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<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>

无题 (PH-589)

114 x 165 英寸

画布上的油画

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

理查德·迪本科恩

海洋公园第 108 号

77 3/4 x 62 英寸

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.

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

动物圆环/十二生肖头像：金色

镀金青铜 12 个部分

<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>

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

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。

画布上的油画

<div><font face=Lato size=3 color=black>From the earliest days of painting during the nineteenth century, which was precipitated by the advent of Impressionism, Renoir established a reputation as the finest portrait painter among the emerging landscapists. Works such as Lise with a Parasol (1867) demonstrated his ability to capture the essence of his subjects with a distinctive flair, setting him apart from his peers. Inspired by a transformative trip to Italy in 1882, Renoir shifted his approach, emphasizing modeling and contours with smooth, blended handling, integrating a new found rigor and clarity reminiscent of the old masters. Often referred to as Renoir’s “Ingres period,” he retained the reputation of the painter best suited to manage the traditional process of recording a sitter's likeness with the distinctive flair and vibrancy of an Impressionist. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>By 1890, Renoir’s style evolved again. He thinned his pigments to achieve a jewel-like translucence, infusing his works with a tender, ethereal quality. This final phase reflects the physical limitations of encroaching rheumatoid arthritis but also a deeper, more reflective approach to his subjects, capturing their inner light and character with subtle, luminous strokes. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>No longer obliged to rely upon society portrait commissions, by 1900, Renoir began to focus on portraits and studies of family, close friends, and neighbors. “Fillette à l’orange”, painted in 1911, extends our appreciation of his very personal, intimate style and reputation for imbuing his portraits of children with all the affectionate charm he could muster. It avoids the softer, generalized approach that prompted his son Jean’s remark that “we are all Renoir’s children, ”idealized versions of beauty and sensuality expressed in universal rather than with physiognomic specifics. We may never know her identity, but her likeness is vivid because Renoir concentrates on her face and expression. Nevertheless, the interplay of light and color highlights her features and brings to life the tender and affectionate nature characteristic of Renoir’s later portraits. An orange as an accessory is often included in portraiture as a symbol of fertility. Yet, here, it seems to serve as a formal element for the artist to demonstrate his skill at displaying its size, shape, and heft in this young girl's hand.</font></div>

皮埃尔-阿穆尔·雷诺尔

25 3/4 x 21 3/8 英寸

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 3/8 x 34 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

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

<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div><br><br><div> </div><br><br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>

鲁菲诺·塔马约

29 1/4 x 58 3/4 英寸

画布上的油画

No artist bridged the gap between European Modernism and American Abstract Expressionism the same way Hans Hofmann did. The reason is simple. He was trained in Parisian academies prior to World War I and was friendly with Henri Matisse, Pablo Picasso, Georges Braque, and, most significantly, Robert and Sonia Delaunay. Conversely, his endeavors as a teacher and later, as a mature artist in full command of his abilities were stimulated — made possible even — by the exhilarating New York milieu that gave rise to Abstract Expressionism. So perhaps it is not surprising that unlike most of the Abstract Expressionists who pursued a single iconographic look — Rothko’s soft-edged rectangles, Franz Klein’s enlarged calligraphic strokes, Clyfford Still’s dark, ragged shapes — Hofmann was constantly reaching for different and contradictory effects. That meant his paintings were wildly varied and that they carved a wide swath toward the most exciting avenues available to contemporary abstraction. Hofmann proved to be a gallant experimenter, refusing to settle on a single style for long.<br><br>The Climb was painted in 1960 at a time when most American painters were pushing abstraction in new directions. Not surprisingly, as an outlier, it does not evoke Hofmann’s usual “push and pull’ technique. But it is very much a painting of its time, marked by a sensuousness and a deft, painterly touch. It suggests what Irving Sandler characterized as Hofmann’s hedonistic touch, an optimistic celebration of the lyrical abstraction that overcame the burning darkness of painting in the 40s and trumped even the lighter palette of Pollock or Pousette-Dart that emerged later. While the passages of The Climb are brushed rather than poured or stained, it reflects the delicate lyricism of his former student, Helen Frankenthaler who, since 1952 had experimented with floating areas of color, absorbed into the canvas with watercolor-like ease. She, in turn, had inspired a generation of Color Field painters including Morris Louis and Kenneth Noland. On the other hand, these short bands and prismatic slurries recall those halcyon days in Paris when Hofmann worked through color theory with his good friend Robert Delaunay and thought a lot about prisms. Hofmann not only retained elements of Synthetic Cubism, but the lessons he learned from the Fauves and the artists who verily invented abstraction, Wassily Kandinsky, Kasimir Malevich, Frantisek Kupka, and Piet Mondrian to name a few of the key players. The Climb is a glorious expression of a painter drawing from both the past and the present, painting in a playful, but not frivolous manner fully informed and prepared to express his abilities as a painter, simply, and with great conviction.<br><br>As New York City became the avant-garde’s global hub in the 1940s, radical, new approaches to art, such as action painting and abstraction, took root among the informally grouped New York School painters. By 1950, Abstract Expressionism was well underway, but the movement was often overlooked by institutions. When the Metropolitan Museum of Art announced its plan to exhibit a survey of contemporary American painting, many of the New York School painters felt there was a bias against more “progressive” art in the museum’s selection process, prompting them to draft an open letter protesting the show.<br><br>The letter garnered attention, and Life magazine published an article on the protest in January 1951, “The Irascible Group of Advanced Artists Led Fight Against Show.” To accompany the article, Nina Lee photographed 15 of the 18 painters who signed the letter, including Hans Hofmann, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyford Still, Robert Motherwell, Barnett Newman, and Mark Rothko. Today, this article is considered a turning point in the prominence of Abstract Expressionism, and the artists involved are often referred to as the “Irascibles.”

汉斯·霍夫曼

84 x 47 1/2 英寸。

面板上的油

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

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

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

ALBERT BIERSTADT - 金门 - 布面油画 - 27 3/8 x 38 3/4 英寸。

阿尔伯特-比尔斯塔特

27 3/8 x 38 3/4 英寸

画布上的油画

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

画布上的油画

<div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div>

库尔特·施维特斯

无标题 (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 英寸

胶合板上的油彩和浮雕组合

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>

汉斯·霍夫曼

59 3/8 x 47 1/4 英寸

画布上的油画

<div><font face=Lato size=3 color=black>Hans Hofmann's "<em>Astral Image #1"</em> of 1947 captures a pivotal moment in his artistic evolution as he wrestled with the competing forces of linearity and painterly abstraction. Exhibited in the same year at Betty Parsons Gallery in New York—Hofmann's first show with Parsons — the painting represents a phase of intense experimentation in which Cubist-inspired linear elements took center stage. Lines arc and stretch across the canvas, creating a dynamic framework that opens into areas filled with flatly applied alizarin crimson. These contrasting forces give the work a sense of tension and vitality.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>During this period, Hofmann's reliance on linearity provided a departure from the more fluid, painterly dynamism of his earlier works. From 1944 to 1951, this linear impulse permeated his practice, signaling a prolonged exploration of modes of expression in which he grappled with reconciling abstraction and structure. While some viewed this phase as a retreat from the energetic breakthroughs that defined American art's rise to global prominence, others recognized the distinctiveness of these paintings. <em>Astral Image #1</em> challenged the framework of Hofmann's singular vision, blending Cubist discipline with the vibrant, unruly energy that remained a hallmark of his oeuvre.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work's flat planes of bright alizarin crimson, contrasted with the angular momentum of the lines, evoke a cosmos of restless energy, hinting at the celestial themes suggested by its title. This painting reflects Hofmann's deliberate explorations during the late 1940s that underscore his unique ability to create works that resist easy categorization, standing apart as deeply personal explorations of form and color.</font></div><br><br><div> </div>

