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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。

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

时间:
周一至周六 9am-5pm

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Ansel Adams:对生命的肯定
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Ansel Adams:对生命的肯定

2023 年 12 月 1 日至 2024 年 6 月 30 日
毕加索:画布之外
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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
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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
美国西部艺术杰出收藏
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美国西部艺术杰出收藏

2023 年 8 月 24 日至 2024 年 5 月 31 日
亚历山大-考尔德塑造原始宇宙
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亚历山大-考尔德塑造原始宇宙

2023 年 8 月 23 日至 2024 年 5 月 31 日
乔治亚-奥基夫和安塞尔-亚当斯:现代艺术,现代友谊
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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 4 月 30 日
春天的花,破土而出
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春天的花,破土而出

2023 年 5 月 8 日 - 2024 年 5 月 31 日
第一个圆。艺术中的圆圈
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第一个圆。艺术中的圆圈

2023 年 2 月 14 日至 2024 年 5 月 31 日
你的心血。艺术与文学的交汇点
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你的心血。艺术与文学的交汇点

2022 年 9 月 12 日至 2024 年 3 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 日至 2024 年 3 月 31 日
安迪-沃霍尔的宝丽来照片。邪恶的奇迹
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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
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加州,我们来了:加州印象派画家

2021 年 7 月 12 日至 2024 年 3 月 31 日
模式与装饰。女权主义与友谊
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模式与装饰。女权主义与友谊

2020 年 9 月 14 日至 2024 年 3 月 31 日
静物,静物,静物
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静物,静物,静物

2020 年 4 月 10 日至 2024 年 4 月 30 日
杰康公园:生命与根
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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
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欧文·诺曼:暗物质

2019 年 11 月 27 日至 2024 年 3 月 31 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
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
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
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
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
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
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
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
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
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
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
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
詹姆斯-罗森奎斯特:有潜力的流行音乐
档案

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
一个闪亮的假期。每个人的艺术
档案

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
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
档案

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
档案

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
档案

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
档案

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
摩尔!摩尔!摩尔!亨利-摩尔与雕塑
档案

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
伊莱恩和威廉-德库宁。光中的绘画
档案

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
安迪-沃霍尔的宝丽来照片。我,我自己和我
档案

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
美国之眼:帕迪收藏精选集
档案

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
档案

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。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
安迪-沃霍尔的宝丽来照片。闪闪发光
档案

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
犹太现代主义第二部分:从夏加尔到诺曼的塑像。
档案

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
酷派
档案

酷派

2020年3月30日 - 2021年12月31日
Gloria Luria系列
档案

Gloria Luria系列

2020年3月16日 - 2021年10月31日
现代版画
档案

现代版画

2020年12月26日-2021年6月19日
印象派与现代艺术的宝石
档案

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
档案

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
梅萨现代
档案

梅萨现代

2020年2月13日至2月29日
加州人
档案

加州人

2019年11月1日至2020年2月14日
华丽的极简主义
档案

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
档案

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
档案

莫里斯·路易斯 - 早期绘画

2019年10月11日至11月30日
安塞尔姆·基费尔
档案

安塞尔姆·基费尔

2019年8月15日至9月30日
亚历山大·卡尔德:宇宙抽象
档案

亚历山大·卡尔德:宇宙抽象

2019年6月21日至8月30日
山姆·弗朗西斯:从黄昏到黎明
档案

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
档案

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
档案

N.C. 惠氏:绘画和插图

2018年2月1日至5月31日
格雷戈里·苏米达:美国
档案

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
档案

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
档案

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
档案

沃伊切赫·方戈尔

2017年11月25日 - 2018年3月17日
亚历山大·卡尔德
档案

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
档案

加州印象派大师

2014 年 11 月 22 日 - 2015 年 5 月 23 日
印象派与现代艺术大师
档案

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
档案

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

<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

Andrew Wyeth & N. C. Wyeth

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

文森特-凡高 - 海牙的新教堂和老房子 - 画板油画 - 13 5/8 x 9 3/4 英寸。

文森特·梵高

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

TOM WESSELMANN - 21号吸烟者 - 油画定型 - 74 1/2 x 67 1/2英寸。

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

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

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

An outstanding example of Churchill’s North African scenes, one in which he deftly captures the scenery and light that his artistic mentor, John Lavery, had told him about in the mid 1930s.  Another artist mentor, Walter Sickert, taught Churchill how to project photo images directly on to a canvas as an aid in painting, a technique used to advantage in this instance.  The Studio Archives at Chartwell include 5 photographs, one of the camel and four others, that Churchill used as aids.<br><br>With the visual aids, Churchill could focus on the vibrant colors, the tan of the sand and buildings contrasting with the brilliant blue skies, splashes of green adding energy to the painting. A different Marrakech scene, “Tower of the Koutoubia Mosque”, set an auction record for Churchill when it sold in 2021 for $11 million USD.

温斯顿·丘吉尔爵士

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.<br><br>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.<br><br>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

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

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

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

"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

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

Still lifes like Oranges and Lemons (C 455) give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted Oranges and Lemons 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”.<br><br>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.

