杰克逊霍尔画廊 - 艺术目录

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1886年5月15日，乔治-修拉（Georges Seurat）的最高成就《拉格朗日岛的星期天下午》在第八届印象派画展上亮相，一场新艺术运动的视觉宣言就此诞生。修拉可以称得上是最初的 "科学印象派"，其创作方式后来被称为点彩主义或分割主义。然而，是他的朋友和知己，24岁的保罗-西尼亚克，以及他们不断的对话，导致了他们在理解光和颜色的物理学和出现的风格上的合作。西尼亚克是一个没有受过训练的印象派画家，但却是一个才华横溢的画家，他的气质完全适合于实现艰苦的笔触和色彩所需的严格和纪律性。西尼亚克很快就吸收了这种技术。他还见证了修拉两年来在巨大的《大山》上建立无数个未混合的色点的艰辛历程。西尼亚克是个外向的人，修拉是个内向的人，他们一起颠覆了印象派的进程，并改变了现代艺术的进程。

PAUL SIGNAC

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

GEORGIA O'KEEFFE

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

迪戈·里韦拉

Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.

格兰特-伍德

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

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

亚历山大·卡尔德

<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

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

EMIL NOLDE

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

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

亚历山大·卡尔德

<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

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

温斯顿·丘吉尔爵士

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

拉里·里弗斯

<div><font face=Calibri size=3 color=black>Martha's Vineyard played a pivotal role in Thomas Hart Benton's artistic journey, offering him both inspiration and respite from urban life. His first visit to the sparsely populated island in 1920 marked a turning point, allowing him to escape the sweltering New York summers and find clarity in the island's serene environment. At a time before the island was deluged by the fabulously wealthy, Vineyard was a freewheeling community of artists and intellectuals that gave the ever-inquisitive Benton much-needed stimulation. It is here that Benton's bold colors and dynamic compositions achieved contour inflections, pictorial rhythms, and a strong-hued palette, which we associate with his mature style. Inspired early by Cézanne, Benton's landscapes transcend fleeting impressions. Yet he never abandoned the influence of Synchronism and its focus on color harmonies, tempo, and rhythm. That latter influence drives the energy and spirit of "Keith's Farm, Chilmark," organized into horizontal bands of visual information, creating a sense of motion and unity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its rolling pastures to the Atlantic Ocean and tranquil cloud formations beyond, the view over the Keith Farm pastures is one of the island's most spectacular. Overlooking Menemsha Pond to the Vineyard Sound, Benton captured and distilled the essential nature of the place, transforming it into a picturesque and personally significant composition. His use of modern techniques to strip the landscape down to its basic tendencies embodies pride in regional America and a reverence for the country's natural beauty in ways the streets of New York never could. Simultaneously, Benton imbues the work with what his daughter, Jessie, noted: music played a vital role in her father's art, informing a sense of motion using sinuous forms, each rendered in flowing complementary and contrasting colors and 'twisting, always moving, moving, moving.' Typical of Benton's best paintings, "Keith's Farm, Chilmark" is a well-orchestrated work that pulls individual elements into a unifying scheme of visual rhythm — a testament to his mastery of landscape painting and deep connection to Martha's Vineyard.</font></div>