汉斯·霍夫曼

画布上的油画

<div><font face=Lato size=3 color=black>Exhibited in the seventh Impressionist exhibition in 1882, Gustave Caillebotte's "<em>Vue de mer, Villers</em>" announced a pivotal shift in the artist's oeuvre, marking his transition from the urban realism of Parisian street scenes to the expansive, light-filled landscapes of Normandy. This change aligned Caillebotte more closely with his Impressionist contemporaries and allowed him to explore fresh compositional and stylistic innovations, enriching the movement's diversity.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Often called the "Urban Impressionist," Caillebotte built his reputation as a genre painter through meticulously rendered depictions of bustling city life. Like his contemporary Edgar Degas, he was a keen observer of modern reality and a superb draftsman. Both artists shared an enthusiastic interest in photography, and integrated elements from the emerging art form related to image cropping, focal length adjustments, and perspective effects. These influences can be seen in the exaggerated, plunging vantage points that became hallmarks of Caillebotte's dynamic compositions, often imbuing his works with thrilling optical depth.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>By the early 1880s, the allure of Normandy — a region deeply connected to Claude Monet and newly accessible by rail — seems to have drawn Caillebotte's attention. Monet, who had an intimate knowledge of the area, may have recommended Villers specifically, although painters interested in landscapes could choose from numerous seaside villages such as Trouville and Honfleur, each a haven for Paris's bourgeoisie. These locales, characterized by their natural beauty and the burgeoning influence of modern leisure culture, provided ample inspiration for Caillebotte's evolving artistic focus. His depictions of these locales celebrate their charm and engage with the Impressionist exploration of the changing relationship between people and their environments.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Created during one of his first visits to Normandy, "<em>Vue de mer, Villers</em>" reaffirms Caillebotte's skill as a compositional innovator, even as he embraced a new genre. While transitioning to landscape painting, he retained elements of his signature style, notably the detached, elevated vantage point familiar from his urban works. The rolling greenery of the foreground transitions seamlessly into the luminous pastel hues of the distant horizon. A red-roofed villa commands attention with its bold geometry, standing in stark, complementary contrast to the fluid forms of the surrounding natural landscape. The juxtaposition of the villa's pink walls with the greens and blues of the coast underscores the tension between the natural and the constructed, evoking a sense of transformation emblematic of late 19th-century France. At the same time, the painting exudes a quietude and contemplative mood that aligns with the Impressionist emphasis on capturing ephemeral moments and atmospheres rather than explicit narratives. Caillebotte's brushwork here is freer and more painterly than in his earlier works, with vibrant, varied strokes lending the foliage a dynamic, tactile quality. The distant sky, suffused with soft lavenders and blues, evokes the tranquil stillness of an evening on the coast, completing the composition with a sense of serene balance.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>In "<em>Vue de mer, Villers</em>," Caillebotte achieves a masterful fusion of observation and innovation, bridging his roots in urban realism with the Impressionist commitment to capturing the transient effects of light and atmosphere. Its inclusion in the 1882 exhibition reaffirmed Caillebotte's position within the Impressionist circle, demonstrating his ability to expand the movement's reach while maintaining his distinctive perspective. This painting is a celebration of the modern landscape and a profound meditation on the evolving relationship between nature and modernity, offering a timeless vision that continues to resonate.</font></div>

古斯塔夫·卡耶博特

Vue de Mer, Villers

20 3/4 x 25 3/8 英寸

画布上的油画

<div><font face=Calibri size=3 color=black>Fernando Botero's legendary ascension as an international sensation began when Museum of Modern Art curator Dorothy Miller stumbled upon his Greenwich Village studio in 1961 and purchased "<em>Mona Lisa, Age Twelve</em>." His trademark portly figures and playful, lighthearted humor became known as "Boterismo." More importantly, the art leaving his easel revealed an unbridled respect for the Old Masters, the compelling chiaroscuro of a Zurbarán still life, the sfumato of da Vinci, and always the craftsmanship of van Eyck, Dürer, or Rubens. Botero continues that thread of technical mastery with "<em>L'Atelier de Sánchez Cotán</em>" even as he reshapes these classical themes through his unique lens. A mixed media collage and oil on canvas, the work pays homage to the Spanish Baroque still life painter Juan Sánchez Cotán by subverting and modernizing the traditional still life genre. Botero captures Cotán's hyperrealism with a surreal, almost whimsical aesthetic. An oversized apple suspended on a string dominates the composition, a nod to Cotán's meticulously arranged still life paintings, known for the striking suspended effect of fruit or vegetables. Botero's rendition, however, imbues the scene with a sense of playfulness and detachment from reality, as seen in the box-like contraption, resembling a stage or a viewing device containing miniature versions of objects within the painting. The stark, flat backdrop, devoid of Cotán's characteristic chiaroscuro, accentuates the sense of artifice.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Fernando Botero's death on September 15, 2023, was a significant loss for the art world. Although his roots are deeply Colombian, his appeal is global, coupling commercial success with critical acclaim—a balance few artists have achieved. Works such as “<em>L'Atelier de Sánchez Cotán</em>” are not just whimsical or aesthetic; they prompt the viewer to appreciate the enduring dialogue between tradition and innovation, showcasing an artist of great technical finesse and mastery.</font></div>

费尔南多·博特罗

桑切斯-科坦工作室

51 1/4 x 57 1/2 英寸

布面油画和拼贴画

JULIAN SCHNABEL - 无题 - 油画和蜡在油布上 - 120 x 96 in.

朱利安·施纳贝尔

篷布上的油和蜡

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

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

CAMILLE CLAUDEL

24 1/4 x 19 x 24 英寸

DAMIEN HIRST - Forgotten Thoughts - 画布上的蝴蝶和家居光泽 - 48 x 48 英寸。

达米安·赫斯特

被遗忘的想法

帆布上的蝴蝶和家用光泽

MANOLO VALDES - 一个女人的肖像 - 布面油画和麻布 - 60 x 60 in.

马诺洛-瓦尔德斯

一个女人的画像

油画和麻布画

汉斯·霍夫曼

21 3/8 x 24 1/2 英寸

面板上的油

$<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>$

汉斯·霍夫曼

29 1/2 x 37 1/2 英寸

画布上的油画

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

汉斯·霍夫曼

第 108 号景观

23 1/4 x 29 1/4 英寸

面板上的油

WIFREDO LAM - 肖像/La Table I, coin d'atelier - 纸上钢笔画（双面） - 38 x 24 3/4 in.

维弗雷多·林

肖像/La Table I, Coin d'atelier

38 x 24 3/4 英寸。

纸上钢笔画（双面）

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

西尔维-拉孔布的画像

23 x 28 1/4 in.

画布上的油画

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

AMEDEO MODIGLIANI - Cariatide - 水粉纸上的蓝色蜡笔 - 24 x 18 英寸。

阿梅迪奥·莫迪利亚尼

水粉纸上的蓝色蜡笔

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

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

日本桑皮纸上的天然颜料和铂金，裱在木板上

HANS HOFMANN - 爱之歌 - 布面油画 - 36 1/4 x 48 1/4 英寸。

汉斯·霍夫曼

36 1/4 x 48 1/4 英寸

画布上的油画

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

三彩琉璃马配剪毛毯

唐朝（公元618-907年）

29 1/2 x 33 x 12 in.

DAVID SMITH - 无题 - 布面油画 - 12 x 16 in.

大卫·史密斯

画布上的油画

DAVID SMITH - 无题 - 布面油画 - 12 x 15 3/4 英寸。

大卫·史密斯

12 x 15 3/4 英寸。

画布上的油画

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

201 x 48 x 48 in.

ANDREW WYETH - Quart and a Half - 纸上水彩 - 21 x 29 1/4 英寸。

安德鲁·怀斯

21 x 29 1/4 英寸

威廉-肯特里奇 - 波特系列。Carte L'Europe (Shower Woman) - 马海毛和丝绸刺绣挂毯 - 98 3/8 x 137 7/8 in.

威廉·肯特里奇

波特系列。Carte L'Europe (Shower Woman)

98 3/8 x 137 7/8 in.

马海毛和丝绸刺绣挂毯

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

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

哈里·贝托亚

无题（发声雕塑）

103 x 16 x 16 英寸

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

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

理查德-塞拉--布列塔尼角水平反转第 16 号--石版画-蜡笔画，两张手工纸--19 3/4 x 55 7/8 英寸。

理查德·塞拉

布列塔尼角第 16 号水平反转展台

19 3/4 x 55 7/8 英寸

两张手工纸上的石版蜡笔画

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

梅尔·拉莫斯

莱塔和山麦纳

画布上的油画

<div><font face=Aptos size=3 color=black>Chinese contemporary artist Zhang Xiaogang is renowned for his portraits that explore themes of memory, identity, and the collective experiences shaped by China's socio-political history. When China's art scene shifted toward deeper introspection following the 1989 Tiananmen Square incident, Zhang sought a modern artistic language to express personal and historical narratives. His breakthrough arrived with the era-defining <em>Bloodline: Big Family series</em>, inspired by old family photographs, which became central to his work.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Zhang's portraits, such as "<em>Portrait of a Boy</em>," bear the influence of Gerhard Richter's 1960s photo paintings, particularly in the soft, contour-dissolving technique. Yet, Zhang magnifies this effect by dramatically enlarging his postcard-sized source photographs into monumental works that deepen the emotional resonance of his subjects. The style is hauntingly ethereal, with its softened contours and muted palette evoking emotional distance and suppressed tension, an isolated figure suspended between memory and reality. A faint red discharge emanates from the corner of the mouth, trailing over the chin and neck, symbolizing the inescapable ties of family bloodlines. Given Zhang's personal experiences during the Cultural Revolution, this red mark seems to carry the weight of personal and collective struggle, adding a layer of political commentary to his otherwise introspective work. Through these subtle but poignant symbols, Zhang Xiaogang remains a vital voice in contemporary art, addressing the intersections of personal identity and national trauma.</font></div>

一个男孩的肖像

39 3/8 x 31 5/8 英寸

画布上的油画

MARIO CARRENO - Guitarrista - 板上油画 - 20 x 24 英寸。

马利奥-卡雷诺

吉他利斯塔

<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>

汉斯·霍夫曼

纸上混合介质

<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>

李·克拉斯纳

12 1/4 x 9 1/4 英寸

Howell 纸上的水粉画

罗杰-布朗以其个人化的、往往充满幻想的图像和高度风格化的画作而闻名，画中的人物和物品反映了他对日常经验的兴趣。酸雨》探索了现代生活和社会评论的主题，反映了艺术家在社会中的角色以及艺术推动变革的潜力。从更个人的层面来看，酸雨的主题可能象征着腐蚀性的情绪或心理状态，如抑郁、焦虑或被无法控制的环境压垮的感觉。正如酸雨是一个几乎不为人知但却极具破坏性的环境问题一样，新出现的艾滋病毒/艾滋病疫情危机也可能促使布朗创作这幅作品，以处理个人的悲痛，批评政治领导人的应对措施不力，并倡导同情、理解和医学研究。

48 x 72 x 2 英寸

画布上的油画

湾区艺术家罗兰·彼得森的《午餐》是1961年油画，是他最著名的野餐系列的关键一年。他这一时期的作品具有浓郁的色彩和浓郁的色彩。受汉斯·霍夫曼研究的深刻影响，彼得森尝试了抽象，在这里融合了抽象和比喻风格。在彼得森35岁时，午餐在一个时间范围内，包括他1962年在纽约施泰姆普夫利画廊的一人秀，他在洛杉矶的埃斯特-罗伯斯的独奏展，以及古根海姆奖学金，提供了机会在巴黎学习。

罗兰·彼得森

画布上的油画

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.<br><br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million. <br><br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

朱利安·施纳贝尔

油，树脂，格索，织物和皮革在接缝的滴布

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.

