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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。

172中心街，套房101
邮政信箱3580
杰克逊霍尔， WY 83001
(307) 200-6090

工作时间。周一至周六上午11点至下午6点

展览

赫伯-阿尔伯特：咖啡画

当前

赫伯-阿尔伯特：咖啡画

2020年12月22日 - 2023年9月30日

马克斯-佩莱格里尼：沉默与幻想

当前

马克斯-佩莱格里尼：沉默与幻想

2020年7月30日 - 2023年9月30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

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

杰克逊霍尔 - 顶级作品

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杰克逊霍尔 - 顶级作品

2022年9月15日-10月15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

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

我们所看到的一切。从莫奈到克莱奇的印象派风景画

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我们所看到的一切。从莫奈到克莱奇的印象派风景画

2021年8月9日 - 2022年9月30日

美国和欧洲的印象派和现代艺术奇迹

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美国和欧洲的印象派和现代艺术奇迹

2020年8月26日-2021年4月30日

肖像。从19世纪到今天

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肖像。从19世纪到今天

2020年8月26日-2021年4月30日

杰克逊霍尔：从1900年到今天的亮点

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杰克逊霍尔：从1900年到今天的亮点

2019年11月1日-2020年7月31日。

山姆·弗朗西斯：在杰克逊霍尔的景观

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山姆·弗朗西斯：在杰克逊霍尔的景观

2019年7月1日至10月15日

爱德华·霍珀

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爱德华·霍珀

2019年7月1日至9月30日

安迪·沃霍尔

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安迪·沃霍尔

2019年7月16日至8月31日

大卫·莱文塔尔

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大卫·莱文塔尔

2018年12月1日 - 2019年1月31日

赫伯·阿尔珀特：视觉旋律

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赫伯·阿尔珀特：视觉旋律

2018年8月1日至9月30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

伊莱恩·德·库宁

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伊莱恩·德·库宁

2018年7月1日至8月4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

马克斯·佩莱格里尼：回顾展

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马克斯·佩莱格里尼：回顾展

2015 年 11 月 27 日 - 2016 年 3 月 27 日

厄尔·坎宁安：美国福夫

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厄尔·坎宁安：美国福夫

2011年9月8日至10月29日

图稿

IRVING NORMAN - 董事会主席 - 布面油画 - 90 x 48 in.

欧文·诺曼

IRVING NORMAN - Carousel Restaurant - 油画 - 60 x 72 in.

欧文·诺曼

NATHAN OLIVEIRA - 从地毯上走下来的裸体 - 布面油画 - 52 x 48 英寸。

内森·奥利维拉

NATHAN OLIVEIRA - 蓝眼睛的人物 - 布面油画 - 66 x 54 in.

内森·奥利维拉

ANDY WARHOL - 金宝汤的胡椒罐 - 彩色丝网印刷 - 35 x 23 in.

安迪·沃霍尔

纳坦奥利维拉 - 无标题 - 画布上的油画 - 84 X 63 in.

内森·奥利维拉

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

玛丽·科罗斯

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus. <br><br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

马克斯·佩莱尼

IRVING NORMAN - 磨砂窗 - 油彩画布 - 36 x 90 英寸。

欧文·诺曼

FIONA RAE - 无题（黄、红+棕） - 布面油画 - 72 x 78 英寸。

FIONA RAE

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.<br><br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

马克斯·佩莱尼

一个年轻男人和女人互相拥抱，一个女人抱着一个孩子，一个熟睡的婴儿拿着一条黑色和红色的线，另一个年轻女子脱光衣服，天使在拼贴画中像作文一样展开翅膀。这些角色共同创造了一个叙事，其中年轻的爱情，命运和生活交织在一起：沉睡的婴儿持有一条红线和黑线，让人想起神话中的三个命运，谁旋转生与死在他们的织机。这些线在物理上与年轻的恋人相连，他们互相拥抱，完全不知道婴儿对他们Holdhold。一个女人抱着一个孩子看着年轻的男孩和女孩的爱，就像玛丽和耶稣看着和保卫人类。叙述和符号的融合是佩莱格里尼作品中的一个共同元素，在这里被巧妙地表达。

