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希瑟·詹姆斯·杰克逊位于怀俄明州杰克逊霍尔的野生美景中,以国家公园为背景,十多年来为西部山脉带来了最高水平的艺术品和服务。

希瑟·詹姆斯(Heather James)迎合独特的社区,使杰克逊霍尔成为美国文化和户外无与伦比的目的地,致力于为当地人和游客提供无与伦比的艺术品和白手套服务。

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土地的遗产乔治亚-奥基夫和艾米莉-卡梅-金瓦瑞耶
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土地的遗产乔治亚-奥基夫和艾米莉-卡梅-金瓦瑞耶

2024 年 7 月 10 日至 2025 年 1 月 31 日
声音与奇观:Harry Bertoia 和 George Rickey
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声音与奇观:Harry Bertoia 和 George Rickey

2024年6月26日至12月31日
安迪-沃霍尔:一切都很美好
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安迪-沃霍尔:一切都很美好

2023 年 8 月 17 日 - 2024 年 8 月 31 日
印象派在Heather James Fine Art
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印象派在Heather James Fine Art

2022年9月1日至10月31日
克劳德-莫奈:一个印象派的天才
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克劳德-莫奈:一个印象派的天才

2022年8月18日至10月31日
马克-夏加尔:爱的颜色
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马克-夏加尔:爱的颜色

2022年9月8日至10月12日
毕加索 - 版画和纸上作品
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毕加索 - 版画和纸上作品

2022年9月1日至10月12日
温斯顿·丘吉尔爵士的画作
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温斯顿·丘吉尔爵士的画作

2018年8月1日至9月16日
诺曼·罗克韦尔:艺术家在工作
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诺曼·罗克韦尔:艺术家在工作

2016年6月30日至9月30日

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1886年5月15日,乔治-修拉(Georges Seurat)的最高成就《拉格朗日岛的星期天下午》在第八届印象派画展上亮相,一场新艺术运动的视觉宣言就此诞生。修拉可以称得上是最初的 "科学印象派",其创作方式后来被称为点彩主义或分割主义。然而,是他的朋友和知己,24岁的保罗-西尼亚克,以及他们不断的对话,导致了他们在理解光和颜色的物理学和出现的风格上的合作。西尼亚克是一个没有受过训练的印象派画家,但却是一个才华横溢的画家,他的气质完全适合于实现艰苦的笔触和色彩所需的严格和纪律性。西尼亚克很快就吸收了这种技术。他还见证了修拉两年来在巨大的《大山》上建立无数个未混合的色点的艰辛历程。西尼亚克是个外向的人,修拉是个内向的人,他们一起颠覆了印象派的进程,并改变了现代艺术的进程。

PAUL SIGNAC

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.

格兰特-伍德

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.

GEORGIA O'KEEFFE

<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.

迪戈·里韦拉

威廉-德-库宁--《划船的女人》--纸上油画,铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

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.

亚历山大·卡尔德

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

托姆·韦塞尔曼

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.

EMIL NOLDE

<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>

鲁菲诺·塔马约

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.

亚历山大·卡尔德

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show,  "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York.  <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier.  <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

格哈德·里希特

马克-夏加尔的世界不能被我们附加在它身上的标签所包含或限制。它是一个由图像和意义组成的世界,形成了自己绚丽的神秘话语。Les Mariés sous le baldaquin(《天幕下的新郎和新娘》)是在艺术家进入90岁时开始的,这个人经历了悲剧和争斗,但他从未忘记生命中的狂欢时刻。在这里,一个俄罗斯乡村婚礼的梦幻般的乐趣,以及其安排好的与会者,以如此快乐的机智和欢快的纯真带给我们,让人无法抗拒其魅力。使用油彩和不透明的水性水粉相结合的金色调乳剂,夏加尔一贯的积极主义的温暖、幸福和乐观被包裹在发光的光芒中,暗示着金箔宗教圣像或文艺复兴早期绘画的影响,试图传递神圣的光或精神启蒙的印象。使用油画和水粉画的组合可能是一种挑战。但在这里,在《Les Mariés sous le baldaquin》中,夏加尔用它来赋予这个场景一种超凡脱俗的品质,几乎就像它刚刚从他的脑海中显现出来。它的纹理细腻,给人的印象是光是从作品本身发出来的,并给漂浮在空中的人物带来一种幽灵般的品质。

马克·查加尔

<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>

温斯顿·丘吉尔爵士

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.

拉里·里弗斯

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

托马斯·哈特·本顿

PIERRE BONNARD - Soleil Couchant - 布面油画 - 14 1/2 x 22 1/2 in.