© 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

太空中的龙卷风

30 1/2 x 22 1/2 in.

纸上的墨水

JOHN CHAMBERLAIN - ASARABACA - 工业用铝箔，丙烯酸漆和聚酯树脂 - 20 x 23 x 22 英寸。

约翰·张伯伦

阿萨拉巴卡

20 x 23 x 22 英寸

工业级铝箔，丙烯酸漆和聚酯树脂

乔治-里基 - 方形空间搅动器 - 不锈钢动能雕塑 - 35 1/2 x 20 x 13 英寸。

用正方形搅动空间

35 1/2 x 20 x 13 英寸

不锈钢动感雕塑

Jim Dine 是一位美国流行歌手，他的作品以具有童趣的物体来沉思，以找到一种普遍和怀旧的语言。迪恩的长袍是他漫长而辉煌的职业生涯中最广为人知的形象之一。它们于1964年秋天首次在西德尼·贾尼斯画廊展出——就是这样一个例子。双银点罗伯斯是一个大型的混合媒体组合。这项工作以银点执行 - 一种利用一块银作为绘图仪器在一个特别准备好的地面上的技术，通过它氧化了几个月，形成温暖的棕色色调。两个连接的画布以木块代替头部应位于何处，以及一个悬挂的木质元素，可响应气流。

双银点罗伯斯

53 1/2 x 96 in.

银点和丙烯酸在艺术家的画框2连接画布，木材，刀和字符串

作为1954年至1972年期间盛极一时的传奇性的五台艺术协会的成员，本永贞正在后原子超现实主义存在主义在日本艺术发展的最前沿出现。然而，他选择了一条不同的道路。他对战争造成的破坏视而不见，创作出新鲜、欢快、好玩的作品。1966年的《无题》是他的经典风格，与莫里斯-路易斯的所谓"面纱"绘画同时发展。它可能会让人联想到胆小的鸟儿明亮的梳子、眼睛和斑驳的羽毛，但任何这样的联想都可能是武断和无意的。相反，它是本永对日本传统的Tarashikomi（一种在颜料完全干透之前将画布以不同角度倾斜，让树脂和珐琅的混合物相互流动的技术）的前卫展示，非常成功。

萨达马萨·莫托纳加

16 x 12 1/2 in.

画布上的油画

ALEXANDER CALDER - 殖民地生物 - 纸上水粉和墨水 - 43 x 29 1/2 英寸。

亚历山大·卡尔德

殖民地生物体

43 x 29 1/2 英寸。

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

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

画布上的油画

© 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

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

亚历山大·卡尔德

两个十字架

21 1/8 x 29 1/2 in.

纸上的水粉和墨水

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

亚历山大·卡尔德

42 1/4 x 29 5/8 in.

纸上的水粉和墨水

Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“It was early one morning on a calm sea, off Guatemala, when over my couch — a coil of rope — I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.

亚历山大·卡尔德

人字形的太阳和峭壁

29 1/2 x 43 in.

纸上的水粉和墨水

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

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

<div><font face=Aptos size=3 color=black>Michael Corinne West’s story is a significant one. A prolific painter and poet at the forefront of the Abstract Expressionist movement, West is the artist least likely to be acknowledged as standing among the first generation with the core group of male artists. Placed in a confrontational role as one of the few women defying a male-dominated mythology, she shifted to gestural painting in the mid-1940s, often laying the canvases on the floor and working like Jackson Pollock. Her earliest work in black and white predates Franz Kline’s by several years. It included “<em>Black and White” </em>of 1947, which impressed Clement Greenberg, who was never inclined to dish a gratuitous compliment. Despite the changing tides of art and fashion, her devotion to mysticism, inner emotional states, and the subconscious as they relate to Abstract Expressionism continued unfazed and steady.  </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>“<em>The Day After</em>,” painted in 1963, is West’s visceral, abstract response to a pivotal moment in American history — the assassination of President John F. Kennedy. The overlapping layers of saturated blood-red tones clashing with forceful strokes of black suggest the rupture in the national consciousness and evoke feelings of disruption and confusion, embodying the artist’s internalized grief. West transformed the event into a deeply personal expression of mourning, capturing the weight of a nation’s sorrow in a form that defies literal representation yet speaks volumes emotionally.  </font></div>

迈克尔·科林内·韦斯特

85 1/4 x 50 1/8 英寸

画布上的油画

<div><font face=Calibri size=3 color=black>Richard Prince's "<em>Untitled</em>" from 2009 is a provocative and multilayered piece that engages with the themes of censorship, appropriation, and the boundaries of art. Prince uses a photographic montage of naked, intertwined bodies—imagery that evokes the explicit nature of an orgy and obscures its tawdry nature with a pattern of pink, egg-shaped acrylic elements covering much of the underlying image. The placement of these shapes is seemingly arbitrary, yet they play a crucial role in how the viewer perceives the piece. This obscuring overlay can be interpreted as a visual metaphor for censorship, alluding to how society imposes restrictions on what is deemed acceptable for public consumption. By covering parts of the bodies, Prince draws attention to the act of censorship itself rather than merely the content being censored. The viewer is left to imagine what lies beneath, heightening the sense of curiosity and the taboo.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Prince's work often critiques mass media and the commercialization of culture, and this piece is no exception. By altering found images, he questions the ownership and authorship of visual culture. The "censorship" elements in this work might also reference the commodification of sex and how the media sanitizes or obscures the raw, human aspects of such imagery to make it more palatable for the public.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In "<em>Untitled</em>," Prince challenges viewers to confront their perceptions of morality, art, and the power dynamics inherent in censorship. The work serves as a commentary on how images are manipulated and controlled in society, pushing the boundaries of what is considered art and what is considered obscene. Through this layered approach, Prince continues his exploration of the intersections between art, culture, and societal norms.</font></div>

理查德·普林斯

无题（检查员粉红色绘画）

35 1/2 x 30 英寸

喷墨板上的丙烯

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

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

画布上的油画

© 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

作为极简主义雕塑家托尼-史密斯（Tony Smith）的女儿，琪琪的艺术创作不局限于任何单一的媒介或技术，她的作品往往能引发多重解读。Club 体现了人腿的形态和尺寸，是运动和稳定的基本要素。史密斯的标题邀请观众将一条腿重新想象为武器，并思考人类的脆弱性、身体自主性的动力以及力量与脆弱性之间复杂的相互作用。这种将身体部位转化为物体的方式，既传达了保护，又具有攻击性，同时也反映了有性别区分的身体如何驾驭我们的社会和个人环境。俱乐部》充分体现了史密斯的创作能力，他的作品富含象征意义，易于解读，并能引发人们对人类经历的思考。

基基-史密斯

33 x 8 x 6 英寸

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

© 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

30 x 43 3/8英寸

纸上的水粉和墨水

ALEXANDER CALDER - 椭圆形的螺旋 - 纸上水粉和墨水 - 43 1/4 x 29 1/2 英寸。

亚历山大·卡尔德

椭圆形的螺旋

43 1/4 x 29 1/2 英寸。

纸上的水粉和墨水

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

哈里·贝托亚

无题（发声雕塑）

77 x 11 x 11 英寸

ALEXANDER CALDER - 米奇老鼠 - 水粉和水墨纸 - 30 x 43 3/8 英寸。

亚历山大·卡尔德

30 x 43 3/8英寸

纸上的水粉和墨水

作为1887年以来蓬勃发展的比利时新印象派运动中无可争议的大师，泰奥-范-雷塞尔贝格在二十世纪的第一个十年里为他的妻子玛丽亚（née Monnom）画了这幅肖像画。他从惠斯勒的调子主义、印象主义和修拉的点彩主义的影响中继续前进，完善了对色彩及其和谐共鸣的高度理解，并对形式元素进行了细致的渲染。作为一个模范的绘图员，基于色彩互动的光学印象仍然是范-赖塞尔伯格的主要关注点。在这里，色彩的短笔画取代了点彩画家的小圆点，而色彩方案也不是艺术家当之无愧的同质化、和谐的方案。相反，这幅肖像画以一种完全不同的方式推进了色彩理论。它的视觉兴趣在于他妻子的银色头发、她的铂金色衣服和惨白的壁炉壁炉的动态对比--所有这些都是在以互补的红色和绿色为主的视觉活力的环境中进行的。这是一个视觉刺激的演示，画家了解这种不寻常的色彩方案的动态影响，他将坐着的人安排在一个强烈的对角线上，并以一个完全控制其绘画资产的画家的工艺和敏捷性来执行这一公式。

泰奥-范-雷塞尔贝格

玛丽亚-范-雷塞尔贝格在酒杯边上

32 1/4 x 32 7/8 in.

