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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。

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N.C. Wyeth:绘画的十年
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加州印象派大师

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毕加索
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毕加索

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图稿

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

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

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

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

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

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

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

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

在《裸体下楼梯2号》中,梅尔·拉莫斯将马塞尔·杜尚(Marcel Duchamp)的现代主义杰作的遗产与波普艺术充满活力的美学巧妙地交织在一起,精心制作了一种巧妙而具有视觉刺激性的重新诠释。通过将杜尚的抽象运动与他标志性的别针风格联系起来,拉莫斯在受人尊敬的美术传统和商业图像的大胆、图形品质之间创造了一种动态的对话。这件作品体现了拉莫斯驾驭艺术史和当代文化的技巧,利用女性裸体的魅力来探索和讽刺社会对美、欲望和商品化的痴迷。这样一来,拉莫斯的作品就成为了典型的波普艺术混合物,陶醉于与杜尚的俏皮联系,同时批判和庆祝当时的视觉文化。

梅尔·拉莫斯

凯瑟琳-格罗斯(Katharine Grosse)2016 年的《无题》将我们对这位艺术家的欣赏延伸到了画布颜料这一传统媒介上,她将在其不朽建筑装置作品中看到的活力、大胆和对传统的漠视带到了画布上。色彩从复杂而层次丰富的表面中迸发出来,这些表面由流淌、滴落或飞溅的颜料浇筑而成,还有光芒四射的透明面纱,以及雾状的重叠色带,形成柔和的渐变过渡。作品给人以空间深度和立体感的迷人印象。同时,这也是格罗斯将混乱与控制、自发性与意向性完美融合的杰作。她的一系列技法在偶然与刻意之间创造了引人入胜的对话,这是她独特风格的标志。

卡塔琳娜·格罗斯

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

伊莱恩·德·库宁

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

HERB ALPERT

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

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form.  There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

亚历山大·卡尔德

WILLIAM B. EGGLESTON - Untitled (From Election Eve) - 存档颜料打印 - 32 1/2 x 48 1/4 in.

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

WILLIAM B. EGGLESTON - 《无题》(蓝色汽车,来自尘世的钟声,第11卷)--档案颜料打印 - 31 1/2 x 48 英寸。

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York<br>Two Crosses by Alexander Calder is a striking work on paper, blending transparent watercolor and gouache, showcasing his signature repertoire of shapes and symbols. At its heart lies a large, black 'X' on a fluid, grayish wash, and nearby, a smaller, opaque black cross overlapping a semi-opaque red ball, and to its left, a roundish transparent wash patch hosts a black crescent shape. Several spheres in black provide accompaniment, and the artist's favored primary colors, and at the lower margin, his charming undulating line. Calder's sparing use of watercolor allows the paper's white to showcase the forms and symbols, creating a dynamic, impactful artwork where simplicity and the interplay of transparent and opaque elements captivate the viewer.

亚历山大·卡尔德

亚历山大-考尔德的作品《Rouge Mouille》(湿红)以红色圆圈为背景,一些圆圈像爆炸一样散开,营造出一种活力四射的膨胀感,另一些圆圈则向下延伸,犹如烟花表演的流线型轨迹。这个动画背景上点缀着许多不透明的圆球,以黑色为主,但也穿插着醒目的蓝色、红色和微妙的黄色球体。五颜六色的球体与爆炸性的红色相映成趣,捕捉到了焰火表演的震撼和壮观,将这幅画转化为这一令人眼花缭乱的庆祝活动的视觉隐喻。这幅艺术作品充满了兴奋和活力,以静态的媒介概括了烟花的短暂之美。

亚历山大·卡尔德

IRVING NORMAN - How Come - 布面油画 - 90 x 60 英寸。

欧文·诺曼

当一匹马躺下时,那是因为它感到安全,对于黛博拉·巴特菲尔德来说,这是一种说法,让自己变得脆弱是可以的。“回声”的构造方式尊重她的觅食技能和焊接金属制品的能力,不拘泥于传统的马形象,而是揭示了它的本质。它由拼凑在一起的钢板制成,有些是波纹状的,有些是折叠或卷曲的,这是一件带有时间印记的作品,老化成锈褐色的铜绿,瑕疵被庆祝而不是隐藏。巴特菲尔德对材料的精心选择及其处理方式增添了深度和个性,使《无题,回声》不仅仅是一个马的形象,它反映了它所代表的动物的粗犷之美和韧性。