皮埃尔-邦纳(PIERRE BONNARD)

JEAN-MICHEL BASQUIAT - 《无题(鸽子解剖)》 - 油画、石墨和粉笔在纸上 - 22 x 30 英寸。

让-米歇尔·巴斯奎特

AMEDEO MODIGLIANI - Cariatide - 水粉纸上的蓝色蜡笔 - 24 x 18 英寸。

阿梅迪奥·莫迪利亚尼

DAMIEN HIRST - Forgotten Thoughts - 画布上的蝴蝶和家居光泽 - 48 x 48 英寸。

达米安·赫斯特

托马斯·哈特·本顿(Thomas Hart Benton)对农民和田间工人的描绘富有同情心,偏爱奉献精神和辛勤工作的主题,他创作了数百项研究,描绘了当时许多美国人为生存而进行的斗争。《锄棉花》中有很多黑暗、喜怒无常的苍白,让人想起大萧条时期南方农业的艰辛。本顿的上演仿佛是在对即将到来的暴风雨的悬而未决的预期中,利用天空和景观之间的动态相互作用来加深南方深处农村生活的主题影响。这些元素突出了人与环境之间的联系以及持久的韧性精神。

托马斯·哈特·本顿

<div><font face=Calibri size=3 color=black>As a painter of the American Scene during the years of the Great Depression, Thomas Hart Benton's paintings and murals make the case that he was this country's greatest artist-storyteller. Deeply invested in capturing the unique qualities of what it meant to be 'American,' Benton's stylized contour inflections, pictorial rhythms, and strong-hued, technicolor-like palette conveyed the needed reassurance that the country remained strong and healthy. The spirit was unabashedly patriotic, and “<em>The Farm”</em>, painted late in life, proves Benton never turned away from social narratives that continue to provide an engaging mediation on American rural life and community. </font></div><br><br><div><font face=Calibri size=3 color=black><br><br>Despite the many changes in the art world that swirled about during the post-war years, "<em>The Farm,"</em> created in 1972, is a testament to this steadfastness. One would be hard-pressed to discern whether Benton painted it in 1942 or 1972; a timeless quality underscores Benton's dedication to his ideals and his resistance to the fleeting trends of the contemporary art scene. A populist at heart, he believed in the importance of art that spoke to and for the people, celebrating the dignity of labor, the strength of community, and the beauty of the American landscape. This populist ethos remains in "<em>The Farm</em>," where the depiction of rural life is at once idealized and deeply rooted in reality.</font></div><br><br><div><font face=Calibri size=3 color=black><br><br>In these challenging times, Benton's paintings serve as a poignant reminder of those values that once united and strengthened the country. His works offer a vision of America that reminds us of the enduring strength found in unity and the common values that can bridge divides. <em>"The Farm"</em> is not only a reflection of his artistic skill but also a testament to his unwavering commitment to that vision. </font></div><br><br><div><font face=Calibri size=3 color=black><br><br>There are three known paintings of "<em>The Farm</em>", the largest of which is an oil on canvas currently on loan to The Nelson-Atkins Museum of Art in Kansas City. The present example, acrylic on panel, is titled, dated, and inscribed on verso by the artist: "For Jessie, Christmas '72 Daddy, The Farm, Polymer Tempera (Acrylic), Benton." A digital copy of a letter from the artist's daughter, Jessie, attests that she received "<em>The Farm</em>" from her father, Thomas Hart Benton, on Christmas 1972.</font></div>

托马斯·哈特·本顿

<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>

托马斯·哈特·本顿

FRANZ KLINE - 《无题》,编号 7246 - 纸板油画 - 18 1/8 x 23 1/4 英寸。

弗朗茨·克林

HANS HOFMANN - 爱之歌 - 布面油画 - 36 1/4 x 48 1/4 英寸

汉斯·霍夫曼

JOHN CHAMBERLAIN - ASARABACA - 工业用铝箔,丙烯酸漆和聚酯树脂 - 20 x 23 x 22 英寸。

约翰·张伯伦

HEDDA STERNE - 无题 - 布面油画、粉彩、石墨 - 80 x 26 x 1 1/4 英寸。

赫达-斯特恩

蒙克创新的 "拼图技术 "具有实验性和高度复杂性,他将木版画切割成不同的片块,然后分别上墨和印刷,最后重新拼接成最终的图像。这一过程产生了多种色彩,同一版本的版画各具特色,情绪和意境也千差万别。海岸上的房子 I》通过多层次的色彩和纹理构建出起伏丰富的形式,具有多个平面,每个平面都有助于增加其深度和空间的复杂性。木刻画的雕刻和凿刻非常适合表现爱德华-蒙克通常残酷的工作心态,它突破了传统方法的界限,加强了他在艺术中探索情感和心理深度的决心。

EDVARD MUNCH

HANS HOFMANN - Untitled - oil on canvas - 25 x 30 1/4 in.

