棕榈沙漠

展览艺术品展示相关新闻服务

我们在棕榈沙漠的画廊位于加利福尼亚州棕榈泉地区，毗邻埃尔帕塞奥的热门购物和用餐区。我们的客户欣赏我们选择的战后、现代和当代艺术。冬季的灿烂天气吸引着来自世界各地的游客参观我们美丽的沙漠，并参观我们的画廊。外面的多山沙漠景观为等待里面的视觉盛宴提供了完美的风景背景。

45188波托拉大道
棕榈沙漠， CA 92260
(760) 346-8926

时间：
周一至周六 9am-5pm

展览

送礼的艺术节日机会

当前

送礼的艺术节日机会

2023 年 11 月 21 日至 2024 年 1 月 20 日

毕加索：画布之外

当前

毕加索：画布之外

2023 年 10 月 4 日至 2024 年 4 月 30 日

别无他乡一个世纪的美国风景

当前

别无他乡一个世纪的美国风景

2023 年 9 月 21 日至 2024 年 3 月 31 日

Ansel Adams：对生命的肯定

当前

Ansel Adams：对生命的肯定

2023 年 9 月 21 日至 2024 年 3 月 31 日

美国西部艺术杰出收藏

当前

美国西部艺术杰出收藏

2023 年 8 月 24 日至 2024 年 2 月 29 日

亚历山大-考尔德塑造原始宇宙

当前

亚历山大-考尔德塑造原始宇宙

2023 年 8 月 23 日至 2024 年 2 月 29 日

乔治亚-奥基夫和安塞尔-亚当斯：现代艺术，现代友谊

当前

乔治亚-奥基夫和安塞尔-亚当斯：现代艺术，现代友谊

2023年7月13日至2024年1月31日

第一个圆。艺术中的圆圈

当前

第一个圆。艺术中的圆圈

2023 年 2 月 14 日至 2024 年 2 月 29 日

你的心血。艺术与文学的交汇点

当前

你的心血。艺术与文学的交汇点

2022 年 9 月 12 日至 2023 年 12 月 31 日

安迪-沃霍尔的宝丽来照片。邪恶的奇迹

当前

安迪-沃霍尔的宝丽来照片。邪恶的奇迹

2021 年 12 月 13 日至 2024 年 3 月 31 日

加州，我们来了：加州印象派画家

当前

加州，我们来了：加州印象派画家

2021 年 7 月 12 日至 2023 年 12 月 31 日

模式与装饰。女权主义与友谊

当前

模式与装饰。女权主义与友谊

2020 年 9 月 14 日至 2023 年 12 月 31 日

杰康公园：生命与根

当前

杰康公园：生命与根

2020 年 3 月 12 日至 2024 年 3 月 31 日

欧文·诺曼：暗物质

当前

欧文·诺曼：暗物质

2019 年 11 月 27 日至 2024 年 3 月 31 日

春天的花，破土而出

档案

春天的花，破土而出

2023年5月8日-11月30日

波普艺术。买不到我的爱

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波普艺术。买不到我的爱

2023 年 1 月 26 日至 10 月 31 日

剪纸。独特的纸上作品

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剪纸。独特的纸上作品

2022年4月27日 - 2023年10月31日

安迪-沃霍尔：边缘的魅力

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安迪-沃霍尔：边缘的魅力

2021年10月27日 - 2023年9月30日

美丽的时代：镀金时代的美国艺术

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美丽的时代：镀金时代的美国艺术

2021年6月24日 - 2023年8月31日

这在80年代是可以接受的

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这在80年代是可以接受的

2021年4月27日 - 2023年8月31日

更多关于生活：来自莫奈及其他的印象派对话