画布上的油画

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

玛利亚-布兰查德

21 1/2 x 28 3/4 英寸

画布上的油画

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

玛利亚-布兰查德

Fillette à la pomme

28 1/4 x 23 5/8 英寸

画布上的油画

ALEXANDER CALDER - 方向 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 红色的花瓣，蓝色的月亮 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

红色的花瓣，蓝色的月亮

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 森林 - 纸上水粉和墨水 - 43 x 29 1/4 in.

亚历山大·卡尔德

43 x 29 1/4 英寸。

纸上的水粉和墨水

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

"梦中之梦 "是 Ryan McGinnes 的一个重要绘画和丝网版画系列，其名称来自埃德加-爱伦-坡的一首著名诗歌。在探索感知、现实和潜意识等主题时，麦金尼斯融入了各种符号和图案，包括几何图形、植物元素和具象图案，并将其排列成错综复杂的图案，这些图案似乎在观者眼前变换和变形。标题暗示了一种模糊性和不确定性，反映了现实的难以捉摸性和人类经验的逃避性。通过探讨感知和幻觉的主题，麦金尼斯鼓励观众质疑自己对世界的假设，并思考现实可能比表面看起来更加多变和主观。

96 1/4 x 143 x 2 3/4 英寸

画布上的丙烯酸

罗斯·布莱克纳是一位著名的美国画家，他的作品参考了损失、记忆和变化，如在艾滋病流行期间或对他父亲的癌症诊断的探索。1965年MoMA展览将Op Art带到了一个醒目的"反应之眼"，包括艺术家理查德·阿努斯基维奇、塔达斯基和弗朗西斯·塞伦塔诺，这对他作为一个艺术家产生了深远的影响。这幅画，像他的其他身临其境，大规模的作品，引起了强大的，催眠，令人眼花缭乱的效果。布莱克纳的画布在美学上令人赏心悦目，探索感知——视觉、情感、身体、时间。布莱克纳是朱利安·施纳贝尔、大卫·萨勒、埃里克·菲施尔和彼得·哈雷的同一代和朋友，他们都把绘画技巧重新回到画布上。

罗斯·布莱克纳

亚麻帆布上的油画

ALEXANDER CALDER - 轨迹 - 水粉和墨水在纸上 - 29 3/8 x 41 1/8 英寸。

亚历山大·卡尔德

29 3/8 x 41 1/8 in.

纸上的水粉和墨水

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

"A drawing is simply a line going for a walk."<br>-Paul Klee<br><br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br><br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

冯-普利特港(Hafen von Plit)

14 1/4 x 19 1/2 in.

铺纸上的钢笔和墨水，安装在编织纸上

© 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

30 3/4 x 22 1/2 in.

纸上的水粉和墨水

IRVING NORMAN - 流浪者 - 布面油画 - 90 x 30 in.

画布上的油画

HERB ALPERT - 灵感 - 青铜 - 108 x 30 x 26 英寸。

108 x 30 x 26 英寸

HERB ALPERT - Vibrato - 青铜 - 93 x 14 英寸。

从1963年开始，沃霍尔利用照相馆的条形照片制作丝网版画，反复探索自己的肖像，最终创作出标志性的 "恐怖假发 "图像。宝丽来照片是他描绘名人和自我表述的重要手段，在他的作品中扮演着至关重要的角色，也让我们认识到他对美国战后艺术的巨大贡献。此次展出的两张照片阴暗诡异，是精心制作的精美肖像画。这两幅自画像描绘了安迪戴着标志性的假发和深色飞行员太阳镜，在阴影深重的背景下，他的头似乎漂浮在黑暗的虚空中。沃霍尔喜欢角色扮演，而这幅作品就充分体现了这一点！

安迪·沃霍尔

惊恐假发自画像

4 1/4 x 3 3/8 in.ea.

宝丽来，宝丽来色

© 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

43 3/8 x 30 in.

纸上的水粉和墨水

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

画布上的油画

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition. <br><br>Matter began creating large-scale charcoal on canvas works in the 1970s with the aim of approaching drawing with the same reverence as painting. The charcoal works are less common than her riotously colorful paintings, and they demonstrate Matter's proclivity for complex and dynamic compositions.

梅赛德斯物质

38 1/8 x 40 in.

<div><font face=Lato size=3 color=black>The monotype holds a distinctive place within Gauguin's oeuvre, offering a window into the artist's innovative process and his quest to reconcile the challenge of unifying painting and drawing. This medium became the foundation of an impressive corpus that evolved from his innovative Brittany woodcuts and, later, as the means to reimagine the boundaries between printmaking, drawing, and painting during his years in Tahiti and the Marquesas. </font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>“<em>Bathers”</em> belongs to Gauguin's 1899–1903 series of "traced monotypes," a technique where the artist drew or pressed on the back of paper placed over an inked or painted surface, resulting in a single reversed impression. This process introduced subtle textures and a sense of immediacy while allowing Gauguin to explore the interplay of positive and negative forms. By late 1902, the artist had begun keying the drawings on the versos of these monotypes to the direction of his paintings, resulting in a deliberate reversal of themes. The reversed orientation of this monotype, for example, is associated with the painting "<em>Famille tahitienne</em>" (W.618, Stephen A. Cohen collection, a.k.a., “<em>A Walk by the Sea</em>”), and it exemplifies this practice, raising intriguing questions about the creation sequence.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The reversed orientation offers a compelling argument for understanding the monotype as a concurrent experiment rather than a preparatory study. Rather than serving as a preliminary blueprint, the monotype served as a dynamic tool for experimentation, allowing Gauguin to analyze and retest compositional ideas, color harmonies, and spatial relationships in real-time. The act of transferring the image introduced an element of unpredictability—textures softened, colors became more fluid, and linear forms took on painterly qualities. This spontaneity enabled Gauguin to step outside the constraints of oil painting, offering him fresh insights into how elements of the composition could evolve. Through this iterative process, the monotype would have informed adjustments to “<em>Famille tahitienne</em>,” enriching the painting's vibrancy, depth, and compositional balance. The interplay between the two mediums underscores Gauguin's innovative approach, treating the monotype not as a secondary exercise but as an integral part of his artistic vision.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>While the monotype lacks the polished refinement of the painting, its raw immediacy and formal sensitivity reveal Gauguin's fascination with experimentation and spontaneity. Far from being a preparatory study, “<em>Bathers”</em> likely enabled Gauguin to deconstruct and reimagine <em>“Famille tahitienne” </em>as he worked. This creative interplay underscores Gauguin's broader artistic quest during his later years: to distill the essence of life and nature into forms that combine immediacy with timeless resonance.</font></div>

8 7/8 x 10 3/4 英寸

纸上水粉单版画

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.

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

拉里·里弗斯（Larry Rivers）以将流行文化元素与探索美国身份、记忆和时间流逝的复杂性的历史主题相结合而闻名，他对南北战争有着显着的迷恋。《最后的内战退伍军人》系列始于 1959 年民权时代的鼎盛时期，取自《生活》杂志的一张照片，照片中一名男子被认为是那场冲突中最后一位幸存的退伍军人。这位退伍军人卧床不起，躺在情绪激动的邦联和美国国旗下，只用最简陋的手段表达了一种转瞬即逝的存在。凭借丰富、强烈的色彩和动态、富有表现力的笔触，里弗斯巧妙地保留了更精细的细节，使其大部分基本叙事和角色变得模糊不清，同时保留了一种模糊的不确定性。

拉里·里弗斯

最后一位内战老兵

9 1/2 x 7 英寸

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

安迪·沃霍尔

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

哈里·贝托亚

无题（发声雕塑）

48 x 15 3/4 x 8 英寸

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

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

69 1/2 x 39 1/2 英寸。

画布上的油画

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

三才釉地灵

唐朝（公元618-907年）

47 1/4 x 14 x 14 in.

理查德·塔特尔是美国一位具有开创性的后极简主义艺术家。塔特尔的作品具有概念性和冥想性，跨越了雕塑、绘画和诗歌的界限，经常挑战观众。1973年，艺术家职业生涯的关键时期无题（布和绘画作品#2），唤起了他职业生涯的早期极简主义，同时向基于物质的概念艺术迈进。在作品中，他向马塞尔·杜尚的现成作品致敬。纺织品，就像这件作品一样，在他的作品中扮演着重要的角色，并成为集中表现、参与和意义的场所。

理查德·塔特尔

无题（布与颜料作品 2 号）

15 1/2 x 16 in.

帆布上的绳子和油

HERB ALPERT - 拥抱 - 青铜与黑色帕蒂娜 - 83 x 27 x 27 in.

83 x 27 x 27 in.