汉斯·霍夫曼

EMILY KAME KNGWARREYE - Anooralya Yam Story - 亚麻布上的合成聚合物颜料 - 60 1/4 x 48 英寸。

EMILY KAME KNGWARREYE

ALFRED SISLEY - Vaches au paturage sur les bords de la Seine - 纸上粉笔画 - 11 1/4 x 15 1/2 in.

阿尔弗雷德·西斯利

Well known for his candor and pragmatic sensibility, Alexander Calder was as direct, ingenious, and straight to the point in life as he was in his art. “Personnages”, for example, is unabashedly dynamic, a work that recalls his early love of the action of the circus as well as his insights into human nature. The character of “Personnages” suggests a spontaneous drawing-in-space, recalling his radical wire sculptures of the 1920s.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

亚历山大·卡尔德

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - 纸上粉笔画,铺在画板上 - 10 3/8 x 14 3/4 英寸。

卡米尔·皮萨罗

Genieve Figgis 是当代爱尔兰艺术界的知名人物,她的群像作品巧妙而富有批判性,常常嘲讽久远的社会习俗。作为一名相对较晚接触绘画的人,她在推特上引起了美国挪用艺术家理查德-普林斯(Richard Prince)的注意,普林斯购买了她的一幅作品,并将她介绍给纽约艺术界有影响力的圈子。菲吉斯的作品对富裕的中产阶级消费习惯和奢华的生活方式进行了嬉笑怒骂的批判,这些都是过去的艺术家们永垂不朽的作品,而菲吉斯则将这些题材牢牢地带入了当代,作品中既有对生活的讽刺,也有对生活原始而真实的描绘。菲吉斯的作品经常对当代社会进行讽刺,他是从事社会讽刺并以敏锐观察力著称的艺术家之一。

格尼耶夫-菲吉斯

KEITH HARING - Untitled (Figure Balancing On Dog) - aluminum - 35 1/2 x 25 x 29 in.

基思·哈林

罗杰-布朗以其个人化的、往往充满幻想的图像和高度风格化的画作而闻名,画中的人物和物品反映了他对日常经验的兴趣。酸雨》探索了现代生活和社会评论的主题,反映了艺术家在社会中的角色以及艺术推动变革的潜力。从更个人的层面来看,酸雨的主题可能象征着腐蚀性的情绪或心理状态,如抑郁、焦虑或被无法控制的环境压垮的感觉。正如酸雨是一个几乎不为人知但却极具破坏性的环境问题一样,新出现的艾滋病毒/艾滋病疫情危机也可能促使布朗创作这幅作品,以处理个人的悲痛,批评政治领导人的应对措施不力,并倡导同情、理解和医学研究。

罗杰-布朗

迪本科恩的 "海洋公园 "系列作品让人联想到艺术家对光线和色彩的微妙平衡、深思熟虑的构图以及景观元素的巧妙融合,所有这些都模拟了他位于圣莫尼卡的工作室的海岸氛围。20 世纪 90 年代初,迪本科恩重新审视了海洋公园系列作品的主题和审美感觉,利用各种版画制作技术,对他在绘画中发展起来的抽象语言进行了延伸探索。"高绿,版本一 "体现了他的这一追求,暗示了海洋公园系列的构图策略、色调和空间关注点,同时也展示了版画重新诠释这些元素的独特可能性。

理查德·迪本科恩

JOAN MIRO - L'Oiseau - 青铜和煤渣 - 23 7/8 x 20 x 16 1/8 in.

琼·米罗

安迪-沃霍尔是20世纪下半叶美国艺术的代名词,以其标志性的肖像画和消费品而闻名,他将大众文化和美术混为一谈,重新定义了艺术可以是什么以及我们如何对待艺术。虽然沃霍尔的许多作品可能不代表著名的个人,但他对无生命物体的描绘将他的对象提升到了一个名人的高度。沃霍尔在其职业生涯早期作为时尚插画师时首次描绘了鞋子,并在20世纪80年代回到了这个主题,将他对消费主义和魅力的迷恋结合起来。沃霍尔一直希望融合高端和低端文化,他选择了突出像鞋子这样无处不在的东西。这个主题可以表示贫穷或财富,功能或时尚。沃霍尔将这堆鞋美化了,在它们身上覆盖了一层闪闪发光的钻石粉,进一步模糊了功利性需求和风格化声明作品之间的含义。