托马斯·哈特·本顿

JEAN-MICHEL BASQUIAT - 《无题（鸽子解剖）》 - 油画、石墨和粉笔在纸上 - 22 x 30 英寸。

让-米歇尔·巴斯奎特

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

HIROSHI SENJU - 瀑布 - 日本桑皮纸上的天然颜料和铂金，裱在木板上 - 36 x 46 英寸。

仙住宏志

<div><font face=Calibri size=3 color=black>Deeply influenced by his populist views and commitment to social realism, Thomas Hart Benton became an advocate for the common man, often depicting the struggles and resilience of ordinary Americans in his work. Coal strikes were frequent occurrences in the late 1920s and early 1930s, and <em>"Mine Strike"</em> is a visually compelling account of such an uprising, rich with social commentary. At the time, Benton traveled the nation seeking inspiration for a mural project and was particularly interested in social issues. In 1933, he illustrated the modern social history of the United States for <em>“We the People”,</em> published by Harper & Brothers, New York. <em>"Mine Strike"</em> is carefully constructed to highlight the chaos and human drama. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The figures are robust and grounded, reflecting Benton's signature style of muscular forms. The scene, though aggressive and violent, displays commitment and sacrifice. Two officers fire on the strikers, one of whom has fallen to the ground, shot. Set against the backdrop of an imposing mining complex, a towering black structure known as a 'tipple' looms ominously over the strikers. Its darkly sinister anthropomorphic shape contrasts sharply with the lighter, more organic human figures — an appearance intensified by its coal chutes resembling mechanical arms. This visual metaphor of industrial oppression underscores the pervasive threat posed by the coal mining industry and those paid to protect its interests.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Through <em>"Mine Strike,"</em> Benton not only documents a specific historical moment but also critiques the broader socio-economic conditions of his time. His depiction of the workers' plight is a powerful statement on the exploitation and struggles the working-class faces. Benton's political leanings towards advocating for social justice and his commitment to portraying the reality of American life are vividly encapsulated in this painting, making it a poignant and enduring piece of art.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Benton made two compositions about strike activities during this time: this painting and another, <em>“Strikebreakers”</em>, painted in 1931. Of the two, Benton used <em>"Mine Strike"</em> as the basis for a well-known lithograph issued in 1933. Benton described the scene as a "Strike battle" in the coal country. This is an imaginary reconstruction of a situation only too common in the late twenties and early thirties."</font></div>

托马斯·哈特·本顿

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

托马斯·哈特·本顿

FRANZ KLINE - 《无题》，编号 7246 - 纸板油画 - 18 1/8 x 23 1/4 英寸。

弗朗茨·克林

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

汉斯·霍夫曼

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

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

HEDDA STERNE - 无题 - 布面油画、粉彩、石墨 - 80 x 26 x 1 1/4 英寸。

赫达-斯特恩

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

汉斯·霍夫曼

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

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

亚历山大·卡尔德

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

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

EMILY KAME KNGWARREYE - Anooralya Yam Story - 亚麻布上的合成聚合物颜料 - 60 1/4 x 48 英寸。

EMILY KAME KNGWARREYE

KEITH HARING - Untitled (Figure Balancing On Dog) - aluminum - 35 1/2 x 25 x 29 in.

基思·哈林

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。

罗杰-布朗

迪本科恩的 "海洋公园 "系列作品让人联想到艺术家对光线和色彩的微妙平衡、深思熟虑的构图以及景观元素的巧妙融合，所有这些都模拟了他位于圣莫尼卡的工作室的海岸氛围。20 世纪 90 年代初，迪本科恩重新审视了海洋公园系列作品的主题和审美感觉，利用各种版画制作技术，对他在绘画中发展起来的抽象语言进行了延伸探索。"高绿，版本一 "体现了他的这一追求，暗示了海洋公园系列的构图策略、色调和空间关注点，同时也展示了版画重新诠释这些元素的独特可能性。

理查德·迪本科恩

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

琼·米罗

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

安迪-沃霍尔是20世纪下半叶美国艺术的代名词，以其标志性的肖像画和消费品而闻名，他将大众文化和美术混为一谈，重新定义了艺术可以是什么以及我们如何对待艺术。虽然沃霍尔的许多作品可能不代表著名的个人，但他对无生命物体的描绘将他的对象提升到了一个名人的高度。沃霍尔在其职业生涯早期作为时尚插画师时首次描绘了鞋子，并在20世纪80年代回到了这个主题，将他对消费主义和魅力的迷恋结合起来。沃霍尔一直希望融合高端和低端文化，他选择了突出像鞋子这样无处不在的东西。这个主题可以表示贫穷或财富，功能或时尚。沃霍尔将这堆鞋美化了，在它们身上覆盖了一层闪闪发光的钻石粉，进一步模糊了功利性需求和风格化声明作品之间的含义。

