Jackson Hole Gallery Walkthrough 2021

PUBLISHED IN: Gallery Tours
CLAUDE MONET - Coup de vent - oil on canvas - 32 1/8 x 25 5/8 in.

CLAUDE MONET

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

CLAUDE MONET

GEORGIA O'KEEFFE - Cottonwood Tree (Near Abiquiu), New Mexico - oil on canvas - 36 x 30 in.

GEORGIA O'KEEFFE

DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.

DIEGO RIVERA

WILLEM DE KOONING - Woman in a Rowboat - oil on paper laid on masonite - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

GUSTAVE CAILLEBOTTE - Vue du jardin de l’artiste et de la Vallée de I'Yerres - oil on canvas - 19 1/8 x 25 1/2 in.

GUSTAVE CAILLEBOTTE

ALFRED SISLEY - L'Église de Moret, le Soir - oil canvas - 31 1/4 x 39 1/2 in.

ALFRED SISLEY

FRIDA KAHLO - Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.

FRIDA KAHLO

RICHARD PRINCE - Untitled (Cowboy) - dye coupler print - 79 x 59 in.

RICHARD PRINCE

SEAN SCULLY - Grey Red - oil on aluminum - 85 x 75 in.

SEAN SCULLY

MARSDEN HARTLEY - Bach Preludes et Fugues No. 1 (Musical Theme) - oil on canvas laid down on board - 28 1/2 x 21 in.

MARSDEN HARTLEY

JOSEF ALBERS - Homage to the Square: "In and Out" - oil on masonite - 40 x 40 in.

JOSEF ALBERS

MAX PECHSTEIN - Damenbildnis (Charlotte Pechstein) - oil on canvas - 29 1/2 x 23 1/2 in.

MAX PECHSTEIN

JOSEF ALBERS - Study for Homage to the Square: White Patio - oil on masonite - 23 1/2 x 23 1/2 in.

JOSEF ALBERS

JOSEF ALBERS - Study to Homage to the Square: Juxtaposed - oil on masonite - 23 1/2 x 23 1/2 in.

JOSEF ALBERS

Ask someone to name an artist and many may come up with Pablo Picasso. One of the most influential artists of the 20th century, Picasso transformed our culture through his many styles. Paradoxically, Picasso found originality through his ability to synthesize different sources, as we will see in this watercolor.
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<br>Picasso was born in Spain in 1881. With a strong start and training in Barcelona, Picasso moved to Paris in the early 1900s where he developed several periods before transitioning into Cubism. Along with Georges Braque, Picasso cultivated Cubism which upended our understanding of art.
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<br>This piece is from Picasso’s early Cubist period, done only a couple of years after the landmark "Les Demoiselles d’Avignon." Cubism describes a style of art that presented on a single plane, different views of a subject. This results in an image that appears fragmented. Picasso was influenced by Post-Impressionist painter Paul Cezanne whose work often appeared to take into account views with slightly different views. “Poire et Pommes” follows in this same tradition, presenting a still life of pears and apples as if each piece of fruit was viewed from different points. This gives a two dimensional artwork a sense of depth not reliant on perspective. Picasso also utilized “intrinsic completeness”, inspired by Cezanne. The paint does not completely fill the fruit yet we comprehend it as whole.
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<br>“Poire et Pommes” is part of a long tradition of still lifes that go beyond depicting an arrangement of objects. It provides a springboard to investigate deeper questions of perception and temporality.

PABLO PICASSO

JAN JOSEPHSZOON VAN GOYEN - River Landscape with a Windmill and Chapel - oil on panel - 22 1/2 x 31 3/4 in.

JAN JOSEPHSZOON VAN GOYEN

SALOMON VAN RUYSDAEL - A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond - oil on canvas - 26 1/2 x 41 1/2 in.

SALOMON VAN RUYSDAEL

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. 
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<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.

ELAINE DE KOONING

MEL RAMOS - Leta and the Hill Myna - oil on canvas - 60 x 52 in.

MEL RAMOS

JOSEPH STELLA - Reclining Nude - oil on canvas - 50 x 52 1/2 in.

JOSEPH STELLA

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO

OTTO DIX - Liegendes Kind (Vreneli Hassler) - charcoal, sanguine, opaque white and watercolor on cardboard - 22 1/2 x 30 1/2 in.

OTTO DIX

ANDY WARHOL - Diamond Dust Shoes (Black and White) - screenprint with diamond dust - 40 x 59 1/2 in.

ANDY WARHOL

ANDY WARHOL - General Custer - screenprint on Lenox Museum Board - 40 x 40 in.

