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棕榈沙漠画廊的艺术品

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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。

Les Andelys.卢卡斯岛（L'Île à Lucas

25 1/4 x 17 7/8 英寸。

画布上的油画

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

35 1/2 x 29 1/2 x 1 英寸

石质上的油

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

木棉树（近阿比丘），新墨西哥州

画布上的油画

<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

恩里克塔-G-达维拉的画像

79 1/8 x 48 3/8 in.

画布上的油画

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

普里坦鳕鱼渔民

108 1/2 x 157 1/2 英寸。

画布上的油画

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

划艇上的女人

47 1/2 x 36 1/4 in.

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

噬人者的前奏

59 x 42 x 18 英寸

金属板、金属丝、油漆

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

1620年 "五月花 "号的到来

104 1/2 x 158 3/4 英寸。

画布上的油画

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

海牙的新教堂和老房子

13 5/8 x 9 3/4 英寸

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

莫雷特教堂，晚间

31 1/4 x 39 1/2 英寸。

TOM WESSELMANN - Smoker No.

托姆·韦塞尔曼

第 21 号烟囱

74 1/2 x 67 1/2 英寸。

异形画布上的油彩

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

28 3/4 x 36 1/4 in.

画布上的油画

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.

阳光灿烂的日子，结束二

26 1/2 x 35 3/8 in.

画布上的油画

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

24 1/2 x 32 1/4 英寸

画布上的油画

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

80 x 76 x 10 英寸

切断铝上的油

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

马拉喀什与骆驼（C 453）

画布上的油画

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

蔚蓝海岸风光 (C 295)

25 1/8 x 30 1/8 英寸

画布上的油画

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

在麦田里（站在麦田里的女孩）

21 3/4 x 13 1/2 in.

画布上的油画

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

铝合金上的油彩

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

在阳台下的男人们

23 1/2 x 31 7/8 in.

油画和水粉画在画布上

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

埃泽湾（C 490）

画布上的油画

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

卧室里的布鲁内特与伊尔塞斯

105 3/4 x 164 5/8 英寸。

切断铝上的油

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

橘子和柠檬（C 455）

画布上的油画

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

96 x 96 x 48 in.

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

无题（鸽子解剖图）

纸上油彩、石墨和粉笔

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

皮埃尔-邦纳（PIERRE BONNARD）

14 1/2 x 22 1/2 in.

画布上的油画

沙拉-休斯 1981 年出生于亚特兰大，现居布鲁克林，她以独特的风景画创作手法著称，将历史影响与当代情感相结合。她欢快的色调让人联想到亨利-马蒂斯等大师的作品，传达出大卫-霍克尼时尚、大胆的视觉效果，同时也承认风景画具有更广泛的传统，包括新艺术运动、野兽派和德国表现主义的影响。All the Pretty Faces》是历史艺术运动和当前数字图像的现代综合体，为观众呈现了一个连接过去和现在的迷人的虚构世界。这也是休斯关于她充满奇幻元素的创新风景画最引人注目的名言之一："我常常把花草树木想象成人物。有时，即使是画中的一朵浪花或一个太阳，也会有自己的个性，所以这取决于作品的结果"。

所有美丽的面孔

画布上的油画

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

托马斯·哈特·本顿

9 1/8 x 13 英寸

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

118 x 78 3/4 英寸

画布上的丙烯酸

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

25 x 9 1/2 x 12 in.

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

无题（图腾极）

97 x 12 3/8 x 12 3/8 in.

画布上的油伸过纸板缸

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

15 7/8 x 12 1/4 in.

画布上的油画

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。

海岸上的房子 I

织纹纸上的木刻，艺术家手工添加的水彩画

ANDY WARHOL - Superman (II.260) - 丝网版画 - 38 x 38 英寸。

安迪·沃霍尔

超人（II.260）

马克斯·韦伯（Max Weber）于1905年移居巴黎，当时这座城市是艺术创新的中心。他的早期作品展示了野兽派大胆的调色板和立体主义对现实的碎片化表现的当代影响。然而，韦伯并不只是模仿这些风格;他整合并重新诠释了它们，创造了自己的东西。韦伯的重要性不仅在于他的抽象作品，还在于他作为现代主义思想的渠道。韦伯在跨大西洋对话中发挥了至关重要的作用，帮助塑造了二十世纪美国艺术的进程。他对女性形象的描绘展示了抽象和具象的综合，捕捉了他主题的本质，同时打破了传统的具象作品。

马克斯-韦伯

35 1/2 x 19 5/8 英寸

画布上的油画

ANDY WARHOL - Mickey（II.265）--丝网版画与钻石粉--38 x 38 英寸。

安迪·沃霍尔

米奇（II.265）

丝网印刷与钻石粉

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

汉斯·霍夫曼

25 x 30 1/4 英寸

画布上的油画

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

格尼耶夫-菲吉斯

女士俱乐部

31 1/2 x 39 3/8 英寸

画布上的丙烯酸

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

塞纳河畔的水车

11 1/4 x 15 1/2 in.