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更多关于生活：来自莫奈及其他的印象派对话

2022年8月17日 - 2023年8月31日

亚历山大-考尔德。绘画的宇宙

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亚历山大-考尔德。绘画的宇宙

2022年8月10日 - 2023年8月31日

遇见生活。N.C. Wyeth和大都会人寿的壁画

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遇见生活。N.C. Wyeth和大都会人寿的壁画

2022年7月18日 - 2023年4月25日

保罗·詹金斯：着色现象

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保罗·詹金斯：着色现象

2019年12月27日 - 2023年3月31日

N.C. Wyeth:绘画的十年

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N.C. Wyeth:绘画的十年

2022年9月29日 - 2023年3月31日

赫伯-阿尔伯特：低声的对话

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赫伯-阿尔伯特：低声的对话

2023年3月7日至3月13日

乔治亚-奥基夫和马斯登-哈特利。现代心态

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乔治亚-奥基夫和马斯登-哈特利。现代心态

2022年2月1日 - 2023年2月28日

诺曼·扎米特：色彩的前进

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诺曼·扎米特：色彩的前进

2020年3月19日 - 2023年2月28日

感官的雕塑。户外雕塑

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感官的雕塑。户外雕塑

2021年8月4日-2023年2月28日

美洲的具象艺术大师

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美洲的具象艺术大师

2023年1月4日至2月12日

詹姆斯-罗森奎斯特：有潜力的流行音乐

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詹姆斯-罗森奎斯特：有潜力的流行音乐

2021年6月7日-2023年1月31日

每个人都需要一个幻想。美国的波普艺术

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每个人都需要一个幻想。美国的波普艺术

2021年6月7日-2023年1月31日

抽象表现主义。超越激进主义

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抽象表现主义。超越激进主义

2022年1月12日 - 2023年1月31日

艺术的礼物

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艺术的礼物

2022年11月24日 - 2023年1月7日

一个闪亮的假期。每个人的艺术

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一个闪亮的假期。每个人的艺术

2022年12月15日 - 2023年1月7日

黑色抽象。Felandus Thames, Rodney McMillian, Sam Gilliam, 和Theaster Gates

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黑色抽象。Felandus Thames, Rodney McMillian, Sam Gilliam, 和Theaster Gates