德博拉·巴特菲尔德

弗兰克-斯特拉(Frank Stella)的巴厘岛系列雕塑作品以浮动和流动的形式为特征,延伸至观者的空间,并邀请观者与其环境互动。在巴厘岛文化中,"dadap "是一种与生长和仪式意义相关的树木,它反映了斯特拉雕塑的有机和动态性质。斯特拉将竹子改用不锈钢和铝材,保留了巴厘岛美学的本质,即推崇有机、流动、动态地与空间互动的形式。Dadap 展示了斯特拉主题探索的连续性,其作品的精神超越了材料。金属具有不同的质感、反射性以及与光线和空间的互动性,但它坚持运动和互动的原则。这是形式和概念在不同媒介间的创造性转换,既保留了最初灵感的精神,又允许新材料的特性在全新的语境中表达这些想法。

弗兰克·斯特拉

曼努埃尔·内里(Manuel Neri)的早期纸制品在雕塑技术上取得了突破性进展,他的雕塑绘画方法反映了他对色彩和形式表现潜力的深入参与。Hombre Colorado II 中颜色的选择和位置创造了一种特别发自内心的反应,反映了他对色彩的心理和情感维度的细致入微的理解。Hombre Colorado II 于 1958 年构思和制作,反映了 Neri 和他的妻子 Joan Brown 从事丰富的艺术创造力交流的时代,并为他们各自风格的演变和湾区具象运动做出了重大贡献,他们在其中发挥了至关重要的作用。

曼纽尔·内里

WILLIAM B. EGGLESTON - 《无题》(来自民主森林) - 档案颜料印刷品 - 31 1/2 x 48 in.

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

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

保罗·詹金斯

曼努埃尔-内里是20世纪60年代湾区具象主义运动的核心人物。该团体不强调抽象形式,而是通过人的形式的力量来强调情感。本作品 "无题"(1982年)以真人大小的尺寸探索了女性的形态。  在他60年的职业生涯中,涅利喜欢只用一个模特,即玛丽亚-朱莉娅-克里门科。许多雕塑作品中没有脸,这就增加了神秘和模糊的元素。无题》中构图的重点是人物的结构和形式。  曼努埃尔-内里被世界各地的博物馆收藏,包括艾迪逊画廊/菲利普斯学院;斯坦福大学的安德森收藏;芝加哥艺术学院;斯坦福大学坎特艺术中心;辛辛那提艺术博物馆;加州萨克拉门托的克罗克艺术博物馆;丹佛艺术博物馆,德克萨斯州的埃尔帕索艺术博物馆;旧金山美术博物馆;哈佛大学艺术博物馆;华盛顿的赫什霍恩博物馆和雕塑园。檀香山艺术博物馆、纽约大都会艺术博物馆和华盛顿特区国家艺术馆。

曼纽尔·内里

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

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

约瑟夫·斯特拉(Joseph Stella)受到他的家乡意大利和收养美国的影响,在具有惊人多样性和独创性的艺术作品中研究了各种非凡的风格和媒介。1911 年,斯特拉驾驭了野兽派、立体主义和未来主义潮流的前卫浪潮,但他是唯一一位与意大利古典大师们日常生活的美国现代主义者。“斜倚裸体”的姿势和处理方式与斯特拉在 1920 年代绘制的一系列作品有关,这些作品描绘了神话或幻想来源的诱人女性,例如“丽达和天鹅”和 Ondine,一个来自 19 世纪流行的浪漫德国童话故事的美丽水仙女。1930 年代创作的《斜倚的裸体》没有花卉或象征主义意象,而是更恰当地反映了那个发人深省的时代。

JOSEPH STELLA

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

HERB ALPERT

20 世纪 90 年代末,曼努埃尔-内里开始将大量石膏雕塑转化为青铜作品,并经常回到早期作品中对每件作品进行新的想象。这些系列作品在形状和表面细节上几乎无法区分,它们探索了不同配色方案和标记制作的影响,其中涉及各种操作,包括刻画、刷、刮或分层材料。通过尝试不同的标记技术,内里可以探索形式、色彩、纹理和光线之间的相互作用。在《3 号立像》的创作中,内里将调色板局限于类似的色彩方案,稀释颜料以创造微妙的层次,从而增强雕塑光滑、精致的外观。