ANDY WARHOL

YVONNE THOMAS - The Tower - oil on linen - 39 3/4 x 51 1/2 in.

YVONNE THOMAS

NATHAN OLIVEIRA - Figure with Blue Eyes - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Nude Stepping from the Carpet - oil on canvas - 52 x 48 in.

NATHAN OLIVEIRA

IRVING NORMAN - Chairman of the Board - oil on canvas - 90 x 48 in.

IRVING NORMAN

ANDY WARHOL - Ford car - graphite on paper - 11 1/2  x 15 3/4 in.

ANDY WARHOL

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

IRVING NORMAN

Chilean artist Roberto Matta worked for two years in modern architect Le Corbusier’s studio in Paris. There in the city, he formed strong friendships with Salvador Dalí and Andre Breton, officially joining the Surrealists in 1937.
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<br>Matta’s paintings incorporate psychological responses to political and social concerns, influenced by the trauma of World War II. Layered on this is his classical style of overlapping architectural planes. In this way, Matta merges Surrealism, the language of Abstract Expressionism, and political identity.
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<br>This painting shows all the hallmarks of Matta’s style. He layers architectonic features with machinery, a comment on the technological advances emerging during and after WWII. Against a striking background, Matta inhabits the canvas with biomorphic features, providing a contrast of shape and color for an electrifying work that appears to emerge from a dream

ROBERTO MATTA

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century.    
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<br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

HENRI MANGUIN

ANDY WARHOL - Pepper Pot from Campbell's Soup - screenprint in colors - 35 x 23 in.

ANDY WARHOL

ANDY WARHOL - Consommé (Beef), from Campbell's Soup I - screenprint in colors on woven paper with full margins - 35 x 23 in.

ANDY WARHOL

PAUL JENKINS - Phenomena Rainbow Rush - acrylic on canvas - 58 x 82 in.

PAUL JENKINS

JAMES ROSENQUIST - Drawing Study - oil pastel and pencil on paper - 35 x 22 1/2 in.

JAMES ROSENQUIST

ROBERTO MATTA - L'epreuve - oil on canvas - 29 1/2 x 25 1/2 in.

ROBERTO MATTA

“[Godwin's paintings] have the muscularity of Kline and Hofmann, as well as the color wingspan of Helen Frankenthaler, the jagged-edged voids of Clifford Still and the stately architectonics of Robert Motherwell.” (Walter Robinson, Artnet Magazine, December 13, 2010)
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<br>Along with Helen Frankenthaler, Joan Mitchell, Lee Krasner, Elaine de Kooning, and Grace Hartigan, Godwin is one of the golden twelve painters identified and included in the important “Women of Abstract Expression” traveling exhibition that opened at the Denver Art Museum during 2016-17. That show spotlighted and elevated an awareness of Godwin’s work along with that of Mary Abbott, Perle Fine, Deborah Remington and others who deserved renewed attention. At the time of exhibition in 2016-17, Godwin was one of only three still living. Her work is included in almost fifty American museums and is represented in the collection of Musée d’Art Classic de Mougins near Cannes and Antibes, South of France.   
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<br>This painting, "Rocks" demonstrates her ability to reach an agreeable balance between pure abstraction and architectonic references that suggest the landscape. This canvas is of a scale that showcases her strengths as an abstract, gestural artist yet is of a size well adapted to home settings.

JUDITH GODWIN

Robert Rauschenberg, along with Jasper Johns, Andy Warhol, and Roy Lichtenstein, started the revolution of Pop Art in the 1960s. Rauschenberg's later career was a time for the artist to work on experimental and innovative projects, including the 1993 "Prime Pump from ROCI USA (Wax Fire Works Series)." This series comes from the artist's philanthropic project, "ROCI USA," demonstrating "Rauschenberg's belief in the power of art as a catalyst for positive social change."  The reference to "wax fire" in the title is Rauschenberg's term for encaustic - hot wax with colored pigments - which he used in other works from the series. 
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<br>Executed in a small edition of just 17 examples, this piece incorporates printmaking, a medium to which he often returned to explore new modes for layering imagery. Rauschenberg worked on editions since the early 1960s when he was a fixture at the ULAE and Gemini G.E.L. printshops.  Rauschenberg's printmaking and editioned works were an extension of the creative act for the artist; he could achieve sculptural and 3D effects through his editions.

ROBERT RAUSCHENBERG

ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

KEITH HARING

HERB ALPERT - Three Feathers - bronze - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - Eagle Falls - bronze - 41 1/2 x 10 x 10 in.

HERB ALPERT

RUFINO TAMAYO - Dos Hermanos - mixografia - 40 1/2 x 34 in.

RUFINO TAMAYO