安迪·沃霍尔

© 2023年 考尔德基金会,纽约/艺术家权利协会(ARS),纽约

亚历山大·卡尔德

FREDERICK CARL FRIESEKE - Hill at Giverny - 布面油画 - 25 1/4 x 31 1/4 英寸。

弗雷德里克·卡尔·弗里斯克

罗伯特-马瑟韦尔的 "开放 "系列始于 20 世纪 60 年代末,代表了他创作的一个重要方向,通过极简的构图强调开放性和空间的复杂性。烟草棕的开放研究 "以窗户为隐喻主题,蕴含丰富的内省和亲密感,旨在反映内在自我与外部世界之间的关系。它还展示了对抽象的界限、形式的相互作用以及色彩的情感深度进行探索的决心。"烟草棕的开放研究》创作于 1971 年,这一年是艺术家与妻子海伦-弗兰肯特尔(Helen Frankenthaler)离婚并与德国摄影师雷娜特-庞索尔德(Renate Ponsold)相识的过渡之年,次年他与雷娜特-庞索尔德结婚。

罗伯特·莫特韦尔

亚历山大-考尔德(Alexander Calder)的水粉画作品 "Wigwam rouge et jaune "是对设计和色彩的生动探索。这幅画的构图以对角线格为主,对角线在顶点附近相交,呈现出一种动态平衡。考尔德用红色和黄色的菱形引入了奇思妙想的元素,为作品注入了童趣,营造出节日的气氛。右倾线条顶点的红色小球唤起了人们的奇思妙想,而左倾线条顶端的灰色小球则提供了对比和平衡。考尔德巧妙地将简洁和重要的设计元素融合在一起,使 Wigwam rouge et jaune 成为一种视觉享受。

亚历山大·卡尔德

© 2023年 考尔德基金会,纽约/艺术家权利协会(ARS),纽约

亚历山大·卡尔德

没有哪位艺术家能像汉斯-霍夫曼那样在欧洲现代主义和美国抽象表现主义之间架起一座桥梁。原因很简单:他在第一次世界大战前就在巴黎学院接受训练,与亨利-马蒂斯、巴勃罗-毕加索、乔治-布拉克、罗伯特-德劳内和索尼娅-德劳内交情匪浅,因此他对欧洲现代主义的熟悉程度是其他抽象表现主义艺术家所无法比拟的。无题(普罗温斯敦港湾景色)》融合了早期的元素,野兽派大面积刷涂的奔放色彩,以及纽约画派自动绘画的前景。这幅作品极具手势感,既有拉乌尔-杜菲的主题和速度,又有更男性化、更大胆的投射,暗示了行动绘画的根源。

汉斯·霍夫曼

路易-瓦塔特-鹅膏花瓶-布面油画-23 1/2 x 19 英寸。

路易·瓦塔

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

哈里·贝托亚

安迪-沃霍尔以对名声、名人和文化偶像的迷恋而闻名,他偶尔也会超越同时代人,将历史人物也纳入自己的创作范围。特别值得注意的是,歌德的色彩理论强调色彩如何被感知及其心理影响,这与当时流行的以牛顿物理学为基础的对色彩作为一种科学现象的理解形成了鲜明对比。虽然没有直接的联系表明歌德的色彩理论直接启发了沃霍尔选择歌德作为创作对象,但它在主题上突出了我们如何看待沃霍尔的艺术与历史传统的结合,以象征他们各自领域和时代之间的纽带。从这个意义上说,这件作品既是一种致敬,也是一种跨时代的合作,它将沃霍尔的视觉语言与歌德对色彩作为感知中有力的、刺激性元素的认识联系在一起。

安迪·沃霍尔

ANDY WARHOL - 歌德 - 彩色丝网印刷 - 38 x 38 英寸。

安迪·沃霍尔

RODOLFO MORALES - 无题 - 布面油画 - 37 1/4 x 39 1/4 in.

RODOLFO MORALES

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.

费尔南德·勒格

ANDY WARHOL - 福特汽车 - 纸上石墨 - 11 1/2 x 15 3/4 in.