青铜与黑色帕蒂娜

中国--道教木雕人物--涂漆木雕--47 x 20 x 19 英寸。

道教木雕像

47 x 20 x 19 英寸。

漆面和涂漆的木材

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

唐朝（公元618-907年）

25 x 26 x 9 英寸

<div><font face=Lato size=3 color=black>In Harry Bertoia's oeuvre, "<em>Willow</em>" stands apart as an extraordinary synthesis of natural inspiration and innovative metalwork. Its cascading strands of stainless-steel capture the weeping elegance of a willow tree's drooping branches while introducing a dynamic, interactive quality through its shimmering surface and subtle responsiveness to movement. The strands—whether referred to as "tinsels," "filaments," or "tendrils"—reflect the delicacy of natural forms, blending artistry with technical mastery.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bertoia, a visionary sculptor with an unparalleled ability to transform industrial materials into organic beauty, likely employed meticulous processes to create "<em>Willow,</em>" cutting thin sheets of stainless steel into fine strips and expertly attaching them to a central core, positioning each strand to flow like water or sway like leaves in the breeze. The tactile quality of the strands, which respond to air currents or touch, invites the viewer into a contemplative engagement with the work, much like one might feel beneath the canopy of a willow tree.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>This piece epitomizes Bertoia's lifelong fascination with nature, stemming from his early years in the rural village of San Lorenzo, Italy. His sensitivity to the organic world continually informed his artistic practice, from his celebrated Sonambient sound sculptures to creations like “<em>Willow</em>, “which reimagine the relationship between form and environment. As he once said, "I no longer hold onto terms like music and sculpture. Those old distinctions have lost all their meaning."</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Once again , Bertoia captivates us by reaching beyond the traditional boundaries of sculpture, delivering a work that is as much a sensory experience as a visual one. It is a harmonious blend of natural inspiration and innovative artistry, a reminder of the sacred beauty found in the intersection of art and the natural world.</font></div>

哈里·贝托亚

无题（柳树）

61 x 32 x 32 英寸

FRANCIS CELENTANO - 起伏单位 - 帆布上的丙烯酸 - 36 x 90 in.

弗朗西斯·塞伦塔诺

画布上的丙烯酸

作为在1954年至1972年期间蓬勃发展的传奇性的古泰艺术协会的成员，本永贞正是在后原子超现实主义存在主义在日本艺术发展的最前沿出现的。然而他选择了一条不同的道路。他对战争造成的破坏置之不理，创作了新鲜、欢快、俏皮的作品。1969年的《无题》是他的经典风格，与莫里斯-路易斯所谓的 "面纱 "绘画同时发展。这幅作品出色地展示了元永对日本传统的Tarashikomi的前卫表现--这种技术包括将画布以不同的角度倾斜，使树脂和珐琅的混合物在油漆完全干燥之前就相互流动。

萨达马萨·莫托纳加

14 1/2 x 20 in.

丙烯酸在板上与棉布

内森-奥利维拉（Nathan Oliveira）的孤独人物画传达出一种存在的不安感，让人联想到贾科梅蒂（Giacometti）的风格，但它们也具有一种空灵的特质和超凡脱俗的存在感。这些人物体现了自我超越意识的永恒、普遍的表达方式，更符合形而上学的无形层面。蓝眼睛人物》具有一种令人魂牵梦萦的特质。如果我们假设从下巴向下垂直划过的白色笔触是对十八世纪领巾的一种绘画隐喻，那么这幅作品就仿佛伸向了过去，与奥利维拉对戈雅遗产的深深敬意和参与产生了共鸣。蓝眼睛人物》可以说是对戈雅的直接致敬。奥利维拉以戈雅 1818 年的蚀刻版画《La Tauromaquia 21》为基础创作了他的第一批连环画，并参加了许多讨论戈雅作品的影响和意义的活动。

内森·奥利维拉

蓝眼睛的人物

画布上的油画

内森-奥利维拉经常与加利福尼亚湾区的具象画家联系在一起，但实际上，他的作品透露出他对威廉-德库宁、阿尔贝托-贾科梅蒂和弗朗西斯-培根的兴趣。这些影响是《从地毯上走下来的裸体》的显著特点。这幅画是奥利维拉 30 岁出头时画的，正是这种画奠定了他早期的声誉，他以即兴的风格描绘了令人魂牵梦萦的孤立人物。奥利维拉晚期的作品反映了德库宁关于绘画视觉记忆的挑战和创造具有微弱存在感的人物形象的有影响力的评论，然而，强烈的地平线为这幅风景画奠定了基础，使人物形象比往常更有肉体存在感。

内森·奥利维拉

从地毯上走下的裸体

画布上的油画

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

50 x 52 1/2 in.

画布上的油画

埃德·摩西是洛杉矶艺术界近70年来的杰出人物。他于1949年首次展出，1957年是费鲁斯画廊原创艺术家团的一员——1963年，酷派艺术家埃德·鲁沙（Ed Ruscha）也在那里举办了他的第一次个人画展。从2006年"弗兰科-德尔#1-#3"的大规模和试制形成对摩西来说是罕见的。这件作品以棕色、灰色、黑色、铁锈和松绿色的土色调执行。作为画家，摩西总是从事工艺和材料实验，他大胆的创作和创新一直受到高度赞扬。

Franco-Del 1 号和 3 号

79 1/2 x 110 1/2 in.

画布上的丙烯酸

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition. <br><br>"Untitled" 2001 was Matter's final painting. It was still on her easel when she passed. Matter used visual sources for her paintings, such as the traditional still life, but deconstructed the objects into complete abstraction, maintaining a focus on capturing the energy and relationship between objects and spaces.

梅赛德斯物质

画布上的油画

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

塔达苏克（塔达斯基）库瓦亚马 - B-139 - 帆布上的丙烯酸 - 47 x 47 in.

塔达苏克(塔达斯基) 库瓦亚马

画布上的丙烯酸

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

无题（厄巴纳系列）

13 7/8 x 11 in.

纸上的墨水

1962 年 7 月，安迪-沃霍尔的 36 幅金宝汤罐头绘画作品在洛杉矶 Ferus 画廊展出，此后艺术界迅速追捧安迪-沃霍尔。在他最后的手绘作品中，沃霍尔很快发现了丝网印刷这种与他关系最为密切的媒介。手工制作的汤罐画看起来是机械生产的，而丝网版画则是一种机械和商业工艺，使沃霍尔能够对关键主题进行无限精确的重复和变化。作为 32 个原创品种之一，"蔬菜 "至今仍是一种流行文化现象，从盘子、杯子到领带、T恤衫和冲浪板，无所不在。

安迪·沃霍尔

金宝汤 I：蔬菜汤

40 x 28 1/2 英寸

纸上的丝印

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

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

画布上的油画

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

查尔斯·阿诺迪

44 1/4 x 91 x 3 英寸

胶合板上的丙烯、造型浆糊和胶棒

ALEX KATZ - Peter - 石板上的油画 - 15 7/8 x 7 1/8 英寸。

亚历克斯·卡茨

15 7/8 x 7 1/8 英寸

WILLIAM WENDT - 拉古纳山 - 布面油画 - 25 x 30 in.

画布上的油画

纳坦奥利维拉 - 无标题 - 画布上的油画 - 84 X 63 in.

内森·奥利维拉

画布上的油画

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

玛丽·科罗斯

帆布上的丙烯酸和钻石粉

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western. <br><br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

84 x 114英寸。

画布上的油画

辽朝，又称契丹帝国，是中国北方的一个帝国，统治着满洲、蒙古和中国北方部分地区。它是由契丹人耶律氏在唐朝末年建立的，尽管其第一任统治者耶律阿保机直到 916 年才宣布其国号。1125 年，辽帝国被金朝女真人所灭。然而，由耶律大石领导的残余势力于 1125-1220 年建立了西（西）辽王朝，又称喀喇汗国。

辽代，公元 907-1125 年

22 1/2 x 10 x 8 1/4 英寸

RICHARD ANUSZKIEWICZ - Pale Pink - 丙烯酸 - 48 1/4 x 48 1/4 英寸。

里查德·阿努斯齐维奇

48 1/4 x 48 1/4 英寸

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div><br><br><div><font size=3> </font></div><br><br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

哈里·贝托亚

无题（发声雕塑）

40 1/2 x 8 x 8 英寸

在 20 世纪 50 年代形成的日本艺术家 "古泰"（Gutai）团体中，没有人像白鹿一雄那样无所畏惧地快速创作。他的画作以动感十足、姿态万千的笔触为特色，通常以非常规的方式创作。白鹿一雄以使用身体作为绘画工具而闻名，他经常悬挂在绳子上，用脚将颜料涂抹在画布或画纸上。他的作品通常质地厚重，但总是具有很强的触感，颜料层层叠叠，增加了作品的深度和身体感。另一方面，塔基依靠原始的斑斓色彩条纹，唤起无拘无束的能量和自由叛逆的感觉，他也因此而闻名，挑战传统的艺术惯例，突破创意表达的界限。

10 3/4 x 8 5/8 英寸

画布上的油画

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

Signed and titled verso<br>JR-33-76

画布上的丙烯酸

安迪很喜欢照相亭。拍照的是机器，而不是人。它提供了即时满足感，符合沃霍尔对真实性和生活中坦率时刻的迷恋，正如本例所证明的，私人时刻充满了纯粹的乐趣和不加掩饰的享受。安迪经常把人们哄到他最喜欢的第 42 街照相馆，在那里，拍摄者会把自己最好的电影明星形象展现出来，而沃霍尔则会用不同的颜色组合拍摄多张照片。在沃霍尔数以千计的委托肖像画中，第一幅是埃塞尔-斯库尔（Ethel Scull）的肖像画，这是在时代广场附近的 42 街照相馆拍摄的 36 幅丝网印刷图像的马赛克。他哄骗这位艺术收藏家在那里尽情模仿电影明星。到 20 世纪 70 年代，委托肖像画已成为他收入的重要组成部分。

安迪·沃霍尔

7 3/4 x 1 1/2 in.