曼纽尔·内里

IRVING NORMAN - Snapshots - 布面油画 - 40 x 90 英寸。

欧文·诺曼

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

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

Op Art evolved as an alternative trend in painting to the abstract expressionist movement of the 1950s. The genesis of the movement was in the 1960s, when artists such as Victor Vasarely, Bridget Riley, and Richard Anuszkiewicz embraced a more structured and geometric approach to their painting, often using visual tricks to create a sense of movement.  While the artistic and spiritual predecessors to OP Art, such as Josef Albers (!888-1976), utilized a softer and more subdued approach, the Op Artists were using bold, large-scale works with variable dimensions to create their visual statement.  <br><br>A student of Albers, Richard Anuszkiewicz, used enamel and acrylic paint on wood in such a way to create his uncompromising and exact compositions.  A great sense of action can be felt in the present work, "Translumina". The sister piece to "Translumina," "Translumina II" (1986), is in the permanent collection of the Albright-Knox Art Gallery, Buffalo.

里查德·阿努斯齐维奇

拉里-贝尔 - 爱国者的宝座 - 布面油画和金属 - 63 x 41 1/2 x 1 1/4英寸。

LARRY BELL

IRVING NORMAN - 人与时间 - 布面油画 - 58 x 30 英寸。

欧文·诺曼

CHARLES ARNOLDI - Sticky Wicket - 胶合板上的亚克力、模型浆料和胶合板上的粘性木棍 - 44 1/4 x 91 x 3 英寸

查尔斯·阿诺迪

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

韦恩·蒂博(Wayne Thiebaud)作为画家广受钦佩。然而,他作为绘图员的能力同样引人注目,在平版印刷中尤为明显,平版印刷是一种以记录艺术家一举一动而闻名的自传媒介。正如 Paint Cans 所充分展示的那样,平版印刷还提供了在纹理和颜色上分层的自由,以实现艺术家表达意图的精明表现。在构图上,“油漆罐”展示了蒂博对秩序的敏锐感,源于对焦点和方向线的强调,展示了他可以突出一组日常用品的独特方式。这是另一部作品,以其高度详细的技术和技巧让观众惊叹不已。

韦恩·蒂博

1962年,当多萝西·胡德(Dorothy Hood)回到休斯敦时,令她高兴的是,美国宇航局(NASA)宣布了一个重大消息:新的航天器中心将在休斯敦。太空旅行的想法与她长期以来对宇宙学的兴趣产生了共鸣,实现登月的英雄愿望为艺术家打开了一些东西。这个新的领域为她的工作提供了信息,并鼓励她做更大的工作。她承认,“发现我可以用(大型画布)做什么是我绘画生涯中最重要的事情。尽管《太空信号》是色域绘画的典范,但她的视觉语言来自其他来源:航天器探测器、天文物体的定期图像,以及她与激发她想象力的科学家和宇航员的许多对话。她创造了这些令人陶醉的美丽,薄薄的酞蓝色调区域,在灵感的翅膀上。

多萝西-胡德

在她成熟的早期,胡德确立了自己作为形而上学图像艺术家的地位,她在 1962 年回到休斯顿后参与了各种宇宙学。《蓝水》是反映她对精神寄托的不懈追求的作品之一。一条饱和的、不透明的蓝色带向前延伸到一个清澈的蓝色蔚蓝球体中,让人联想到一个尘世的水球。这种大胆而和谐的闯入就像一只空灵的手臂,将一种流体状态转化为令人着迷的磷光酞绿,它的华丽和流淌的光彩暗示着神圣的干预,唤起了“上帝之手”的隐喻,为生命的本质注入了活力。胡德对色彩和形式的巧妙运用经常引发对自然界中宇宙或精神拥抱的诠释。然而,她清澈的色彩并没有表现出随机性或不确定性,而是她非凡的掌握和控制力,为《蓝水》增添了另一种敬畏的元素。

多萝西-胡德

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 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

