棕榈沙漠画廊与汤姆-旺迪的演练 - 2022/2023赛季

刊登在:画廊之旅

加入Heather James美术总监Tom Venditti他将参观我们在加州Palm Desert的旗舰画廊。我们为拥有汤姆而感到幸运。在加入Heather James Fine Art之前,汤姆担任了14年的高级艺术总监,负责令人叹为观止的保罗-艾伦收藏该收藏最近在拍卖会上创造了多项新纪录,胜利地展示了艺术市场的力量。

Heather James Fine Art努力提供广泛的具有历史意义和审美吸引力的艺术选择,我们认为没有人比他更有能力提供对克劳德-莫奈的见解,同时无缝地提供对韦恩-蒂鲍德的神话般的新到作品的知情观点。我们希望你喜欢汤姆策划的跨越几个流派和蓝筹艺术家的旅程,并希望它能为你提供信息,并激励你到我们的棕榈沙漠地点亲自查看收藏。

我们很高兴地宣布我们在Palm Desert的地点(455188 Portola Avenue)的冬季工作时间。周一至周六,9:00 - 5:00。

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

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

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.  

托姆·韦塞尔曼

Painted from an unusually high vantage, “Riviera Coast Scene” vividly conveys the formidable distance and breadth of the scene from the perch where he set his easel.  Interestingly, Paul Rafferty did not include this painting in his book Winston Churchill: Painting on the French Riviera, believing it could likely be a scene from the Italian Lake District, where Churchill also painted in the same time period.<br><br>Paintings by Churchill can function as a glimpse into his extensive travels and his colorful life. Churchill most likely painted “Riviera Coast Scene” during a holiday at Chateau de l’Horizon, home of Maxine Elliot, a friend of his mother. Elliot, originally from Rockland, Maine, was a successful actress and socialite.<br><br>Within this painting, we see the influence of the Impressionists who utilized unusual viewpoints, modeled after Japanese woodblock prints, but also evidence of their attempts to push the boundaries of the landscape genre

温斯顿·丘吉尔爵士

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

Located on the French Riviera between Nice and Monte Carlo, the Bay of Eze is renowned for its stunning location and spectacular views. As you can see on pages 80-81 of Rafferty's book, this painting skillfully captures the dizzying heights, set just west of Lou Sueil, the home of Jacques and Consuelo Balsan, close friends of Winston and Clementine.<br> <br>The painting manipulates perspective and depth, a nod to the dramatic shifts of artists including Monet and Cézanne, who challenged traditional vantage points of landscapes. The portrait (i.e. vertical) orientation of the canvas combined with the trees, and the rhyming coastline channels the viewer’s gaze. The perceived tilting of the water's plane imbues the painting with dynamic tension.

温斯顿·丘吉尔爵士

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

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

不难理解罗伯特-印第安纳的四个字母的辉煌的两行排列是如何在1960年代帮助赋予一个运动的。它的起源来自于对宗教的深刻感受以及朋友和导师埃尔斯沃斯-凯利,他的硬朗风格和感性的、不加修饰的色彩给人留下了深刻的印象。但正如印第安纳所感叹的那样,这是一个偶然的时刻,当 "爱咬了我!"设计来到他面前,敏锐而集中。当然,印第安纳把这个设计放在了许多地方,然后这个标志就开始到处出现了。这个信息,最好是用雕塑来传达,矗立在世界各地的城市,并被翻译成多种语言,其中最重要的是它的意大利语版本,"Amor",其偶然的 "O "也向右倾斜。但是,这个版本没有被 "L "的脚踢到,而是给上面的 "A "带来了一种漂亮的舞台摇摆效果。它给人一种新的,但同样深刻的,关于爱和它的情绪化的印象。  无论是哪种情况,"爱 "的倾斜 "O "都给原本稳定的设计带来了不稳定性,这是印第安纳对 "与这个词相关的往往是空洞的感伤,隐喻着不求回报的渴望和失望,而不是神圣的感情"(Robert Indiana's Best: A Mini Retrospective, New York Times, May 24, 2018)的深刻的投射。当然,重复有一个讨厌的习惯,就是削弱我们对简单和开创性设计的天才的欣赏。印第安纳在晚年感叹道:"这是一个了不起的想法,但也是一个可怕的错误。它变得太流行了。而有些人并不喜欢流行"。但是我们,这个充满分歧和陷入动荡的世界的居民,感谢你。"爱》和它的许多版本强烈地提醒我们爱的能力,而这是我们对更美好的未来最好的永恒的希望。

罗伯特·印第安纳

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

在《裸体下楼梯2号》中,梅尔·拉莫斯将马塞尔·杜尚(Marcel Duchamp)的现代主义杰作的遗产与波普艺术充满活力的美学巧妙地交织在一起,精心制作了一种巧妙而具有视觉刺激性的重新诠释。通过将杜尚的抽象运动与他标志性的别针风格联系起来,拉莫斯在受人尊敬的美术传统和商业图像的大胆、图形品质之间创造了一种动态的对话。这件作品体现了拉莫斯驾驭艺术史和当代文化的技巧,利用女性裸体的魅力来探索和讽刺社会对美、欲望和商品化的痴迷。这样一来,拉莫斯的作品就成为了典型的波普艺术混合物,陶醉于与杜尚的俏皮联系,同时批判和庆祝当时的视觉文化。