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

安迪·沃霍尔

法拉-福塞特

4 1/4 x 3 3/8 in.ea.

宝丽来，宝丽来色

Signed, titled and dated ‘81 verso<br>JR-198-81

新合成》第 15 期

画布上的丙烯酸

卡尔·安德烈是一位美国艺术家，曾帮助先锋极简主义雕塑，是著名艺术家安娜·门迪埃塔的丈夫。这是20世纪60年代早期的经典文本，是典型的他的诗歌，通过从源文本中选择单个单词，然后根据简单和不言自明的标准在页面上排序，在这种情况下，这是按字母顺序排列的。清单。飞行员查尔斯·林德伯格深深迷住了卡尔·安德烈，他回到他的诗歌来源。这部作品的结构化重复，如他著名的雕塑，反映了在20世纪60年代和70年代出现的极简主义和后极简主义，包括同为混凝土诗人克里斯托弗·诺尔斯。

卡尔·安德烈

查尔斯·林德伯格的五百项条款

纸上的墨水

安迪-沃霍尔-沃霍尔自画像（惊恐假发）-宝丽来，宝丽来彩色-4 1/4 x 3 1/4英寸。

安迪·沃霍尔

沃霍尔自画像(惊恐假发)

4 1/4 x 3 1/4 in.

宝丽来，宝丽来色

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。

查克-克洛斯（Chuck Close）的四件玻璃全息图套装是他对自画像的持久探索和对创新艺术媒介的兴趣的迷人交集。自画像一直是克洛斯作品的基石，使他能够深入探讨人类身份的复杂性和艺术创作的过程。全息图随着观众的位置而变化，创造出一种动态体验，与克洛斯的像素化作品遥相呼应，但又增加了实体存在感。全息图》展示了艺术家不断发展其艺术语言的决心，巧妙地将传统肖像画与现代技术进步相结合，不断挑战和重新定义视觉表现的界限。

14 x 11 in. ea.

一套4个玻璃全息图

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

安迪·沃霍尔

4 1/4 x 4 1/2 in.

ARNE HIERSOUX - Mem Sahib - 丙烯酸和画布上的纸张 - 70 1/2 x 120 1/2 in.

ARNE 希尔苏克斯

梅姆·萨希卜

70 1/2 x 120 1/2 in.

画布上的丙烯酸和纸张

列昂尼德 LAMM - 国家电源 - 画布上的油画 - 68 3/8 x 66 x 1 in.

列昂尼德·拉姆

68 3/8 x 66 x 1 in.

画布上的油画

JOANNA POUSETTE-DART - 无题（红色沙漠研究） - 木板上的丙烯酸 - 33 1/2 x 42 x 3/4 英寸。

乔安娜·普塞特-达特

无题（红色沙漠研究）

33 1/2 x 42 x 3/4 英寸。

木板上的亚克力

Harry Bertoia的Willow雕塑作为一种优雅和精致的表达引起了共鸣；这些品质与我们通常对其合金的内在属性的联想相悖。这个悬浮的版本--罕见的柳树版本--似乎有一种自我意识的存在；它喜欢这种属性的对比。然而，它所招致的只是观赏它的存在乐趣。把《柳》看作是一个大胆表达的考尔德版本，如果后者的大师有一个更有机的或肉体的唤起。悬空的，它指挥着它的区域，但又尊重它与周围的空间关系。光线、形式、空间--这些都是雕塑家的概念性工具。但是，还有谁会想到使用更容易与僵硬和张力联系在一起的反光材料来创造一束层叠的不锈钢线，悬浮在空间中，像植物一样，如此优雅美丽？

哈里·贝托亚

无标题（悬挂柳树）

123 x 39 x 39 in.

ANDY WARHOL - 惊恐假发自画像 - 宝丽来 - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

惊恐假发自画像

4 1/4 x 3 3/8 in.

ED MOSES - Nambo Panel I & II - 布面丙烯 - 84 x 126 in.

南博小组一、二

画布上的丙烯酸

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

安迪·沃霍尔

4 1/4 x 3 3/8 in.

宝丽来，宝丽来色

HERB ALPERT - 海啸 - 帆布上的丙烯酸 - 72 x 120 in.

画布上的丙烯酸

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

三才釉地灵

高度：44英寸

KHMER - 男性躯干 - 砂岩 - 24 x 9 x 5 英寸。

24 x 9 x 5 英寸

FIONA RAE - 无题（黄、红+棕） - 布面油画 - 72 x 78 英寸。

无题(黄、红+棕)

画布上的油画

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

索托马利诺的威尼斯游船

23 3/8 x 26 1/4 英寸

面板上的油

卡尔-本杰明（Karl Benjamin）和他的同行洛瑟-费特森（Lorser Feitelson）、弗雷德里克-哈默斯利（Frederick Hammersley）以及约翰-麦克劳克林（John McLaughlin）在美国抽象艺术史上占有独特的地位。他们以精确的几何形式和强调平面感的简洁边缘著称，是 20 世纪 50 年代末崛起的加州硬边画家。与埃尔斯沃思-凯利（Ellsworth Kelly）等人不同的是，他们的作品反映出一种明亮、清晰的色调，暗示着加利福尼亚的自然和建筑环境，而不是东海岸更多的城市和工业影响。此外，与东海岸竞争激烈的艺术界相比，加利福尼亚的艺术家群体相对较小且关系密切，他们具有合作和共同探索的意识，从而促成了一场具有鲜明个性的凝聚运动。

卡尔·本杰明

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 51 1/4 x 64 in.

51 1/4 x 64 in.

画布上的油画

ARNE HIERSOUX - 无标题 - 丙烯酸和画布上的纸张 - 71 x 94 in.

ARNE 希尔苏克斯

画布上的丙烯酸和纸张

TIM HAWKINSON - Tusk - 铁板上的132个果冻模具 - 16 x 14 1/2 x 8 in.

蒂姆·霍金森

16 x 14 1/2 x 8 in.

132铁板上的果冻模具

从最普遍的意义上讲，沃霍尔在其作品中使用头骨是在思考人类存在的必然现实。历史上，骷髅被用于 "悼念"（memento mori）和 "虚无"（vanitas）绘画的例子比比皆是，但对沃霍尔来说，骷髅是他对死亡的一种深刻的个人反思。对沃霍尔来说，骷髅图案还具有更多面性，涉及个人哲学和美学考虑。在安迪玩味和讽刺的一面，骷髅头与名人文化、魅力和流行文化的肤浅方面形成鲜明对比。这是对沃霍尔赖以建立其金融帝国的作品的诙谐反驳，破坏了他的名人肖像画中经常隐含的永恒的名声和不朽的概念。

安迪·沃霍尔

自画像与头骨

4 1/4 x 3 1/2 in.

宝丽来，宝丽来色

罗伯特·纳特金 - 阿波罗 XL - 帆布上的丙烯酸 - 88 x 116 1/4 in.

罗伯特·纳特金

88 x 116 1/4 in.

画布上的丙烯酸

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

安迪·沃霍尔

镜头下的自画像(双联画)

4 1/4 x 3 3/8 in.ea.

宝丽来，宝丽来色

Born in Onomichi in Hiroshima Prefecture, Teraoka studied at what is now Otis College of Art and Design in Los Angeles. His works are inspired by Japanese Ukiyo-e woodcut prints. However, Teraoaka infuses the style and techniques of the traditional art with American Pop Art. The mass-produced nature of Japanese woodcut prints alligns with the obsession with mass production and consumption of Pop Art. Additionally, Ukiyo, meaning “the floating world” in Edo period Japan reflected the transitory nature of Kabuki theater and pleasure houses. This transitory sense of consumerism and pleasure was also evoked in the works by Pop Artists. Teraoka’s works are a collision of two cultures and histories of art finding affinities through similar themes.<br><br>Teraoka’s pieces blend humor and social commentary. He has often touched upon subjects as diverse and urgent as the AIDs crises, consumerism, the attacks on September 11th, and more. Teraoka notes of his own work, “Integrating reality with fantasy, humor with commentary, and history with the present became my challenge.”<br><br>Works by Teraoka can be found in the Tate Modern, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Smithsonian, the Los Angeles County Museum of Art, the Walker Art Center, and more.

马萨米·特拉奥卡

波浪系列/夕阳海滩的纹身女人

14 7/8 x 10 in.

ARNE HIERSOUX - Yonder 思科 - 丙烯酸和画布上的纸张 - 59 x 93 3/4 in.

ARNE 希尔苏克斯

59 x 93 3/4 in.

画布上的丙烯酸和纸张

JAE KON PARK - 无标题 - 画布上的油画 - 44 1/4 x 64 in.

44 1/4 x 64 in.