安迪·沃霍尔

罗伯特-马瑟韦尔的 "开放 "系列始于 20 世纪 60 年代末，代表了他创作的一个重要方向，通过极简的构图强调开放性和空间的复杂性。烟草棕的开放研究 "以窗户为隐喻主题，蕴含丰富的内省和亲密感，旨在反映内在自我与外部世界之间的关系。它还展示了对抽象的界限、形式的相互作用以及色彩的情感深度进行探索的决心。"烟草棕的开放研究》创作于 1971 年，这一年是艺术家与妻子海伦-弗兰肯特尔（Helen Frankenthaler）离婚并与德国摄影师雷娜特-庞索尔德（Renate Ponsold）相识的过渡之年，次年他与雷娜特-庞索尔德结婚。

罗伯特·莫特韦尔

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

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

德博拉·巴特菲尔德

© 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

SALVADOR DALI - The Harbinger (Mystische Hochzeit) - 纸板上的墨水、水粉和水彩 - 10 1/2 x 8 1/8 英寸。

萨尔瓦多·达利

SALVADOR DALI - Adam et Eve - 纸板上的水粉、水彩和墨水 - 10 1/2 x 8 英寸。

萨尔瓦多·达利

萨尔瓦多-达利-阿波罗......-水粉和水彩纸板萨尔瓦多-达利-阿波罗......约 1976 年 - 10 1/2 x 8 1/8 英寸。

萨尔瓦多·达利

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

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

汉斯·霍夫曼

路易-瓦塔特-鹅膏花瓶-布面油画-23 1/2 x 19 英寸。

路易·瓦塔

<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

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

安迪·沃霍尔

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

安迪·沃霍尔

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

RODOLFO MORALES

JESSIE ARMS BOTKE - 两只白孔雀 - 木板油画 - 29 1/4 x 24 1/2 英寸。

杰西·阿姆斯·博特克

<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

<div><font face=Calibri size=3 color=black>Art enthusiasts celebrate Harry Bertoia’s “Sonambient” sculptures for their ability to transcend the traditional boundaries of visual art. Rising 56 inches, this sculpture of sixteen tines, topped with cattail-like finials crafted from beryllium copper and aged to a unique patina, suggests a powdery effect reminiscent of cattails in their natural state. This richly mottled patina enhances its visual appeal and historical significance, reflecting the natural aging process that Bertoia, a naturalist, would have deeply admired. The large surface area of the finials allows the patina to express itself differently, adding texture and depth to the sculpture’s appearance. The effect gives the piece an organic quality, further connecting it to the natural world that inspired Bertoia.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>When activated by touch or the movement of air, the rods produce a continuous sound akin to an old church chime. This haunting, melodic tone transforms the sculpture from a static object into a dynamic auditory experience, evoking the serene and spiritual atmosphere of ancient places of worship. Bertoia always retained an awareness of the irony of using metal to produce the sounds of nature and organic forms. The sound resonates with a timeless quality, drawing listeners into a meditative state and highlighting the spiritual dimensions of Bertoia’s work.</font></div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 56-inch “Sonambient” sculpture exemplifies his belief in art as an immersive, evolving experience. It invites viewers to engage with it physically and emotionally, discovering new layers of beauty and meaning with each interaction. Through this piece, Bertoia continues to captivate and inspire, celebrating the profound connection between art, nature, and spirituality.</font></div>

哈里·贝托亚

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

亚历克斯·卡茨

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

阿曼·吉劳明

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

安塞尔-亚当斯摄影作品归安塞尔-亚当斯出版权信托基金所有。经许可转载。

安赛尔-亚当斯

<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

ANSEL ADAMS - 月亮和半圆顶，优胜美地，加利福尼亚州 - 银明胶版画 - 19 x 14 1/2 英寸。

安赛尔-亚当斯

玛丽-阿博特 - 无题 - 油画和油画棒裱在画布上 - 23 x 29 英寸。

玛丽·艾伯特

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

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

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

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

罗伯托·马塔

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

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