2020年5月-2022年12月

我自己的皮肤。弗里达-卡洛和迭戈-里维拉

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我自己的皮肤。弗里达-卡洛和迭戈-里维拉

2022年6月16日至12月31日

约瑟夫-阿尔贝斯。绘画的核心

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约瑟夫-阿尔贝斯。绘画的核心

2022年5月12日-11月30日

微妙的富丽堂皇

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微妙的富丽堂皇

2021年9月8日 - 2022年8月31日

抽象表现主义。顽强的女性

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抽象表现主义。顽强的女性

2021年11月1日 - 2022年8月31日

亚历山大-考尔德。描绘宇宙

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亚历山大-考尔德。描绘宇宙

2022年3月2日至8月12日

奔驰的物质。神奇的品质

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奔驰的物质。神奇的品质

2021年3月22日 - 2022年6月30日

其余的如此美丽。当代艺术与中国

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其余的如此美丽。当代艺术与中国

2020年5月12日-2022年6月30日

一个看不见的国家。美国亚裔艺术家与抽象主义

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一个看不见的国家。美国亚裔艺术家与抽象主义

2020年4月23日-2022年6月30日

摩尔！摩尔！摩尔！亨利-摩尔与雕塑

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摩尔！摩尔！摩尔！亨利-摩尔与雕塑

2021年3月3日 - 2022年4月30日

静物，静物，静物

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静物，静物，静物

2020年4月10日 - 2022年4月30日

伊莱恩和威廉-德库宁。光中的绘画

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伊莱恩和威廉-德库宁。光中的绘画

2021年8月3日 - 2022年1月31日

档案

酷派

2020年3月30日 - 2021年12月31日

美国之眼：帕迪收藏精选集

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美国之眼：帕迪收藏精选集

2021年2月28日-12月31日

安迪-沃霍尔的宝丽来照片。Ars Longa

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安迪-沃霍尔的宝丽来照片。Ars Longa

2020年12月10日-2021年12月31日

安迪-沃霍尔的宝丽来照片。我，我自己和我

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安迪-沃霍尔的宝丽来照片。我，我自己和我

2020年12月10日-2021年12月31日

安迪-沃霍尔的宝丽来照片。闪闪发光

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安迪-沃霍尔的宝丽来照片。闪闪发光

2020年12月10日-2021年12月31日

安迪-沃霍尔的宝丽来照片。把它带到T台上

档案

安迪-沃霍尔的宝丽来照片。把它带到T台上

2020年12月10日-2021年12月31日

Maurice Golubov

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Maurice Golubov

2020年10月1日 - 2021年12月31日

犹太现代主义第二部分：从夏加尔到诺曼的塑像。

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犹太现代主义第二部分：从夏加尔到诺曼的塑像。

2020年4月30日 - 2021年12月31日

本月浏览量最大的艺术作品

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本月浏览量最大的艺术作品

10月14日-11月14日，2021年

Gloria Luria系列

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Gloria Luria系列

2020年3月16日 - 2021年10月31日

文森特-梵高和大林荫道上的伟大印象派画家们

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文森特-梵高和大林荫道上的伟大印象派画家们

2021年3月2日-8月10日

现代版画

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现代版画

2020年12月26日-2021年6月19日

流行人物：梅尔-拉莫斯和汤姆-韦瑟曼Mel Ramos和Tom Wesselmann

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流行人物：梅尔-拉莫斯和汤姆-韦瑟曼Mel Ramos和Tom Wesselmann

2020年3月26日-2021年4月30日

激进路线

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激进路线

2020年4月11日-2021年1月31日。

Herb Alpert:近期作品

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Herb Alpert:近期作品

2020年9月28日至12月13日

印象派与现代艺术的宝石

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印象派与现代艺术的宝石

2020年2月19日至10月31日

酷酷的不列颠尼亚：英国青年艺术家

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酷酷的不列颠尼亚：英国青年艺术家

2020年4月2日至9月30日

每周机会

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每周机会

2020年6月26日至8月31日

嗜血者布朗和保罗·旺纳：通过不同镜头看

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嗜血者布朗和保罗·旺纳：通过不同镜头看

2019年11月1日-2020年7月31日。

哈塞尔·史密斯：测量绘画

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哈塞尔·史密斯：测量绘画

2020年2月12日至4月20日

梅萨现代

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梅萨现代

2020年2月13日至2月29日

加州人

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加州人

2019年11月1日至2020年2月14日

华丽的极简主义

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华丽的极简主义

2019年12月3日 - 2020年1月31日

保罗·詹金斯和罗伯特·纳特金

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保罗·詹金斯和罗伯特·纳特金

2019年11月1日至12月27日

莫里斯·路易斯 - 早期绘画

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莫里斯·路易斯 - 早期绘画

2019年10月11日至11月30日

关于主要分歧：从约翰·菲利普·法尔特到芭芭拉·克鲁格的美国风景

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关于主要分歧：从约翰·菲利普·法尔特到芭芭拉·克鲁格的美国风景