梅尔·拉莫斯

凯瑟琳-格罗斯(Katharine Grosse)2016 年的《无题》将我们对这位艺术家的欣赏延伸到了画布颜料这一传统媒介上,她将在其不朽建筑装置作品中看到的活力、大胆和对传统的漠视带到了画布上。色彩从复杂而层次丰富的表面中迸发出来,这些表面由流淌、滴落或飞溅的颜料浇筑而成,还有光芒四射的透明面纱,以及雾状的重叠色带,形成柔和的渐变过渡。作品给人以空间深度和立体感的迷人印象。同时,这也是格罗斯将混乱与控制、自发性与意向性完美融合的杰作。她的一系列技法在偶然与刻意之间创造了引人入胜的对话,这是她独特风格的标志。

卡塔琳娜·格罗斯

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

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

HERB ALPERT

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。

HERB ALPERT

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form.  There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

亚历山大·卡尔德

WILLIAM B. EGGLESTON - Untitled (From Election Eve) - 存档颜料打印 - 32 1/2 x 48 1/4 in.

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

WILLIAM B. EGGLESTON - 《无题》(蓝色汽车,来自尘世的钟声,第11卷)--档案颜料打印 - 31 1/2 x 48 英寸。

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

弗兰克-斯特拉(Frank Stella)的巴厘岛系列雕塑作品以浮动和流动的形式为特征,延伸至观者的空间,并邀请观者与其环境互动。在巴厘岛文化中,"dadap "是一种与生长和仪式意义相关的树木,它反映了斯特拉雕塑的有机和动态性质。斯特拉将竹子改用不锈钢和铝材,保留了巴厘岛美学的本质,即推崇有机、流动、动态地与空间互动的形式。Dadap 展示了斯特拉主题探索的连续性,其作品的精神超越了材料。金属具有不同的质感、反射性以及与光线和空间的互动性,但它坚持运动和互动的原则。这是形式和概念在不同媒介间的创造性转换,既保留了最初灵感的精神,又允许新材料的特性在全新的语境中表达这些想法。

弗兰克·斯特拉

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

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

WILLIAM B. EGGLESTON - 《无题》(来自民主森林) - 档案颜料印刷品 - 31 1/2 x 48 in.

威廉-B-埃格尔斯顿(WILLIAM B. EGGLESTON

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

保罗·詹金斯

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

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

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

HERB ALPERT

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

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。

马克·奎因

Op Art evolved as an alternative trend in painting to the abstract expressionist movement of the 1950s. The genesis of the movement was in the 1960s, when artists such as Victor Vasarely, Bridget Riley, and Richard Anuszkiewicz embraced a more structured and geometric approach to their painting, often using visual tricks to create a sense of movement.  While the artistic and spiritual predecessors to OP Art, such as Josef Albers (!888-1976), utilized a softer and more subdued approach, the Op Artists were using bold, large-scale works with variable dimensions to create their visual statement.  <br><br>A student of Albers, Richard Anuszkiewicz, used enamel and acrylic paint on wood in such a way to create his uncompromising and exact compositions.  A great sense of action can be felt in the present work, "Translumina". The sister piece to "Translumina," "Translumina II" (1986), is in the permanent collection of the Albright-Knox Art Gallery, Buffalo.

里查德·阿努斯齐维奇

韦恩·蒂博(Wayne Thiebaud)作为画家广受钦佩。然而,他作为绘图员的能力同样引人注目,在平版印刷中尤为明显,平版印刷是一种以记录艺术家一举一动而闻名的自传媒介。正如 Paint Cans 所充分展示的那样,平版印刷还提供了在纹理和颜色上分层的自由,以实现艺术家表达意图的精明表现。在构图上,“油漆罐”展示了蒂博对秩序的敏锐感,源于对焦点和方向线的强调,展示了他可以突出一组日常用品的独特方式。这是另一部作品,以其高度详细的技术和技巧让观众惊叹不已。

韦恩·蒂博

SALOMON VAN RUYSDAEL - 沙丘风景与休息的人物和骑马的夫妇,奈梅亨大教堂的景色在外面 - 布面油画 - 26 1/2 x 41 1/2英寸。

萨洛蒙-范-赖斯达尔

1962年,当多萝西·胡德(Dorothy Hood)回到休斯敦时,令她高兴的是,美国宇航局(NASA)宣布了一个重大消息:新的航天器中心将在休斯敦。太空旅行的想法与她长期以来对宇宙学的兴趣产生了共鸣,实现登月的英雄愿望为艺术家打开了一些东西。这个新的领域为她的工作提供了信息,并鼓励她做更大的工作。她承认,“发现我可以用(大型画布)做什么是我绘画生涯中最重要的事情。尽管《太空信号》是色域绘画的典范,但她的视觉语言来自其他来源:航天器探测器、天文物体的定期图像,以及她与激发她想象力的科学家和宇航员的许多对话。她创造了这些令人陶醉的美丽,薄薄的酞蓝色调区域,在灵感的翅膀上。

