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汉斯·霍夫曼尼恩（1880-1966）

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<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div> <div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>
印度人194422 x 15 英寸（55.25 x 37.47 厘米(55.25 x 37.47 厘米）纸上混合媒介
种源
纽约 Ameringer McEnery Yohe 公司
私人收藏，新泽西州
 价格250,000
1944 年创作的《印第安人》采用混合媒介在纸上创作，展示了霍夫曼在抽象与具象之间进行有力互动的能力。这幅作品的中心造型是一个美国原住民的头像，四周环绕着大气的深蓝色，点缀着鲜艳的红色和黄色。霍夫曼在塑造人物形象时，并没有采用直接的细部刻画手法，而是采用了减法还原法，用深蓝色的动态笔触将人物形象包围起来，并用鲜艳的红色和黄色作为点缀，仿佛要将人物形象从周围的空间中雕刻出来。这种方法既强调了人物的存在感，又使其保持神秘感，悬浮在大胆的手势标记的混合氛围中。





中心人物与鲜艳背景之间的张力体现了霍夫曼在 20 世纪 40 年代从立体主义严谨手法向更无拘无束的表现主义手法的过渡。印第安人》捕捉到了这一关键时期的能量，其多层次的抽象和象征性的底色反映了霍夫曼将姿态的自发性与深思熟虑的构图平衡相结合的能力。
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