九月 5 - 十一月 2， 2019

安塞尔姆·基费尔

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安塞尔姆·基费尔

2019年8月15日至9月30日

保罗·詹金斯：现象

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保罗·詹金斯：现象

2019年7月1日至8月31日

保罗·旺纳和威廉·西奥菲斯·布朗的遗产

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保罗·旺纳和威廉·西奥菲斯·布朗的遗产

2019年7月21日至8月31日

好奇心的线索：从著名的中西部集合的选择

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好奇心的线索：从著名的中西部集合的选择

2019年7月22日至8月31日

材料和抽象：Theaster盖茨，山姆吉利亚姆和罗德尼麦克米利安

档案

材料和抽象：Theaster盖茨，山姆吉利亚姆和罗德尼麦克米利安

2019年7月25日至8月31日

彼得·谢尔顿：你撞到的东西

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彼得·谢尔顿：你撞到的东西

2019年7月16日至8月31日

亚历山大·卡尔德：宇宙抽象

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亚历山大·卡尔德：宇宙抽象

2019年6月21日至8月30日

朱利安·施纳贝尔

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朱利安·施纳贝尔

六月 4 - 七月 31， 2019

哈塞尔·史密斯

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哈塞尔·史密斯

2019年5月6日至6月30日

吕克·伯纳德：非常规边界

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吕克·伯纳德：非常规边界

5 月 3 日至 5 月 31， 2019

山姆·弗朗西斯：从黄昏到黎明

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山姆·弗朗西斯：从黄昏到黎明

2018年11月15日- 2019年4月29日

建筑景观

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建筑景观

2018年12月1日 - 2019年1月31日

N.C. 惠氏：绘画和插图

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N.C. 惠氏：绘画和插图

2018年2月1日至5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2月17日至5月31日

格雷戈里·苏米达：美国

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格雷戈里·苏米达：美国

2018年4月5日至5月31日

崇高的抽象

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崇高的抽象

2017年11月25日 - 2018年5月31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3月21日至5月30日

沃伊切赫·方戈尔

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沃伊切赫·方戈尔

2017年11月25日 - 2018年3月17日

爱德华·柯蒂斯

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爱德华·柯蒂斯

2018年2月3日至3月17日

法拉利与未来主义者：意大利人对速度的观察

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法拉利与未来主义者：意大利人对速度的观察

2016 年 11 月 21 日 - 2017 年 1 月 30 日

亚历山大·卡尔德

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亚历山大·卡尔德

2015 年 11 月 21 日 - 2016 年 5 月 28 日

加州印象派大师

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加州印象派大师

2014 年 11 月 22 日 - 2015 年 5 月 23 日

劳伦斯·席勒：玛丽莲·梦露和60年代的伟大时刻

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劳伦斯·席勒：玛丽莲·梦露和60年代的伟大时刻

2012年11月23日 - 2013年1月31日

绘画抽象：AbEx的球体

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绘画抽象：AbEx的球体

2011年11月25日 - 2012年5月31日

瓦西故事：伊子子的作品

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瓦西故事：伊子子的作品

2011年12月11日 - 2012年1月28日

印象派与现代艺术大师

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印象派与现代艺术大师

2010年11月20日 - 2011年9月25日

毕加索

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毕加索

2009年11月20日 - 2010年5月25日

图稿

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

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

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

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

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

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

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

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

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

"La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.<br><br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt.

毕加索

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

ALBERT BIERSTADT - 金门 - 布面油画 - 27 3/8 x 38 3/4 英寸。

阿尔伯特-比尔斯塔特

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

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

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

作为1887年以来蓬勃发展的比利时新印象派运动中无可争议的大师，泰奥-范-雷塞尔贝格在二十世纪的第一个十年里为他的妻子玛丽亚（née Monnom）画了这幅肖像画。他从惠斯勒的调子主义、印象主义和修拉的点彩主义的影响中继续前进，完善了对色彩及其和谐共鸣的高度理解，并对形式元素进行了细致的渲染。作为一个模范的绘图员，基于色彩互动的光学印象仍然是范-赖塞尔伯格的主要关注点。在这里，色彩的短笔画取代了点彩画家的小圆点，而色彩方案也不是艺术家当之无愧的同质化、和谐的方案。相反，这幅肖像画以一种完全不同的方式推进了色彩理论。它的视觉兴趣在于他妻子的银色头发、她的铂金色衣服和惨白的壁炉壁炉的动态对比--所有这些都是在以互补的红色和绿色为主的视觉活力的环境中进行的。这是一个视觉刺激的演示，画家了解这种不寻常的色彩方案的动态影响，他将坐着的人安排在一个强烈的对角线上，并以一个完全控制其绘画资产的画家的工艺和敏捷性来执行这一公式。

泰奥-范-雷塞尔贝格

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion. <br><br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510. The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s. Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst. There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