马克斯·佩莱尼

一个披着斗篷的人物的镜像拥抱着一个赤裸着胸膛和胡子的男人，他相对的身材几乎像孩子一样。他们的拥抱反映了米开朗基罗的皮耶塔，以及许多类似的基督和麦当娜的描述。深浅的蓝色阴影在构图上投下阴影，无疑是一个时间指标，但也可能提到毕加索的蓝色时期，对佩莱格里尼的艺术作品有重要影响。人物背后的墙板描绘了宗教场景，并提醒观众教堂和教堂的彩色玻璃墙。灯光从下面的城市的窗户照耀，也照亮了满月高峰在山区的风景。

马克斯·佩莱尼

HERB ALPERT - 三根羽毛 - 青铜 - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - 鹰瀑布 - 青铜 - 41 1/2 x 10 x 10 in.

HERB ALPERT

费尔南多·坎诺瓦斯 - 索多姆 • 戈莫拉 - 帆布上的丙烯酸 - 63 5/8 x 51 1/4 in.

费尔南多·坎诺瓦斯

费尔南多·CANOVAS - 索多姆 - 帆布上的丙烯酸 - 63 5/8 x 51 1/4 in.

费尔南多·坎诺瓦斯

RUSSELL YOUNG - 白兰度肖像 - 带钻石灰尘的亚麻布上的丝网印 - 62 5/8 x 47 3/4 in.

罗素·扬

彼得 D. GERAKARIS - 达芙妮 I - 画布上的油 - 72 x 36 in.

彼得·格拉卡里斯

彼得 D. GERAKARIS - 达芙妮二世（拍打低音） - 画布上的油 - 72 x 36 in.

彼得·格拉卡里斯

康斯坦斯·马林森 - 耦合 - 纸上油画 - 95 x 52 1/2 in.

康斯坦斯·马林森

SAUL KAMINER - La Peluquera - 油画 - 63 1/4 x 51 1/4 in.

SAUL KAMINER

康斯坦斯·马林森 - 断肢 - 纸上油 - 52 1/2 x 60 1/2 in.

康斯坦斯·马林森

DEBORAH OROPALLO - 无题 - 布面油画 - 76 x 67 英寸。

DEBORAH OROPALLO

PAUL JENKINS - 无标题 - 水彩和纸上的墨水 - 29 3/4 x 42 3/4 in.

保罗·詹金斯

通过讽刺的观点，将历史和身体叙事混为一致，不断膨胀、崩溃、增加历史叙事和身体叙事。

埃德加·塞拉诺

拉森·席勒 - 鲍比·肯尼迪，Pg 25 - 白金印花 - 24 x 20 in.

拉森·席勒

Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."<br><br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.

托尼·德·洛斯·雷耶斯

威廉·韦格曼 - 双肖像 - 银明胶打印 - 7 1/4 x 6 3/4 in.

威廉·韦格曼

PENELOPE GOTTLIEB - Diosorea Bulbifera - 奥杜邦印刷品上的丙烯酸和墨水 - 38 x 26 in.

佩内洛普·戈特利布

LUC BERNARD - 边缘 14 号 - 画布上的油画 - 40 x 40 in.

吕克·伯纳德

威廉·威格曼 - 三个娃娃 - 银明胶打印 - 7 1/4 x 6 3/4 in.

威廉·韦格曼

LUC BERNARD - 边缘 11 号 - 画布上的油画 - 42 x 35 in.

吕克·伯纳德

LUC BERNARD - 边缘 15 号 - 画布上的油画 - 36 x 31 in.

吕克·伯纳德

佩内洛普·戈特利布

拉森·席勒 - 玛丽莲·梦露，"有东西得给" - 银色明胶打印 - 24 x 20 英寸。

拉森·席勒

EDWARD STEICHEN - 科莱特 - 银色明胶打印 - 13 x 10 1/4 in.