多萝西·胡德(Dorothy Hood)的方法经常涉及美的本质。在《向阿希尔·高尔基致敬》中,美作为一种渠道,加强了我们的有意识的参与,通过视觉上引人注目的展示来引入复杂的想法,如果胡德不是一个如此优雅的技术人员,这一切都是不可能的。两个红色区域内的“腮红和绽放”过渡非常华丽。然而,胡德也是玩弄我们感知的幻觉效果的大师。通过在通道中引入颜色变化,从(我们称之为)带有蓝色底色的月光紫红色到较浅的不透明尘土飞扬的玫瑰,效果取决于观众对颜色的感知如何感知鸿沟。上图中的第一种效果是鸿沟的错觉,第二种效果是将观众可以轻松识别的两块色块分开的视觉屏障。通过在靠近画面平面底部的红色板上放置冰冷的结晶形式,以及相反的在左侧板下方的补丁以强调通道的效果,进一步突出了这种相反的效果。

多萝西-胡德

胡德经常承认,阿希尔·高尔基、爱德华·蒙克、亨利·马蒂斯、巴勃罗·毕加索和马克斯·恩斯特影响了她以非具象抽象方式传达概念和想法的能力。但正是她对神话、科学、自然、灵性和惊人技能的深入研究,将我们带到了感知和经验的极限。《无题》没有乔治亚·奥基夫(Georgia O'Keefe)的植物花卉的细腻、空灵的品质,而是承认了尘世事物创造背后的变革强度。对于胡德来说,从种子到花蕾到花朵再到种子的转变是一个完成的循环,也是由时间的流逝以及物质和精神领域的相互作用所塑造的永恒的蜕变状态。这是她经常回到的最有力的主题之一。

多萝西-胡德

很少有名人能像法拉-福赛特(Farrah Fawcett)一样定义 70 年代。她是电视节目《霹雳娇娃》的特许成员,她的标志性发型被称为 "法拉"(The Farrah),其特点是柔美、飘逸的层次衬托出脸部轮廓,通过将层次的末端向外翻转而呈现出富有弹性的丰盈外观,成为该年代的标志性造型。沃霍尔的肖像代表了福赛特本人,同时也为当时的社会和文化潮流提供了更广泛的注解。最引人注目的是,这两幅华丽的肖像证明了她自然、阳光般灿烂的五官和健康、健美的体态,在她那个时代,这已成为理想美的象征。

安迪·沃霍尔

多萝西·胡德 (Dorothy Hood) 生活和艺术的核心是她在 1941 年至 1962 年间在墨西哥的时光,当时她是文化、政治和社会十字路口的前沿和中心。她的朋友包括超现实主义画家雷梅迪奥斯·瓦罗(Remedios Varo)和莱昂诺拉·卡林顿(Leonora Carrington)以及本土画家鲁菲诺·塔马约(Rufino Tamayo)和何塞·克莱门特·奥罗斯科(JoséClemente Orozco),她与他们建立了深厚的友谊。当她回到休斯敦画她将永远闻名的史诗般的画布时,通往奇幻和难以捉摸的领域的门户为她打开了。Black Vessel 令人回味的形式预示着材料的分层、切割和重新排列,以产生 1980 年代经常占据她的视觉刺激拼贴画。无论有意还是无意,这种排列和相互图案都暗示着一座缅甸宝塔在夜空中的剪影。宝塔主要用作存放文物的纪念碑,分层结构象征着佛教教义。

多萝西-胡德

对于胡德来说,大海和无限广阔的宇宙是彼此的倒影。它们体现了吸引心灵的强大力量,并炫耀着我们对控制的幻想。虚空是一种无限的原始力量,它超越了我们对其真实本质的理解。对于胡德来说,在画布的有限边界内构建无限的挑战成为她一生的工作。在《海中之脸》中,鲜明的黑色区域给人一种负空间的印象,就像浩瀚的空间本身一样,即兴的红色爆发就像天体现象;星云、彗星和星系出现在那个虚空中。黑色的锋利边缘就像事件视界一样,模糊但又清晰,暗示着看不见的维度,一个虚空,反映了空间迷失方向的浩瀚。这种效果是宇宙学和心理的,这件作品捕捉了空间的惊心动魄的二元性,无限的潜力与不可知的神秘相遇。