安迪·沃霍尔

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

欧文·诺曼

ALEX KATZ - Peter - 石板上的油画 - 15 7/8 x 7 1/8 英寸。

亚历克斯·卡茨

<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>

哈里·贝托亚

<div><font face=Calibri size=3 color=black>Art enthusiasts celebrate Harry Bertoia’s “Sonambient” sculptures for their ability to transcend the traditional boundaries of visual art. Rising 56 inches, this sculpture of sixteen tines, topped with cattail-like finials crafted from beryllium copper and aged to a unique patina, suggests a powdery effect reminiscent of cattails in their natural state. This richly mottled patina enhances its visual appeal and historical significance, reflecting the natural aging process that Bertoia, a naturalist, would have deeply admired. The large surface area of the finials allows the patina to express itself differently, adding texture and depth to the sculpture’s appearance. The effect gives the piece an organic quality, further connecting it to the natural world that inspired Bertoia.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>When activated by touch or the movement of air, the rods produce a continuous sound akin to an old church chime. This haunting, melodic tone transforms the sculpture from a static object into a dynamic auditory experience, evoking the serene and spiritual atmosphere of ancient places of worship. Bertoia always retained an awareness of the irony of using metal to produce the sounds of nature and organic forms. The sound resonates with a timeless quality, drawing listeners into a meditative state and highlighting the spiritual dimensions of Bertoia’s work.</font></div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 56-inch “Sonambient” sculpture exemplifies his belief in art as an immersive, evolving experience. It invites viewers to engage with it physically and emotionally, discovering new layers of beauty and meaning with each interaction. Through this piece, Bertoia continues to captivate and inspire, celebrating the profound connection between art, nature, and spirituality.</font></div>

哈里·贝托亚

JESSIE ARMS BOTKE - 两只白孔雀 - 木板油画 - 29 1/4 x 24 1/2 英寸。

杰西·阿姆斯·博特克

<div><font face=Calibri size=3 color=black>George Rickey's "Two Up One Down Staggered" exemplifies his ability to marry minimalist aesthetics with complex mechanical motion. Ninety-seven inches tall and meticulously crafted from stainless steel, the sculpture reflects this synthesis beautifully. It explores the intersection between the precise movements of machinery and the organic, unpredictable motions found in nature. It features two elongated stainless-steel arms (Rickey called 'blades) extending upwards, balanced by a single element pointing downwards; all arranged staggered. This staggered configuration creates a dynamic visual rhythm, emphasizing the interplay between balance and imbalance and enhancing the sculpture's kinetic properties. The title succinctly encapsulates the components' structural arrangement and dynamic interaction, providing insight into Rickey's thoughtful design and his exploration of geometric and kinetic relationships.<br><br><br><br>Stainless steel gives the sculpture a sleek, modern appearance and ensures its durability, allowing it to withstand outdoor conditions. This material choice underscores Rickey's intention for his works to engage directly with natural forces like wind and gravity. The components move gently with the slightest breeze, transforming static metal into a fluid, ever-changing form. A close inspection of Rickey’s solution for its fastening structure offers an appreciation for its precise engineering and a tribute to his attention to detail and craftsmanship. These fastening elements also show an artisanal touch, with visible welds, rivets, and sheet metal 'shaving' that emphasizes the handcrafted nature of the piece. These details reveal the manual labor and meticulous skill involved in the sculpture's creation while adding an element of authenticity and rawness to the artwork.<br><br><br><br>The simplicity of the design belies the complexity of "Two Up One Down Staggered.” Rickey's precision in engineering these delicate movements ensures that each component interacts seamlessly, inviting contemplation and highlighting the beauty of kinetic art. This interplay of balance and motion captures the viewer's attention, transforming the act of observing into an engaging experience, and his work continues to inspire and challenge our perceptions of art, mechanics, and the natural world, making him a pivotal figure in the evolution of kinetic sculpture.</font></div>

乔治·里奇

ARMAND GUILLAUMIN - Roquebrune, Le Matin - 布面油画 - 25 x 31 1/4 in.

阿曼·吉劳明

"Ray Gun became a catch title for all sorts of things. Looking down on the street, I would find this angle in the shape of a ray gun everywhere. And I would collect the ray guns. They became quite an obsession."<br>-Claes Oldenburg<br><br>"Two Ray Guns" (1964) was initially sold through the venerable Sidney Janis Gallery. The work draws upon Oldenburg's keen observational sense and fascination with science fiction and popular American culture. The fascination with Ray Guns became a conceptual art practice for Oldenburg; he would not construct them in the traditional sense but instead, find objects that could be reduced into the form. Ray Gun Examples exist in plastic, bronze, plaster, and many different media.  <br><br>Our example from the Ray Gun series has been in the same important American collection for many years. Several examples from this series are in prominent museum collections worldwide, including the Museum of Modern Art, New York.