爱德华·施泰钦

EDWARD STEICHEN - Walden Pond - 银色明胶印刷品 - 9 x 13 英寸。

爱德华·施泰钦

EDWARD STEICHEN - 即兴创作。"乔治-华盛顿"--银胶版画--9 x 7 1/4英寸。

爱德华·施泰钦

EDWARD STEICHEN - Carl Sandburg - 黑白照片 - 12 1/2 x 10 1/4 in.

爱德华·施泰钦

EDWARD STEICHEN - 自画像与摄影用具 - 银胶印刷品 - 13 1/4x 8 3/4英寸。

爱德华·施泰钦

LUC BERNARD - Cinergy No 4 - 布面油画和墨汁 - 10 x 14 英寸。

吕克·伯纳德

高级主管

安德烈-WEB-POST

ANDREA RICO DAHLIN

高级主管
怀俄明州杰克逊霍尔市

[email protected]

在这个行业接近20年，安德里亚拥有纽约州宾汉姆顿大学的艺术史学士学位，辅修美术，以及纽约州佳士得教育的现代艺术、鉴赏和艺术市场史硕士学位。她带来了她在博物馆和拍卖行的经验，曾在堪萨斯城的Nelson-Atkins艺术博物馆和纽约的佳士得工作过。

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

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

迪戈-里韦拉--恩里克塔-G-达维拉的肖像--布面油画--79 1/8 x 48 3/8 英寸。

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

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

托姆·韦塞尔曼

When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.

韦恩·蒂博

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

阿尔弗雷德·西斯利

EMIL NOLDE - Sonnenblumen, Abend II - 布面油画 - 26 1/2 x 35 3/8 in.

EMIL NOLDE

ALEXANDER CALDER - 十字架 - 布面油画 - 28 3/4 x 36 1/4 in.

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

FRIDA KAHLO - 锤子和镰刀（和未出生的婴儿） - 干石膏和混合媒体 - 16 1/4 x 13 x 6 in.

弗里达·卡洛

N.C. WYETH - 夏天。"Hush" - 布面油画 - 33 3/4 x 30 1/4 in.

北卡罗来纳州

SEAN SCULLY - 灰色的红色 - 铝制油画 - 85 x 75 英寸。

塞恩·斯卡利

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

ANISH KAPOOR - Halo - 不锈钢 - 120 x 120 x 27 in.

阿尼什·卡普尔

TOM WESSELMANN - 卧室里的黑发女郎与鸢尾花 - 油画在镂空铝板上 - 105 3/4 x 164 5/8 英寸。

托姆·韦塞尔曼

MARSDEN HARTLEY - 巴赫前奏曲和赋格曲第1号（音乐主题）--布面油画，铺在木板上--28 1/2 x 21英寸。

马斯登-哈特利

Pablo Picasso was not only the greatest painter and most innovative sculptor of the twentieth century, but he was also its foremost printmaker. He produced a staggering number of prints in every conceivable medium. Yet Picasso’s crowning printmaking achievement may be the linocut, a relief print of such a low technical barrier that it is accessible to almost anyone. If you have ever made a block print and experienced the carving and removing of portions so that a succession of colors can be preserved on the resulting print, it is a thrill to feel in your hand how Picasso created the image.<br><br>Buste de Femme au Chapeau was created in 1962 when Picasso was eighty years of age. Boldly designed and simply conceived, it remains today as a testament to his ever-restless nature and genius for expanding his repertoire. Printed in five vibrant opaque colors – yellow, blue, green, red – and black assembled on the strength of his unmatched graphic skill, it is a portrait inspired by his wife Jacqueline Roque. The assertive layering of color carries a visual impact similar to his paintings in oil. Considered by many collectors as his most important linocut, it was printed and published in an edition of 50. The colors of this particular print — an artist’s proof — are exceptionally fresh and strong.

毕加索

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

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life.<br><br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

北卡罗来纳州

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

ADOLPH GOTTLIEB - Azimuth - 油画 - 95 3/4 x 144 1/4 in.

阿道夫·戈特利布

FRANK STELLA - 火枪 - 铝制混合媒体 - 74 1/2 x 77 1/2 x 33 in.

弗兰克·斯特拉

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

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

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

琼·米罗

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