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

201 x 48 x 48 in.

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

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

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

蒙特福柯的 "打手 "之路

10 3/8 x 14 3/4 英寸。

纸上粉笔画，铺在木板上

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。

161 x 40 x 40 in.

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

66 1/2 x 50 1/4 x 19 英寸

不锈钢和铝

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

23 7/8 x 20 x 16 1/8 英寸。

青铜和煤渣

© 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

三个金字塔+蓝球

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

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

钻石尘埃鞋（黑色和白色）

40 x 59 1/2 in.

丝网印刷与钻石粉

黛博拉·巴特菲尔德（Deborah Butterfield）在美国雕塑家的万神殿中占有重要地位，以其开拓精神和对各种媒介的掌握而闻名。“Beacon”采用成型的钢制成，证明了她对突破艺术界限的大胆和奉献精神。巴特菲尔德接受了这种苛刻媒介的挑战，它是创新与传统的融合。凭借其现代美学，以宽阔、优雅的线条为特征，这件马雕塑是魅力的源泉，邀请观众进入当代艺术与永恒之美融合的境界。Beacon 向马形的经典优雅致敬，并重申了巴特菲尔德在现代雕塑景观中作为远见卓识者的地位。

德博拉·巴特菲尔德

45 1/2 x 54 x 13 1/2 英寸

成型和焊接钢

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

26 x 107 x 76 英寸

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

吉维尼的小山

25 1/4 x 31 1/4 英寸

画布上的油画

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

科罗拉多雄狮 II

65 1/2 x 27 x 10 英寸

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。

39 3/4 x 51 1/2 英寸。

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

红色和黄色的Wigwam

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

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

保罗·詹金斯

104 3/4 x 49 5/8 in.

画布上的丙烯酸

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

67 x 24 x 26 in.

© 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

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

路易-瓦塔特-鹅膏花瓶-布面油画-23 1/2 x 19 英寸。

23 1/2 x 19 英寸

画布上的油画

1970 年，Anuszkiewicz 开始创作 "传送门 "系列，该系列画作由直立的矩形组成，色彩柔和，垂直线条打破了色域，框住了中央明亮的矩形。然而，"Blueing "的方向提供了一个机会，重新调整艺术家在 "传送门 "系列中惯用的垂直方向，暗示着超越，并将其转移到一个水平面，暗示着连接而不是上升。本着知觉实验的精神，这里的传送门是红色的，鲜艳地镶嵌在周围柔和的色带中，形成比往常更强烈的对比，成为锚定构图的焦点。在门户系列中，"Blueing "即使不是独一无二的，也是不常见的横向画作，它强调了艺术家的意图、形式构图和观众感知之间复杂的相互作用。它让我们在抽象与直观之间展开了一场充满活力的对话，鼓励我们进行个人的、身临其境的接触。

里查德·阿努斯齐维奇

画布上的丙烯酸

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

汉斯·霍夫曼

17 1/4 x 23 1/8 英寸

面板上的油

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

RODOLFO MORALES

37 1/4 x 39 1/4 英寸。

画布上的油画

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

100 x 157 x 36 in.

电线骨架上的木棍和纸

LE PHO - 花 - 布面油画 - 28 3/4 x 21 1/4 in.

28 3/4 x 21 1/4 in.

画布上的油画

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

100 x 20 x 12 in.

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

无题 3 号立像

66 3/4 x 19 x 13 1/2 英寸

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

安迪·沃霍尔

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

安迪·沃霍尔

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。

108 1/4 x 71 3/4 x 37 3/4 英寸。

铝合金上的照片层压板

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

安迪·沃霍尔

11 1/2 x 15 3/4 in.

纸上的石墨

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

阿曼·吉劳明

Roquebrune, Le Matin

25 x 31 1/4 英寸

画布上的油画

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

金宝汤的胡椒锅

彩色丝网印刷

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

25 7/8 x 21 5/8 in.

画布上的油画

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。

38 3/4 x 29 1/8 英寸

织纹纸上的彩色石版画

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

89 3/4 x 70 英寸

画布上的油画

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

画布上的油画

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

向阿尔希莱-高尔基致以崇高敬意

89 3/4 x 50 英寸

画布上的油画

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

画布上的油画

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

70 1/8 x 60 1/8 x 1 1/4 英寸

画布上的油画

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

画布上的油画

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

伊莱恩·德·库宁

7 3/4 x 9 1/2 in.

纸上的水粉

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

103 1/2 x 22 x 17 英寸。

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

万有引力之虹 II

画布上的油画

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

无题（黑美人）

画布上的油和丙烯酸

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

37 1/2 x 37 1/2 in.

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