマリズム
アーカイブ

オピュレント・ミニマリズム

2019年12月3日~2020年1月31日
ローランド・ピーターセン: 1961
アーカイブ

ローランド・ピーターセン: 1961

2019年11月18日 ~ 2020年1月31日
ポール・ジェンキンスとロバート・ナトキン
アーカイブ

ポール・ジェンキンスとロバート・ナトキン

2019年11月1日~12月27日
モリス・ルイス - 初期の絵画
アーカイブ

モリス・ルイス - 初期の絵画

2019年10月11日~11月30日
SHE/HER:1900年以来の美術史の新しい見方
アーカイブ

SHE/HER:1900年以来の美術史の新しい見方

2019年10月3日~11月17日
サム・フランシス:ジャクソン・ホールの眺め
アーカイブ

サム・フランシス:ジャクソン・ホールの眺め

2019年7月1日~10月15日
エドワード・ホッパー
アーカイブ

エドワード・ホッパー

2019年7月1日~9月30日
サルバドールダリ
アーカイブ

サルバドールダリ

2019年8月15日~9月30日
アンセルム・キーファー
アーカイブ

アンセルム・キーファー

2019年8月15日~9月30日
アンディ・ウォーホル
アーカイブ

アンディ・ウォーホル

2019年7月16日~8月31日
アレクサンダー・カルダー:宇宙抽象化
アーカイブ

アレクサンダー・カルダー:宇宙抽象化

2019年6月21日~8月30日
現代イギリス彫刻
アーカイブ

現代イギリス彫刻

2019年6月30日~7月30日
サム・フランシス:夕暮れから夜明けまで
アーカイブ

サム・フランシス:夕暮れから夜明けまで

2018年11月15日 ~ 2019年4月29日
デ・クーニング x デ・クーニング
アーカイブ

デ・クーニング x デ・クーニング

2018年11月8日 ~ 2019年2月28日
建築風景
アーカイブ

建築風景

2018年12月1日~2019年1月31日
ヴォイチェフ・ファンゴール:1960年代初頭
アーカイブ

ヴォイチェフ・ファンゴール:1960年代初頭

2018年10月11日~12月31日
カリフォルニア州: 北と南
アーカイブ

カリフォルニア州: 北と南

2018年6月16日~9月30日
ウィンストン・チャーチル卿の絵画
アーカイブ

ウィンストン・チャーチル卿の絵画

2018年8月1日~9月16日
エレーン・デ・クーニング
アーカイブ

エレーン・デ・クーニング

2018年7月1日~8月4日
ウィンストン・チャーチル卿の絵画
アーカイブ

ウィンストン・チャーチル卿の絵画

2018年6月1日~7月27日
ヴォイチェフ・ファンゴール:1960年代初頭
アーカイブ

ヴォイチェフ・ファンゴール:1960年代初頭

2018年4月19日~6月30日
グレゴリー・スマイダ:アメリカーナ
アーカイブ

グレゴリー・スマイダ:アメリカーナ

2018年4月5日~5月31日
N.C. ワイス:絵画とイラスト
アーカイブ

N.C. ワイス:絵画とイラスト

2018年2月1日~5月31日
崇高な抽象化
アーカイブ

崇高な抽象化

2017年11月25日 ~ 2018年5月31日
ウィンストン・チャーチル卿の絵画
アーカイブ

ウィンストン・チャーチル卿の絵画

2018年3月21日~5月30日
ヴォイチェフ・ファンゴール
アーカイブ

ヴォイチェフ・ファンゴール

2017年11月25日 ~ 2018年3月17日
アレクサンダー・カルダー
アーカイブ

アレクサンダー・カルダー

2015年11月21日 - 2016年5月28日
カリフォルニア印象派の巨匠
アーカイブ

カリフォルニア印象派の巨匠

2014年11月22日 - 2015年5月23日
印象派と近代美術の修士
アーカイブ

印象派と近代美術の修士

2010年11月20日 - 2011年9月25日
ピカソ
アーカイブ

ピカソ

2009年11月20日 - 2010年5月25日