画布上的油画

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

莫里斯·阿肯纳齐

全裸与日本折叠屏幕

画布上的油画

由于沃霍尔担心脱发，没有什么道具比假发更能塑造他的公众形象。假发是他的标志性造型，也是他对转变、表演和身份流动性的兴趣的延伸。惊吓假发蓬松凌乱，为沃霍尔的造型增添了野性和古怪的元素。但在这幅作品中，假发以一种笔直的、头盔式的发型垂落下来，让人联想到一种更加严厉和威严的本质。对于沃霍尔来说，所有的假发都为他提供了一个扮演戏剧角色的机会，也反映了他对人工化和自我发明的迷恋。

安迪·沃霍尔

4 1/4 x 3 3/8 in.

宝丽来，Polacolor II

PAUL JENKINS - 现象与黑色Anadem - 墨水，丙烯酸和油画布 - 51 x 51英寸。

保罗·詹金斯

与黑色Anadem的现象

水墨、丙烯和油画在画布上

JAE KON PARK - 无标题 - 画布上的油画 - 44 1/4 x 57 3/8 in.

44 1/4 x 57 3/8 in.

画布上的油画

LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - 纸上粉彩，铺在画布上 - 17 1/2 x 13 3/4 英寸。

莱昂-奥古斯丁-埃尔米特

Laveuses, le soir

17 1/2 x 13 3/4 英寸

纸上粉彩，铺在画布上

<div><font face="Times New Roman" size=3 color="#0E101A">Frank Tenney Johnson began his career as an illustrator for <em>Field and Stream</em> Magazine in 1904. Johnson lived in New York City from 1904 until 1920; however, he traveled to the great American West to gather source material for his studio work. </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Johnson's 1912 trip to the Montana Blackfoot Reservation with Charles Russell was a pivotal moment for the artist; after this trip, he settled in Colorado for many years. After a brief return to California, the artist spent many years in his new studio in Cody, Wyoming.  </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Works from this period gained Johnson the titles the "Master of American Moonlight Painting" and "Master Painter of the Old West." The painting "Scouting" shows an idyllic native scene; Johnson's firsthand studies and experiences with Native people were a recurrent theme in his work.  </font></div>

弗兰克-滕尼-约翰逊

13 1/2 x 17 英寸

画布上的油画

Robert Rauschenberg, along with Jasper Johns, Andy Warhol, and Roy Lichtenstein, started the revolution of Pop Art in the 1960s. Rauschenberg's later career was a time for the artist to work on experimental and innovative projects, including the 1993 "Prime Pump from ROCI USA (Wax Fire Works Series)." This series comes from the artist's philanthropic project, "ROCI USA," demonstrating "Rauschenberg's belief in the power of art as a catalyst for positive social change." The reference to "wax fire" in the title is Rauschenberg's term for encaustic - hot wax with colored pigments - which he used in other works from the series. <br><br>Executed in a small edition of just 17 examples, this piece incorporates printmaking, a medium to which he often returned to explore new modes for layering imagery. Rauschenberg worked on editions since the early 1960s when he was a fixture at the ULAE and Gemini G.E.L. printshops. Rauschenberg's printmaking and editioned works were an extension of the creative act for the artist; he could achieve sculptural and 3D effects through his editions.

罗伯特·劳森伯格

美国联科公司的填料泵（蜡火工场系列）。

63 1/2 X 44 1/4 IN.

彩色丝网印刷

从 20 世纪 50 年代末到 60 年代中期，雷-帕克早期对色域绘画的贡献以其鲜活、清新的特质脱颖而出。帕克在用石膏粉预处理过的大画布上，用生猛的笔触排列出两个或更多粗犷的色块。这些色块的色彩饱和而微妙，展现出一种独特的活力。虽然帕克的构图可能会让人联想到罗斯科的作品，但坚实有力的色彩表现方式却使其与众不同。帕克的作品保持了纽约画派的宏大规模和活力，但又与抽象表现主义不同，他摒弃了抽象表现主义常有的强烈情感，接受了抽象表现主义运动的愿景，没有典型的悲怆。

30 1/8 x 23 1/4 英寸

画布上的油画

虽然植前智友并不被认为是行动画家，但他以几种注重形式、纹理和色彩相互作用的方法而闻名。在本作品《无题》中，他经常使用调色刀涂抹颜料，创造出纹理层次，让点点色彩犹如埋藏在地下的宝石般熠熠生辉。在加入古泰集团之前，Uemae 曾学习过中国画的南方画派--南画，他认为自己在京都染色风格和缝纫纪律方面的浸润式工作经验为其成熟的风格提供了借鉴。Uemae 的作品探索颜料的物质性和画布的可能性，反映了他对绘画行为本身的深刻理解。

31 3/8 x 19 3/4 英寸

面板上的油

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

安迪·沃霍尔

4 1/4 x 3 3/8 in.

安迪-沃霍尔 - 大卫-霍克尼和安迪-沃霍尔 - 宝丽来, Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

大卫-霍克尼和安迪-沃霍尔

4 1/4 x 3 3/8 in.

宝丽来，宝丽来色

ANDY WARHOL - 西北海岸面具 - 彩色丝网印刷在Lenox博物馆纸板上 - 38 x 38 in.

安迪·沃霍尔

西北海岸面具

彩色丝网印刷在Lenox博物馆板上

JAE KON PARK - 无标题 - 画布上的油画 - 38 1/4 x 51 1/2

38 1/4 x 51 1/2

画布上的油画

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

安迪·沃霍尔

4 1/2 x 3 3/8 in.

宝丽来，宝丽来色

ANDY WARHOL - Lee Radziwill - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

4 1/4 x 3 3/8 in.ea.

宝丽来，宝丽来色

HASSEL SMITH - 9000 和 9 夜 - 画布上的丙烯酸和石墨 - 68 x 68 1/8 in.

哈塞尔·史密斯

68 x 68 1/8 in.

画布上的丙烯酸和石墨

ANDY WARHOL - Campbell's Soup Can (Tomato) - 彩色T恤上的丝网印刷 - 29 x 26 1/2 英寸。

安迪·沃霍尔

金宝路汤罐头（番茄味

29 x 26 1/2 in.

HASSEL SMITH - 眼球到眼球 - 画布上的油画 - 46 x 46 in.

哈塞尔·史密斯

眼球到眼球

画布上的油画

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971). Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

杰西·阿姆斯·博特克

白孔雀》（The White Peacock

画布上的油画

威廉·特洛菲鲁斯·布朗 - 马与游泳者在沙滩上 - 帆布上的丙烯酸 - 36 x 48 in。

威廉·德菲鲁斯·布朗

马与游泳者在海滩

画布上的丙烯酸

OLAF WIEGHORST - 阿帕奇 - 布面油画 - 20 x 24 in.

画布上的油画

托马斯-诺兹科夫斯基出生于1944年，他创作了一些小幅的、色调丰富的画作，反映了抽象表现主义者和包豪斯难民的二元影响，他曾在库珀联盟学习。他使用小画笔，他的处理方式包括刮擦和擦掉颜料，这些都会在作品中得到体现。他开发了一个独特的，广泛的词汇，在不同的配色方案和广泛的联想中部署生物形态般的几何形式：瓷砖地板，细胞群，建筑和外太空。这些作品往往是从他自己的记忆和经验中提炼出来的。诺兹科夫斯基评论这幅具体的画作（《无题》，1994年）时说，这幅画反映了他对文艺复兴时期卡松多雷胸板上所画的神话场景的迷恋。他说这是这个系列三四幅15"x30"的画中最好的一幅。诺兹科夫斯基多年来一直由佩斯画廊处理。他于2019年去世。

THOMAS NOZKOWSKI

油彩、麻布、板面

JAE KON PARK - 无标题 - 画布上的油画 - 45 3/4 x 35 1/2 in.

45 3/4 x 35 1/2 in.

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 36 x 45 1/2 in.

36 x 45 1/2 in.

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 34 x 43 1/4 in..

34 x 43 1/4 in.

画布上的油画

NATHAN OLIVEIRA - 第5号石碑 - 布面油画 - 66 x 54 1/8 英寸。

内森·奥利维拉

66 x 54 1/8 英寸。

画布上的油画

DONALD SULTAN - Yellow Tulip No.

唐纳德·苏丹

黄色郁金香第 18 号

纸上的油和焦油

CARLOS LUNA - Iluminado - 拜占庭马赛克 - 47 1/2 x 82 in.

卡洛斯·卢纳

47 1/2 x 82 in.

拜占庭马赛克

THEASTER GATES - 无标题（地板） - 白色水泥，碎屑，地板 - 35 x 35 x 3 in.

塔斯特·盖特·盖特

无标题（地板）

35 x 35 x 3 in.

白色水泥，碎屑，地板

亨利-摩尔 - 皇帝的头像 - 棕色铜锈 - 6 3/4 x 8 1/4 x 4 1/2 in.

6 3/4 x 8 1/4 x 4 1/2 in.

青铜与棕色帕蒂娜

THEASTER GATES - 沉船期 25 - 白色混凝土和瓷器 - 48 x 12 x 12 in。

塔斯特·盖特·盖特

沉船期的备用 25

48 x 12 x 12 in.

白色混凝土和瓷器

Hand blown glass with multiple incalmo of colored glass and filligrana. Switching the axel of the glass bubble and adjoining two glass bubbles with raticallo technique. Engraved partially on the surface with different patterns.<br><br>Lino Tagliapietra, a native to Murano, is one of the world's preeminent glass artists.