克莱斯·奥尔登堡

安迪-沃霍尔的 "金宝汤罐 "系列标志着他职业生涯和波普艺术运动的关键时刻。该系列由 32 幅油画组成,每幅油画都描绘了不同的口味,通过将平凡的日常消费品提升到高级艺术品的地位,彻底改变了艺术世界。1968 年的丝网印刷作品《胡椒罐》采用了他的标志性风格,即鲜艳、平淡的色彩和重复的图像,这是大规模生产和消费文化的特征。丝网印刷是一种商业技术,与沃霍尔模糊高级艺术和商业艺术之间界限的兴趣相吻合,挑战了艺术价值和观念。

安迪·沃霍尔

<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>

哈里·贝托亚

<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>

乔治·里奇

卡尔-本杰明(Karl Benjamin)和他的同行洛瑟-费特森(Lorser Feitelson)、弗雷德里克-哈默斯利(Frederick Hammersley)以及约翰-麦克劳克林(John McLaughlin)在美国抽象艺术史上占有独特的地位。他们以精确的几何形式和强调平面感的简洁边缘著称,是 20 世纪 50 年代末崛起的加州硬边画家。与埃尔斯沃思-凯利(Ellsworth Kelly)等人不同的是,他们的作品反映出一种明亮、清晰的色调,暗示着加利福尼亚的自然和建筑环境,而不是东海岸更多的城市和工业影响。此外,与东海岸竞争激烈的艺术界相比,加利福尼亚的艺术家群体相对较小且关系密切,他们具有合作和共同探索的意识,从而促成了一场具有鲜明个性的凝聚运动。

卡尔·本杰明

玛丽-阿博特 - 无题 - 油画和油画棒裱在画布上 - 23 x 29 英寸。

玛丽·艾伯特

沃霍尔的水墨画和染色画常常被忽视,他善于用简练的线条将主题和元素还原为本质,每幅作品都充满了奇妙的趣味性。这些作品经常提醒我们,如果艺术不复杂、自由,就能最有效地传播幽默和奇思妙想。无题,花朵》是沃霍尔 1960 年著名的《Vogue》版面设计的先驱,将荧光色的花朵图画结合在一起。这幅画预示了沃霍尔早期将线条与色彩分离的倾向,这一手法后来赋予了他的丝网版画抽象的直接性。

安迪·沃霍尔

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

杰西·阿姆斯·博特克

ROBERTO MATTA - L'Epreuve - 油画 - 29 1/2 x 25 1/2 in.

罗伯托·马塔

沃霍尔的 "电椅 "无疑是沃霍尔 "死亡与灾难 "系列 70 多幅绘画和版画作品中最恐怖的一幅,但其绚丽的色彩却与主题形成了鲜明的对比。具有讽刺意味的是,重复和丝网印刷的机械化纯粹性在这里起到了不同的作用。它们起到了脱敏的作用,在一定程度上将人们的情感从可怕、恐怖、死亡和死亡中分离出来。似乎是为了进一步表明自己的意图,沃霍尔将之前迭代的洞穴式房间缩小到了一个浅平面,让人更集中地看到椅子本身,其病态在黄色、粉色、蓝色和橙色的色块下得到了缓和。

安迪·沃霍尔

高级副总裁

安德烈-WEB-POST

ANDREA RICO DAHLIN

高级主管
怀俄明州杰克逊霍尔市

Andrea 拥有纽约宾汉姆顿大学艺术史学士学位,辅修美术,并在纽约佳士得教育集团获得现代艺术、鉴赏和艺术市场史硕士学位。她曾在堪萨斯城奈尔森-阿特金斯艺术博物馆(Nelson-Atkins Museum of Art)和纽约佳士得拍卖行工作,积累了丰富的博物馆和拍卖行工作经验。

自2015年加入希瑟-詹姆斯美术公司以来,安德烈亚已经获得了寄售,并帮助重要艺术家建立了引人注目的私人和博物馆收藏,其中包括克劳德-莫奈、阿尔弗雷德-西斯利、亨利-马蒂斯、埃德加-德加、诺曼-洛克威尔、安德鲁-怀斯、伊莱恩-德库宁、安迪-沃霍尔和汤姆-韦塞尔曼。

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特色艺术

1886年5月15日,乔治-修拉(Georges Seurat)的最高成就《拉格朗日岛的星期天下午》在第八届印象派画展上亮相,一场新艺术运动的视觉宣言就此诞生。修拉可以称得上是最初的 "科学印象派",其创作方式后来被称为点彩主义或分割主义。然而,是他的朋友和知己,24岁的保罗-西尼亚克,以及他们不断的对话,导致了他们在理解光和颜色的物理学和出现的风格上的合作。西尼亚克是一个没有受过训练的印象派画家,但却是一个才华横溢的画家,他的气质完全适合于实现艰苦的笔触和色彩所需的严格和纪律性。西尼亚克很快就吸收了这种技术。他还见证了修拉两年来在巨大的《大山》上建立无数个未混合的色点的艰辛历程。西尼亚克是个外向的人,修拉是个内向的人,他们一起颠覆了印象派的进程,并改变了现代艺术的进程。

PAUL SIGNAC

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.