欧文·诺曼

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

Nues》中的人物是围绕着一个中心的odalisque人物自由发展的，这种方式表明早在1906年就占据了毕加索的主题，即在后宫环境中的女性放纵。在描述他的晚期绘画时，毕加索指出，"人们永远不知道会出现什么，但一旦开始绘画，一个故事或一个想法就会诞生......我在绘画时花了一个又一个小时，观察我的生物，思考他们的疯狂行为......这很有趣，相信我。"努埃斯》让人想起了这种评价，这是一种只有毕加索才能做到的自由自在的嬉戏。在众多的姿势中，在游泳池中游泳的简略人物特别迷人。

毕加索

梅尔-拉莫斯 - 下楼梯的裸体 #2 - 布面油画 - 70 x 52 1/8 英寸。

梅尔·拉莫斯

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

皮埃尔-邦纳（PIERRE BONNARD）

JEAN ARP - 雕塑神话 - 青铜 - 25 x 9 1/2 x 12 in.

简·阿普

GEORGES ROUAULT - Carlotta - 布面油画 - 15 7/8 x 12 1/4 in.

GEORGES ROUAULT

埃德瓦德-蒙奇--海岸上的房子 I--木刻于梭织纸上，艺术家手工添加水彩--16 x 23 英寸。

EDVARD MUNCH

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

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

HERB ALPERT - 箭头 - 青铜 - 201 x 48 x 48 in.

HERB ALPERT

鲁道夫-鲍尔作为非客观抽象主义的先驱者，其声誉最常与瓦西里-康定斯基相提并论。在最伟大的抽象艺术家中，这一神圣的地位是当之无愧的。但无论好坏，鲍尔在艺术史上的地位都与他在前情人希拉-雷贝的指导下与索罗曼-R-古根海姆签订的那份命运多舛的合同密不可分。 Presto 10》创作于1917年，当时鲍尔是柏林画廊Galerie Der Sturm的固定成员，很可能在1917年、1918年和1920年的艺术家个展中展出。这幅画也是鲍尔和希拉-雷贝选择参加1939年6月1日开幕的纽约世界博览会 "明天的艺术 "展览的画作之一。它被列入所罗门-R-古根海姆非客观绘画收藏的第五份目录中。

鲁道夫·鲍尔

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

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

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

琼·米罗

在赫伯-艾伯特的许多青铜铸造的、经过丝光处理的精神图腾中，很少有 "勇士 "这种独特的男性感觉。顶端有一个下降的锯齿状的皇冠，它可以很容易地指代猛禽的头顶和平原印第安酋长的头饰，"勇士 "这个标题是一个恰当的描述，涉及到力量、勇气和牢不可破的精神等属性。与亨利-摩尔的作品一样，这些联想部分取决于负空间，以创造这个强大的雕塑的动态和强烈印象。

HERB ALPERT

约瑟夫-斯特拉 - 卧姿裸体 - 布面油画 - 50 x 52 1/2 英寸。

JOSEPH STELLA

GERARD CURTIS DELANO - 纳瓦霍营地 - 板上油画 - 23 1/2 x 29 1/2 英寸。

GERARD CURTIS DELANO

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

RODOLFO MORALES

© 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

© 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

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

IRVING NORMAN - 学院 - 画布上的油画 - 110 x 90 in.

欧文·诺曼

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

© 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

PAUL JENKINS - Phenomena By Return - 丙烯酸画布 - 104 3/4 x 49 5/8 in.

保罗·詹金斯

罗斯·布莱克纳是一位著名的美国画家，他的作品参考了损失、记忆和变化，如在艾滋病流行期间或对他父亲的癌症诊断的探索。1965年MoMA展览将Op Art带到了一个醒目的"反应之眼"，包括艺术家理查德·阿努斯基维奇、塔达斯基和弗朗西斯·塞伦塔诺，这对他作为一个艺术家产生了深远的影响。这幅画，像他的其他身临其境，大规模的作品，引起了强大的，催眠，令人眼花缭乱的效果。布莱克纳的画布在美学上令人赏心悦目，探索感知——视觉、情感、身体、时间。布莱克纳是朱利安·施纳贝尔、大卫·萨勒、埃里克·菲施尔和彼得·哈雷的同一代和朋友，他们都把绘画技巧重新回到画布上。

罗斯·布莱克纳

© 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

IRVING NORMAN - 告别 - 画布上的油画 - 90 x 100 in.