利诺·塔利亚皮特拉

13 x 11 x 3 in.

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

纸上混合介质

CONRAD MARCA-RELLI - Untitled H/S E - 拼贴画 - 26 1/4 x 20 英寸。

康拉德-马尔卡-雷利

26 1/4 x 20 英寸

帆布拼贴画

ANDY WARHOL - "花"展览上的自画像 - 宝丽来, Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

花》展览中的自画像

4 1/4 x 3 3/8 in.

宝丽来，宝丽来色

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

东森文化（公元前 1000 年-公元 200 年）

22 1/2 x 12 x 10 英寸

Cylindrical offering posts, ai tos, are erected as offerings to distant ancestors. This post has two faces and represents the first ancestral pair. The people of Belu, also called Tetum, recognize three types of offering pole; ai tos, for distant progenitors, sometimes described as gods; foho, for intermediary beings; and lor, for the recently deported.<br><br>Many offerings are brought to the ai tos. When a carving is first finished, rice and a pig are sacrificed. Later, to inaugurate the post there are massive offerings from the village. At regular intervals the post is dressed in fine clothing, even an artificial beard, and food is brought to the ancestor, bei.

提供职位 - Aitos

43 1/2 x 11 x 12 英寸

沃霍尔的 "电椅 "无疑是沃霍尔 "死亡与灾难 "系列 70 多幅绘画和版画作品中最恐怖的一幅，但其绚丽的色彩却与主题形成了鲜明的对比。具有讽刺意味的是，重复和丝网印刷的机械化纯粹性在这里起到了不同的作用。它们起到了脱敏的作用，在一定程度上将人们的情感从可怕、恐怖、死亡和死亡中分离出来。似乎是为了进一步表明自己的意图，沃霍尔将之前迭代的洞穴式房间缩小到了一个浅平面，让人更集中地看到椅子本身，其病态在黄色、粉色、蓝色和橙色的色块下得到了缓和。

安迪·沃霍尔

35 3/8 x 47 3/4 英寸

编织纸上的彩色丝网印刷

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.

梅尔-拉莫斯 - 番茄番茄酱；A.C. 安妮；罗拉可乐；烟草红 - 四幅彩色胶印石版画 - 每幅 30 3/4 x 25 1/4 英寸。

梅尔·拉莫斯

番茄酱；A.C. 安妮；罗拉可乐；烟草红

各 30 3/4 x 25 1/4 英寸。

四幅彩色胶印石版画

ROBERTO MATTA - L'Epreuve - 油画 - 29 1/2 x 25 1/2 in.

罗伯托·马塔

29 1/2 x 25 1/2 in.

画布上的油画

LEROY NEIMAN - 马术骑手 - 纸上混合媒体 - 22 x 28 英寸。

马术运动员

纸上混合介质

KHMER - 观音头像 - 灰色砂岩 - 13 x 7 x 7 英寸。

高棉语，12-13 世纪

13 x 7 x 7 英寸

HERB ALPERT - 战士 - 青铜 - 35 x 12 x 12 in.

35 x 12 x 12 英寸

曾建勇 - 纪律-飞鸟 - 手工纸本水墨画 - 56 1/2 x 28 1/4 in.

56 1/2 x 28 1/4 in.

手工纸上的墨水和水彩

罗伦斯-希勒---玛丽莲-梦露---复古银质明胶照片---11 x 14英寸。

玛丽莲·梦露

复古银质明胶照片

AI WEIWEI - "Fairytale "椅子 - 木制 - 49 x 45 x 17 1/2英寸.

"童话般的椅子

49 x 45 x 17 1/2 英寸。

大卫-霍克尼--两把彭布罗克工作室的椅子--彩色石版画--18 3/4 x 21 7/8 英寸。

戴维·霍克尼

两把彭布罗克工作室椅子

18 3/4 x 21 7/8 英寸

彩色平版印刷品

这是中世纪印度神庙中的皇家游行场景。中央的骑手头戴装饰精美的头盔或王冠，彰显其王室身份。他的两侧有两名同伴相伴，他们都转过身面向他，以示敬意。在骑士身后的楣板上，一群支持者注视着游行队伍。雕刻师将随从置于主要人物身后的壁架上，并将这些次要人物的比例缩小，从而传达出一种纵深感。虽然这种技法缺乏希腊罗马古典楣画等作品的复杂性，但艺术家仍然获得了一种深度和透视感，同时为描绘马匹和中心人物提供了宽阔的空间。此外，雕刻师在马鞍和马具以及骑手靴子和铠甲绑腿的细节处理上也展现出了非凡的技艺。

宽度：23 英寸

CHINESE - Sancai-Glazed Official - 釉陶 - 高：34 英寸。

三才琉璃官

唐朝（公元 618-907 年）

高度：34 英寸

PABLO PICASSO - Femme assise en pyjama de plage - linocut - 21 1/2 x 17 in.

穿着沙滩睡衣的女士

21 1/2 x 17 英寸

JAPANESE - 6 Panel Japanese Byobu - 纸与木 - 67 1/2 x 146 英寸。

6 块面板的日式小木屋

明治/大正时期：20 世纪初

67 1/2 x 146 英寸

JAPANESE - Dog and Wagon Embroidery - silk and gold thread embroidery - 88 1/2 x 48 1/2 in.

狗和马车刺绣

88 1/2 x 48 1/2 英寸

Provenance: <br>Heather James, CA<br>Private collection, NV (acquired from above May, 2000)

灵璧 - 一孔状元岩

41 1/4 x 14 x 13 英寸

木质底座上的石头

中国 - 骆驼 - 彩陶 - 11 x 22 x 10 英寸。

唐朝（公元 618-906 年）

11 x 22 x 10 英寸

ANDY WARHOL - 神话（圣诞老人）-宝丽来，彩色-4 1/4 x 3 3/8英寸。

安迪·沃霍尔

神话（圣诞老人

4 1/4 x 3 3/8 in.

宝丽来，宝丽来色

美国原住民 - 索科罗黑底白字储物罐 - 彩绘粘土 - 16 x 14 x 14 英寸。

索科罗黑底白字储物罐

c.公元 1100-1250 年

16 x 14 x 14 英寸

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures. <br><br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues. <br><br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

这里展示的字是长寿字，中文读 "寿"，日文读 "幸"。寿字的优雅，尤其是以草书形式描绘时，使其成为纺织品、陶瓷、漆器和许多其他媒介上的流行装饰图案。这里的文字是用金线编织而成的，周围环绕着菊花，菊花具有保健作用，因此也是长寿的象征。这样的福草很可能是作为生日礼物的封面而制作的。

明治时期（1868-1912）

格雷戈里苏米达 - 布鲁克的弯曲 - 水彩 - 10 1/2 x 14 1/2 in

格雷戈里·苏米达

布鲁克的弯

10 1/2 x 14 1/2 in

巫师戴着 Hudog 面具，通过恢复游荡的灵魂来治疗病人，或驱赶邪灵。在农业仪式上也会戴上面具，这些仪式可以确保土地和妇女的繁衍。

高度：20 英寸

木质和颜料，顶部为稀有云豹皮

INDONESIAN - Hudog 面具 - 木材 - 25 x 22 x 9 英寸。

胡多格面具

25 x 22 x 9 英寸

WILLIAM WEGMAN - Armed Chair - 彩色照片版画 - 49 3/4 x 37 1/2 in.

威廉·韦格曼

49 3/4 x 37 1/2 in.

彩色照片石版图

诺曼·罗克韦尔 - 艺术评论家 - 纸上的拼文 - 30 1/2 x 27 1/2

诺曼·罗克韦尔

艺术评论家

30 1/2 x 27 1/2

纸上的拼字

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 左侧：10 x 17 1/2 in. 右侧：6 x 10 1/2 in.

约塞夫·阿尔伯斯

配方：关节

左：10 x 17 1/2 in. 右侧： 6 x 10 1/2 in.

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 12 x 11 3/4 in. ea.

约塞夫·阿尔伯斯

配方：关节

12 x 11 3/4 in.

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 9 1/8 x 13 7/8 in. ea.

约塞夫·阿尔伯斯

配方：关节

9 1/8 x 13 7/8 in.

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 11 5/8 x 12 3/4 in. ea.

约塞夫·阿尔伯斯

配方：关节

11 5/8 x 12 3/4 in.

中国 - "棍 "形人物 - 彩陶 - 高：23 1/2 英寸。

"棒状 "人物

汉朝（公元前 206 年 - 公元 220 年）

高度：23 1/2 英寸

中国 - "棍 "形人物 - 彩陶 - 高：24 1/2 英寸。

"棒状 "人物

汉朝（公元前 206 年 - 公元 220 年）

高度：24 1/2 英寸

库兰戈雕像十分罕见，通常被视为源自洛比艺术并深受其影响。这些雕像与死者有关，是介于灵魂和人之间的存在，可能代表死者、鬼魂或丛林精灵。这些人像主持奠基仪式，对新家获得保护至关重要。占卜者和家族崇拜的领袖也会使用它们。

17 x 2 1/2 x 3 英寸

非洲 - 带头发的面罩 - 木材、头发、颜料

带头发的面膜

木材、毛发、颜料

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