格兰特-伍德

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.

GEORGIA O'KEEFFE

<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.

迪戈·里韦拉

威廉-德-库宁--《划船的女人》--纸上油画,铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

根据布兰迪温河艺术博物馆编制的目录,《清教徒鳕鱼》的初稿是 N. C. 怀斯在 1945 年 10 月去世前完成的。该条目记录了草图的图像、艺术家的题词及其标题《Puritan Cod Fishers》,目录将其描述为 "备用"。无论是哪种情况,这幅大型画布都是一件独一无二的作品,安德鲁-怀斯后来回忆说,这幅画完全是由他亲手绘制的,是父亲的设计和构图与出色的儿子的执行合作的成果。对安德鲁来说,这一定是一次感触颇深的情感体验。鉴于父亲对细节和真实性的关注,这艘小帆船的线条代表了十六世纪使用的藠头。另一方面,安德鲁很可能比他父亲更深地描绘了躁动不安的大海的色调,这一选择恰如其分地突出了任务的危险性。

Andrew Wyeth & N. C. Wyeth

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.

亚历山大·卡尔德

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.

北卡罗来纳州

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.

阿尔弗雷德·西斯利

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.

温斯顿·丘吉尔爵士

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.

EMIL NOLDE

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.

亚历山大·卡尔德

19世纪70年代初,温斯洛-霍默经常在位于纽约州哈德逊河和卡茨基尔山之间的一个小农庄附近绘制乡村生活场景,该小农庄因其出色的麦田而世代闻名。今天,赫尔利因激发了荷马最伟大的作品之一--1872年夏天绘制的《鞭子的Snap》而更为著名。在其他许多受该地区启发的画作中,《站在麦田里的女孩》感情丰富,但没有过度感伤。它与1866年在法国画的一幅题为《在麦田里》的研究报告以及次年他回到美国后画的另一幅报告直接相关。但荷马无疑会对这幅作品感到最自豪。这是一幅肖像画,一幅服装研究画,一幅具有欧洲田园画伟大传统的风俗画,也是一幅戏剧性的逆光、大气的巡回画,浸透在迅速消逝的阴暗时刻的光线中,并带有羊脂玉般的花香和麦穗的点缀。1874年,荷马送了四幅画给国家设计学院的展览。其中一幅名为 "女孩"。难道不是这一幅吗?

温斯洛荷马

<div>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.  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.  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.</div>

温斯顿·丘吉尔爵士

<div>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.    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.</div>

温斯顿·丘吉尔爵士

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show,  "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York.  <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier.  <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

格哈德·里希特

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.  

托姆·韦塞尔曼

马克-夏加尔的世界不能被我们附加在它身上的标签所包含或限制。它是一个由图像和意义组成的世界,形成了自己绚丽的神秘话语。Les Mariés sous le baldaquin(《天幕下的新郎和新娘》)是在艺术家进入90岁时开始的,这个人经历了悲剧和争斗,但他从未忘记生命中的狂欢时刻。在这里,一个俄罗斯乡村婚礼的梦幻般的乐趣,以及其安排好的与会者,以如此快乐的机智和欢快的纯真带给我们,让人无法抗拒其魅力。使用油彩和不透明的水性水粉相结合的金色调乳剂,夏加尔一贯的积极主义的温暖、幸福和乐观被包裹在发光的光芒中,暗示着金箔宗教圣像或文艺复兴早期绘画的影响,试图传递神圣的光或精神启蒙的印象。使用油画和水粉画的组合可能是一种挑战。但在这里,在《Les Mariés sous le baldaquin》中,夏加尔用它来赋予这个场景一种超凡脱俗的品质,几乎就像它刚刚从他的脑海中显现出来。它的纹理细腻,给人的印象是光是从作品本身发出来的,并给漂浮在空中的人物带来一种幽灵般的品质。

马克·查加尔

1945 年,随着战争的结束,丘吉尔在大选中出人意料地落败,他接受了陆军元帅哈罗德-亚历山大爵士的邀请,前往他位于科莫湖畔的意大利别墅。丘吉尔享受着主人的盛情款待,并将自己的注意力和精力集中到了在画布上捕捉当地风光上。他创作了 15 幅油画,这些作品体现了绘画是如何吸引他的注意力,并为他提供了一种帮助他充电的灵丹妙药。1946 年 1 月,《生活》杂志刊登了一篇文章,介绍了这幅标志性的画作,丘吉尔的著作《绘画是一种消遣》也多次选用这幅画作作为彩色插图。

温斯顿·丘吉尔爵士

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.”