欧文·诺曼

ANSEL ADAMS - 冬日日出，内华达山脉，来自孤松镇 - 明胶银版画 - 18 3/4 x 22 3/4英寸。

安赛尔-亚当斯

MARC QUINN - Lovebomb - 铝合金上的照片层压 - 108 1/4 x 71 3/4 x 37 3/4英寸。

马克·奎因

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

IRVING NORMAN - 图腾 - 画布上的油画 - 72 x 110 in.

欧文·诺曼

黛博拉·巴特菲尔德是一位美国雕塑家，以她由木材、金属和其他发现物品制成的马匹雕塑而闻名。1981年的作品，无题（马），由木棍和纸在电线骨架。这部作品的令人印象深刻的规模创造了一个显着的效果，提出了巴特菲尔德的著名题材的一个引人注目的例子。巴特菲尔德最初用她在蒙大拿州博兹曼的房产上找到的木材和其他材料来制作马，并将这些马视为一个比喻性的自画像，挖掘了这些形式的情感共鸣。

德博拉·巴特菲尔德

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

HERB ALPERT

HERB ALPERT - 音乐会大师 - 青铜 - 93 x 14 in.

HERB ALPERT

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

安迪·沃霍尔

EDGAR ALWIN PAYNE - 纳瓦霍人在休息 - 布面油画 - 19 1/2 x 23 1/2 in.

埃德加·阿尔温·佩恩

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

安迪·沃霍尔

MERCEDES MATTER - 静物 - 布面油画，铺在木板上 - 36 x 40 in.

梅赛德斯物质

米尔顿-艾弗里--海边的村庄--纸上水彩、芦苇笔和铅笔--21 1/2 x 30 1/4 英寸。

米尔顿-阿弗里

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western. <br><br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

VALERIE JAUDON

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

中文

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

安迪·沃霍尔

安塞尔-亚当斯--新墨西哥州北部的白杨树--明胶银版画--15 1/4 x 19 1/4英寸。

安赛尔-亚当斯

EDGAR ALWIN PAYNE - Sotto Marino的威尼斯船 - 板上油画 - 23 3/8 x 26 1/4 英寸。

埃德加·阿尔温·佩恩

理查德-迪本科恩曾经解释说："所有的绘画都是从一种情绪开始的，从与事物或人的关系开始的，从一个完整的视觉印象开始的。"迪本科恩因其在湾区具象艺术运动中的决定性作用而闻名，与战后主导纽约市的抽象艺术相对立，迪本科恩经常在具象和抽象之间摇摆不定。1952年，他在厄巴纳的伊利诺伊大学担任了一个学年的教职。在那里，他向建筑系的学生教授初级绘画，并将他家的一间卧室作为工作室使用。1952-53年的这段时期，即所谓的乌尔巴纳系列，是迪本科恩风格发展中的一个富有成效的关键时期。他通过抽象对具象的创新探索就是从这些关键的早年开始的，并将在他60年代末至80年代广为人知的海洋公园系列中得到充分实现。

理查德·迪本科恩

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

安迪·沃霍尔

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

HENRI MANGUIN

WAYNE THIEBAUD - Paint Cans - 彩色石版画，绒面纸 - 38 3/4 x 29 1/8 英寸。

韦恩·蒂博

ELAINE DE KOONING - 斗牛士 - 纸上水粉画 - 7 3/4 x 9 1/2 in.

伊莱恩·德·库宁

SETH KAUFMAN - Lignum Spire - 青铜，带绿色铜锈 - 103 1/2 x 22 x 17 英寸。

塞特·考夫曼

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

中文

WILLIAM WENDT - 加州风景 - 布面油画 - 23 1/2 x 31 3/4 in.