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

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

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

弗兰克·斯特拉

DAMIEN HIRST - 被遗忘的想法 - 蝴蝶和家用光泽帆布 - 68 x 68 x 1 3/8 英寸(点对点)。

达米安·赫斯特

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)

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

THOMAS HART BENTON - Hoeing Cotton - 油彩锡画 - 9 1/8 x 13 英寸。

托马斯·哈特·本顿

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

简·阿普

受虔诚的天主教信仰影响,鲁奥的艺术发展在现代主义画家中独树一帜。他被鲜艳的色彩和光线如何穿过中世纪的彩色玻璃窗所吸引,于是他涂上了厚厚的、丰富的颜料层,并在浓重的黑色线条中放大了充满深蓝色的原始而大胆的形式。鲁奥经常支持强烈的反复出现的宗教主题,致力于救赎的力量。卡洛塔》既不是为了表达更崇高的使命,也不是为了表现小丑、妓女和耶稣受难等被边缘化的主题。相反,《卡洛塔》让人有机会欣赏到鲁奥更微妙的色彩变化,以及粗糙、有触感的浮雕质感与更柔和、更分散的模特褶皱效果之间的动态互动。

GEORGES ROUAULT

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

EDVARD MUNCH

MAX WEBER - 巴黎模特 - 布面油画 - 35 1/2 x 19 5/8 英寸。

马克斯-韦伯

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

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

亚历山大·卡尔德

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

卡米尔·皮萨罗

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

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

琼·米罗

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

JOSEPH STELLA

杰拉尔德-柯蒂斯-德拉诺(Gerald Curtis Delano)因其独特的绘画风格(他称之为 "设计现实主义")而闻名,他师从 N. C. 怀斯(N. C. Wyeth),这使他能够运用一系列从插图到表现的方法,始终保持精心和无可挑剔的设计。纳瓦霍营地》等画作以其柔和、适度的色彩、简洁优美的构图和简洁的形式,以及对每个主题本质的提炼而闻名,展示了德拉诺敏锐的眼光、理解力和捕捉纳瓦霍生活方式的色彩和高贵的能力。与他的大多数作品一样,天空占据了画布的很大一部分,人物形象使场景更具规模。这些元素共同营造出一种辽阔和宁静的感觉。

GERARD CURTIS DELANO

© 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

DEBORAH BUTTERFIELD - Beacon - 钢成型和焊接 - 45 1/2 x 54 x 13 1/2 英寸。

德博拉·巴特菲尔德

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

弗雷德里克·卡尔·弗里斯克

DEBORAH BUTTERFIELD - Echo - steel and tin - 26 x 107 x 76 in.

德博拉·巴特菲尔德

MANUEL NERI - Hombre Colorado II - 纸浆 - 65 1/2 x 27 x 10 英寸。

曼纽尔·内里

伊冯娜-托马斯(Yvonne Thomas)在她长达五十多年的艺术生涯中,以其独特的手法而闻名,她将抽象表现主义的自发、情感特质与对形状和色彩的清晰运用融为一体,并将其作为一种表达手段。托马斯珍视色彩,将其视为深刻的快乐和复杂谜题的源泉。这种观点反映在她的艺术作品中,她利用多样的色调来唤起和传达她对自然主题的反应。她于 1954 年绘制了《塔》,这一年具有重要的里程碑意义:她在费城亨德勒画廊举办了首次个人画展。一年后,托马斯的艺术作品在纽约河畔博物馆展出,与弗朗茨-克莱恩和米尔顿-艾弗里等著名艺术家同台献艺。

YVONNE THOMAS

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

亚历山大·卡尔德

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

保罗·詹金斯

© 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

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

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

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

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

安迪·沃霍尔

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

安迪·沃霍尔

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

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

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

约瑟夫·克莱伊施 - 任务修道院,圣胡安卡皮斯特拉诺 - 帆布上的油画 - 22 1/8 x 27 in.

约瑟夫·克莱奇

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

安迪·沃霍尔

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

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

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--《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

弗朗西斯科·托利多 - 无标题 - 纸上混合介质 - 8 x 10 1/4 in.

弗朗西斯科·托莱多

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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

Andrew Wyeth & N. C. Wyeth

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

文森特-凡高 - 海牙的新教堂和老房子 - 画板油画 - 13 5/8 x 9 3/4 英寸。

文森特·梵高

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

TOM WESSELMANN - 21号吸烟者 - 油画定型 - 74 1/2 x 67 1/2英寸。

托姆·韦塞尔曼

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

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

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

An outstanding example of Churchill’s North African scenes, one in which he deftly captures the scenery and light that his artistic mentor, John Lavery, had told him about in the mid 1930s.  Another artist mentor, Walter Sickert, taught Churchill how to project photo images directly on to a canvas as an aid in painting, a technique used to advantage in this instance.  The Studio Archives at Chartwell include 5 photographs, one of the camel and four others, that Churchill used as aids.<br><br>With the visual aids, Churchill could focus on the vibrant colors, the tan of the sand and buildings contrasting with the brilliant blue skies, splashes of green adding energy to the painting. A different Marrakech scene, “Tower of the Koutoubia Mosque”, set an auction record for Churchill when it sold in 2021 for $11 million USD.

温斯顿·丘吉尔爵士

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.<br><br>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.<br><br>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

温斯顿·丘吉尔爵士

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

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

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.  <br><br>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

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

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

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

"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

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

Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters.

弗雷德里克·卡尔·弗里斯克

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

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

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

Still lifes like Oranges and Lemons (C 455) give us an insight to the rich and colorful life of Churchill, just as his landscapes and seascapes do. Churchill painted Oranges and Lemons 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”.<br><br>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.

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

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

弗兰克·斯特拉

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

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

萨洛蒙-范-赖斯达尔

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

JAN JOSEFSZON VAN GOYEN

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