塞恩·斯卡利

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.

温斯顿·丘吉尔爵士

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.

马斯登-哈特利

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.

托姆·韦塞尔曼

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

温斯顿·丘吉尔爵士

Théo van Rysselberghe的《Sylvie Lacombe肖像》画于1906年,是他那个时代最精致、最稳定的肖像画家之一的经典杰作。色彩和谐,笔触有力,适合其材料任务,她的身体和面容真实而露骨。坐着的人是他的好朋友,画家乔治-拉孔布的女儿,他与高更有着密切的联系,并且是Les Nabis的成员,与艺术家博纳尔、丹尼斯和维雅等人一起。我们现在知道了Sylvie Lacombe,因为Van Rysselberghe非常擅长渲染微妙的面部表情,通过仔细观察和关注细节,提供了对她内心世界的见解。他选择了一种直接的凝视,她的眼睛对着你的眼睛,无论我们与画作的物理关系如何,主体和观众之间都有一种不可避免的盟约。在画这幅肖像时,范-赖斯伯格已经基本放弃了点彩画法。但他继续运用色彩理论准则,用红色的色调--粉色和淡紫色--来衬托绿色,创造出一个和谐的互补色调,他在其中加入了一个强烈的点睛之笔--一个强烈饱和的红色蝴蝶结,不对称地放在她的头边。

泰奥-范-雷塞尔贝格

<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>

温斯顿·丘吉尔爵士

不难理解罗伯特-印第安纳的四个字母的辉煌的两行排列是如何在1960年代帮助赋予一个运动的。它的起源来自于对宗教的深刻感受以及朋友和导师埃尔斯沃斯-凯利,他的硬朗风格和感性的、不加修饰的色彩给人留下了深刻的印象。但正如印第安纳所感叹的那样,这是一个偶然的时刻,当 "爱咬了我!"设计来到他面前,敏锐而集中。当然,印第安纳把这个设计放在了许多地方,然后这个标志就开始到处出现了。这个信息,最好是用雕塑来传达,矗立在世界各地的城市,并被翻译成多种语言,其中最重要的是它的意大利语版本,"Amor",其偶然的 "O "也向右倾斜。但是,这个版本没有被 "L "的脚踢到,而是给上面的 "A "带来了一种漂亮的舞台摇摆效果。它给人一种新的,但同样深刻的,关于爱和它的情绪化的印象。  无论是哪种情况,"爱 "的倾斜 "O "都给原本稳定的设计带来了不稳定性,这是印第安纳对 "与这个词相关的往往是空洞的感伤,隐喻着不求回报的渴望和失望,而不是神圣的感情"(Robert Indiana's Best: A Mini Retrospective, New York Times, May 24, 2018)的深刻的投射。当然,重复有一个讨厌的习惯,就是削弱我们对简单和开创性设计的天才的欣赏。印第安纳在晚年感叹道:"这是一个了不起的想法,但也是一个可怕的错误。它变得太流行了。而有些人并不喜欢流行"。但是我们,这个充满分歧和陷入动荡的世界的居民,感谢你。"爱》和它的许多版本强烈地提醒我们爱的能力,而这是我们对更美好的未来最好的永恒的希望。

罗伯特·印第安纳

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.

拉里·里弗斯

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.

温斯顿·丘吉尔爵士

温斯顿-丘吉尔爵士--菲利普-沙逊爵士在林普恩宅邸的图书馆(19 世纪)--布面油画--24 x 20 x 3/4 英寸。

温斯顿·丘吉尔爵士

JAN JOSEPHSZOON VAN GOYEN - 有风车和小教堂的河流景观 - 油画板上 - 22 1/2 x 31 3/4英寸。

JAN JOSEFSZON VAN GOYEN

SALOMON VAN RUYSDAEL - 沙丘风景与休息的人物和骑马的夫妇,奈梅亨大教堂的景色在外面 - 布面油画 - 26 1/2 x 41 1/2英寸。

萨洛蒙-范-赖斯达尔

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