威廉·温特

ANDY WARHOL - Untitled (Flowers) - 纸上墨水和水彩 - 15 1/4 x 12 3/8 英寸。

安迪·沃霍尔

安迪-沃霍尔--《影子》（选自《神话》）--纸上印有钻石粉的彩色丝网版画--37 1/2 x 37 1/2英寸。

安迪·沃霍尔

多纳德苏丹 - 黄色郁金香#18 - 油和焦油在纸上 - 20 x 20 in.

唐纳德·苏丹

BLANCHE LAZZELL - "绘画XII "的第4号研究 - 纸上水粉画 - 8 7/8 x 8 in.

BLANCHE LAZZELL

HERB ALPERT - 反平衡 - 青铜 - 28 x 28 in.

HERB ALPERT

HERB ALPERT - 人性 - 青铜 - 44 x 10 x 7 in.

HERB ALPERT

AI WEIWEI - "Fairytale "椅子 - 木制 - 49 x 45 x 17 1/2英寸.

艾伟伟

JULIAN OPIE - Bijou Gets Undressed 5 - Fedrigoni Sirio 纸上丝网版画 - 20 1/2 x 38 1/8 英寸。

JULIAN OPIE

JULIAN OPIE - Bijou Gets Undressed 8 - Fedrigoni Sirio 纸上丝网版画 - 20 1/2 x 38 1/8 英寸。

JULIAN OPIE

CARL MORRIS - 白色领域 - 布面丙烯 - 75 x 63 英寸。

卡尔·莫里斯

ROSS BLECKNER - 无题 - 油画纸上 - 37 1/2 x 24 3/4 in.

罗斯·布莱克纳

HERB ALPERT - 金色的梦 - 丙烯酸在画布上 - 48 x 72英寸。

HERB ALPERT

HERB ALPERT - Now Hear This - 丙烯酸画布 - 48 x 72 in.

HERB ALPERT

HERB ALPERT - 逆风 - 布面丙烯 - 48 x 72 英寸。

HERB ALPERT

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3/8 in.

安迪·沃霍尔

安迪-沃霍尔 - 安迪-沃霍尔 - 银胶版画 - 10 x 8 in.

安迪·沃霍尔

ANDY WARHOL - George - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

ROY LICHTENSTEIN - Haystack #6 - 石版画 - 13 1/4 x 23 1/2 英寸。

罗伊·利希滕斯坦

ROY LICHTENSTEIN - Haystack #4 - 石版画 - 13 1/4 x 23 1/2 英寸。

罗伊·利希滕斯坦

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

HERB ALPERT - 观察者 - 布面丙烯 - 60 x 36 in.

HERB ALPERT

HERB ALPERT - 断裂的记忆 - 丙烯酸在画布上 - 60 x 36 in.

HERB ALPERT

HERB ALPERT - 只是一个梦的距离 - 丙烯酸在画布上 - 60 x 36 in.

HERB ALPERT

MICAELA AMATO - 喀麦隆女孩 - 铸造玻璃 - 16 x 12 x 10 1/2 in.

米凯拉·阿马托

约翰-巴尔代萨里 - 前排（瓦伦丁） - 17色丝网印刷 - 37 3/4 x 33 3/4英寸。

约翰-巴尔德萨里

JOHN MILLEI - 无题 - 油彩丙烯画 - 24 x 28 英寸.

JOHN MILLEI

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 12 x 14 5/8 in. ea.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 10 x 13 in. ea.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 9 1/8 x 13 7/8 in. ea.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 11 3/4 x 11 3/4 in. ea.

约塞夫·阿尔伯斯

梅尔文·马丁内斯 - 气泡 - 纸上的混合介质 - 14 x 18 in.

梅尔文·马丁内斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 10 x 12 7/8 in.

约塞夫·阿尔伯斯

乔治·奥尔特曼 - 十件作品 X 十位画家 - 丝网印刷 - 24 x 20 in.

乔治·奥尔特曼

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 12 7/8 x 15 3/4 in.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 8 1/4 x 17 in.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 12 1/4 x 12 1/4 in.

约塞夫·阿尔伯斯

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特色艺术

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

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

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

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

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

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

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

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

北卡罗来纳州

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

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

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

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

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

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

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

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

琼·米罗

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

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