旧金山

咨询 新闻 服务 所有地点

Sue Kim

sue@heatherjames.com

c:917 756 6623

SUE KIM

美术顾问
旧金山

Sue Kim是Heather James Fine Art在旧金山的艺术顾问。Sue为Heather James Fine Art带来了超过30年的各种艺术和奢侈品经验。她曾在旧金山、纽约、香港和新加坡等多个城市的美术、摄影、室内和产品设计、建筑、房地产和酒店领域工作。她能说意大利语和法语会话。苏在哥伦比亚大学 巴纳德学院获得东亚艺术史学士学位，在帕森斯设计学院获得室内设计应用科学副博士学位。

点击查看个人咨询

HEATHER JAMES FINE ART - SAN FRANCISCO已经成为当地客户的宝贵资源，为大量的房产提供广泛的支持和帮助。在Heather James Fine Art专家的帮助下，如果您有关于买卖的问题，或者希望对您的收藏品进行估价，我们的代表能够帮助您。

我们提供广泛的基于客户的服务,包括房地产和税务规划、收款管理、评估、物流管理、收购和金融服务。

在新闻中

新闻

最近售出的顶级作品

Heather James Fine Art 为客户提供广泛的服务，满足您特定的艺术收藏需求。 更多

服务

希瑟詹姆斯美术提供广泛的基于客户的服务，满足您的特定艺术收藏需求。我们的运营团队包括专业的艺术处理人员、完整的注册部门和物流团队，在艺术运输、安装和收藏管理方面拥有丰富的经验。凭借白手套服务和个性化护理，我们的团队竭尽全力确保为客户提供卓越的艺术服务。

遗产和税务规划

收藏管理 

剥离

物流管理

评估

金融

其他资源

 

  • 家庭服务
  • 服务-杰西卡1
  • Svc_hirst
  • 服务-布赖恩1
  • 斯弗奇沃霍尔
  • 调理
  • 斯卡夫斯卡普尔

了解我们

画廊

帕尔姆·沙漠画廊内部

棕榈沙漠

45188 Portola Avenue
Palm Desert, CA 92260
(760) 346-8926
时间。通过预约

杰克逊霍尔画廊

杰克逊

172 Center Street, Suite 101
P.O. Box 3580
Jackson Hole, WY 83001
(307) 200-6090
时间。通过预约

顾问

纽约

纽约

伦敦

伦敦

洛杉矶

洛杉矶

巴塞尔

巴塞尔

旧金山

旧金山

纽波特海滩

纽波特海滩

蒙特西托

蒙特西托

棕榈滩

棕榈滩

特色艺术

<div><font face=Lato size=3 color=black>Clyfford Still occupies a monumental position in the history of modern art, often heralded as the earliest pure abstract painter to work on an expansive scale. By the early 1940s, Still had already arrived at a radically abstract visual language that transcended the aesthetic frameworks of his peers, rejecting representational imagery and producing canvases that were immense in size and conceptual ambition. Pollock famously confessed that “Still makes the rest of us look academic,” and Rothko once kept a Still painting in his bedroom as a guiding inspiration. His work was, as critic Clement Greenberg remarked, “estranging and upsetting” in its genuine originality, a raw and elemental confrontation of form and color that defied conventional expectations.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>For viewers familiar with Still’s oeuvre, his paintings typically evoke a powerful physicality: vast canvases covered in richly textured layers of pigment—earthy blacks, ochres, siennas, and cadmiums—applied with a trowel-like rigor that recalls weathered geological formations. These thickly encrusted surfaces often alternate with more thinly painted passages, all juxtaposed against large swaths of bare canvas that lend his compositions a sense of immense scale and open-ended possibility. This aesthetic, rooted in the grandeur of raw and elemental presence, often manifests as jagged, opaque forms whose stark contrasts convey a primal energy.<br><br></font></div><br><br><div><font face=Lato size=3 color=black><em>“PH-589”,</em> on the other hand, marks a transition in Still’s career, where his already profound engagement with abstraction began to evolve toward greater spareness and a deeper exploration of the expressive potential of voids and open space. Painted in 1959, the expected density of his earlier surfaces gives way to a lighter touch and a more restrained use of paint. Against largely unpainted ground, two jagged shapes of continental significance hang suspended, their edges torn and irregular, as if wrested from the canvas itself. The bare canvas, which had served as a compositional counterpoint in Still’s earlier works, now asserts itself as a dominant feature, heightening the power of the painted forms while introducing an ethereal sense of light and space.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>This shift was both aesthetic and philosophical. By the late 1950s, Still had grown increasingly disenchanted with the art world, distancing himself from its commercial and critical structures<em>. “PH-589”</em> is an anticipatory event before his move to rural Maryland in 1961 that coincided with a period of introspection and formal refinement when Still began to strip his compositions down to their essential elements. As Still explained, he sought to fuse color, texture, and form into “a living spirit,” transcending their materiality to evoke the human capacity for transcendence.</font></div><br><br><div><font face=Lato size=3 color=black><br><br>This painting signals the burgeoning openness of Still’s later works, where the interplay of painted forms and unpainted ground would become a defining characteristic. By the 1960s and 1970s, Still’s palette grew lighter, his gestures sparser, and his use of emptiness more deliberate, creating compositions that were at once monumental and ephemeral. Yet the seeds of that evolution are already present here in the restrained yet powerful interplay of color and space. His revolutionary approach to abstraction—both in scale and in spirit—provided a foundation upon which the Abstract Expressionists built their legacy. At the same time, his work resists easy interpretation, demanding instead an unmediated confrontation with its raw, elemental presence. With its terse eloquence and rhythmic vitality, this painting is both a culmination of Still’s early achievements and a momentous portent of his later innovations.</font></div>

CLYFFORD STILL