多萝西-胡德

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

安迪-沃霍尔(Andy Warhol)从 20 世纪 50 年代末到 1987 年去世前,一直带着宝丽来相机,坚持不懈地记录生活及其际遇。他积累的大量宝丽来照片是自发的、未经加工的,往往是原始的,是他那个时代的编年史,类似于 Instagram 反映我们当今时代的方式。这幅自画像可能是由另一个人拍摄的,这就像一个隐晦的命题,要求观者接受它是一幅自画像,也可能是沃霍尔使用外部自拍配件拍摄的。这是一幅颂扬沃霍尔一生所依赖的设备的肖像画,是对他与宝丽来相机之间关系的精心致敬。

安迪·沃霍尔

ANDY WARHOL - 自画像与相机(双联画) - 宝丽来,Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

随着胡德进入她艺术和生命的最后几年,她仍然通过对外部和内部空间的探索来维持,她对墨西哥的记忆继续成为源泉。因此,90年代的画作散发出一种年轻的活力,掩盖了艺术家的年龄。面对这些作品,就是在第一次原始的光芒或世界末日中感受自己。Gravity 的 Rainbow II 囊括了 Hood 独特的空间背景和心理取向的演变,让人联想到广阔的能量场和大片光芒四射的爆炸性色彩。书名参考了托马斯·品钦(Thomas Pynchon)的小说,主要以二战末期的欧洲为背景。它包括有关V-2火箭开发和部署的叙述线索。胡德可能被科学家沃纳·冯·布劳恩(Wernher von Braun)的名言所吸引,“大自然不知道灭绝;它所知道的只是转变。科学教给我并继续教给我的一切,都加强了我对死后精神存在连续性的信念。

多萝西-胡德

在 1980 年代和 90 年代,胡德对空虚观念的奉献并没有在新波普、后现代主义或关于挪用艺术有效性的辩论统治的一代人中受到青睐。沃尔特·达比·班纳德(Walter Darby Bannard)是一位著名的色域画家,他认识到多萝西·胡德(Dorothy Hood)的巨大才华,并建议她放弃对无限制和无法理解的事物的深奥兴趣。正如我们所知,胡德坚持自己的立场。正如她所说,“黑色可以被涂成一种伟大的光明,因为在黑暗的虚空中,一切都开始了。形式在重力中,或者它们被悬浮而没有时间,或者运动的匆忙。胡德在处理黑色方面的精湛技艺在《无题(黑美人)》中得到了充分的展示,这部杰作在她不懈地探索宇宙统一性的镜头中得到了最有力的体现。

多萝西-胡德

"内部"是莫里斯·阿斯凯纳齐更现代的作曲之一,让人想起邦纳德或维拉德的作品。亲密的场景显示了一个裸体的女性模型,戏剧性地看到在配置文件,在阳光普照的工作室为画家摆姿势。房间的门是开着的,给人的印象是观众正在偷看艺术家和模特之间的私人互动。一面巧妙地放在敞开的门后面的镜子,揭示了画家的倒影,我们注定要以阿斯肯纳齐本人的身份在工作中。Askenazy 非常注意描绘房间的细节,从图案的奥托曼到墙上的画框,每一幅都是印象派色彩的马赛克。

莫里斯·阿肯纳齐

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

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

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

ANDY WARHOL - 自画像在拖 - 宝丽来 - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

ANDY WARHOL - 自画像 - 宝丽来, Polacolor - 4 1/2 x 3 3/8 in.

安迪·沃霍尔

In an abstracted image of St. Peter’s basilica in Rome, Pellegrini returns to religious narratives to express his “anti-ideological and anti-pauperist” impression of the church and its relationship with faith (Antonio Monda, “Interview with Max Pellegrini). In the lower half of the painting, the birth of Jesus is the central focus, while the life of the church is highlighted in the upper half. According to Pellegrini, he depicted the birth of Jesus in the style of a baroque 18th century Neapolitan nativity scene that can be interpreted “as a feast for the birth of faith.” This faith is conceived of as “the material support for the Popes’ power and of the Church’s glory,” represented in this painting by the Pope clutching the moon in his hand. <br> <br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

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

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

马克斯·佩莱尼

ANDY WARHOL - Blackglama (Judy Garland) - 丝网版画 - 38 x 38 英寸。

安迪·沃霍尔

KAREL APPEL - Head in the Storm - 油画 - 10 x 14 1/4 英寸。

KAREL APPEL

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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

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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