多萝西-胡德

在她成熟的早期,胡德确立了自己作为形而上学图像艺术家的地位,她在 1962 年回到休斯顿后参与了各种宇宙学。《蓝水》是反映她对精神寄托的不懈追求的作品之一。一条饱和的、不透明的蓝色带向前延伸到一个清澈的蓝色蔚蓝球体中,让人联想到一个尘世的水球。这种大胆而和谐的闯入就像一只空灵的手臂,将一种流体状态转化为令人着迷的磷光酞绿,它的华丽和流淌的光彩暗示着神圣的干预,唤起了“上帝之手”的隐喻,为生命的本质注入了活力。胡德对色彩和形式的巧妙运用经常引发对自然界中宇宙或精神拥抱的诠释。然而,她清澈的色彩并没有表现出随机性或不确定性,而是她非凡的掌握和控制力,为《蓝水》增添了另一种敬畏的元素。

多萝西-胡德

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus. <br><br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

马克斯·佩莱尼

多萝西·胡德(Dorothy Hood)的方法经常涉及美的本质。在《向阿希尔·高尔基致敬》中,美作为一种渠道,加强了我们的有意识的参与,通过视觉上引人注目的展示来引入复杂的想法,如果胡德不是一个如此优雅的技术人员,这一切都是不可能的。两个红色区域内的“腮红和绽放”过渡非常华丽。然而,胡德也是玩弄我们感知的幻觉效果的大师。通过在通道中引入颜色变化,从(我们称之为)带有蓝色底色的月光紫红色到较浅的不透明尘土飞扬的玫瑰,效果取决于观众对颜色的感知如何感知鸿沟。上图中的第一种效果是鸿沟的错觉,第二种效果是将观众可以轻松识别的两块色块分开的视觉屏障。通过在靠近画面平面底部的红色板上放置冰冷的结晶形式,以及相反的在左侧板下方的补丁以强调通道的效果,进一步突出了这种相反的效果。

多萝西-胡德

胡德经常承认,阿希尔·高尔基、爱德华·蒙克、亨利·马蒂斯、巴勃罗·毕加索和马克斯·恩斯特影响了她以非具象抽象方式传达概念和想法的能力。但正是她对神话、科学、自然、灵性和惊人技能的深入研究,将我们带到了感知和经验的极限。《无题》没有乔治亚·奥基夫(Georgia O'Keefe)的植物花卉的细腻、空灵的品质,而是承认了尘世事物创造背后的变革强度。对于胡德来说,从种子到花蕾到花朵再到种子的转变是一个完成的循环,也是由时间的流逝以及物质和精神领域的相互作用所塑造的永恒的蜕变状态。这是她经常回到的最有力的主题之一。

多萝西-胡德

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

多萝西·胡德 (Dorothy Hood) 生活和艺术的核心是她在 1941 年至 1962 年间在墨西哥的时光,当时她是文化、政治和社会十字路口的前沿和中心。她的朋友包括超现实主义画家雷梅迪奥斯·瓦罗(Remedios Varo)和莱昂诺拉·卡林顿(Leonora Carrington)以及本土画家鲁菲诺·塔马约(Rufino Tamayo)和何塞·克莱门特·奥罗斯科(JoséClemente Orozco),她与他们建立了深厚的友谊。当她回到休斯敦画她将永远闻名的史诗般的画布时,通往奇幻和难以捉摸的领域的门户为她打开了。Black Vessel 令人回味的形式预示着材料的分层、切割和重新排列,以产生 1980 年代经常占据她的视觉刺激拼贴画。无论有意还是无意,这种排列和相互图案都暗示着一座缅甸宝塔在夜空中的剪影。宝塔主要用作存放文物的纪念碑,分层结构象征着佛教教义。

多萝西-胡德

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

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

对于胡德来说,大海和无限广阔的宇宙是彼此的倒影。它们体现了吸引心灵的强大力量,并炫耀着我们对控制的幻想。虚空是一种无限的原始力量,它超越了我们对其真实本质的理解。对于胡德来说,在画布的有限边界内构建无限的挑战成为她一生的工作。在《海中之脸》中,鲜明的黑色区域给人一种负空间的印象,就像浩瀚的空间本身一样,即兴的红色爆发就像天体现象;星云、彗星和星系出现在那个虚空中。黑色的锋利边缘就像事件视界一样,模糊但又清晰,暗示着看不见的维度,一个虚空,反映了空间迷失方向的浩瀚。这种效果是宇宙学和心理的,这件作品捕捉了空间的惊心动魄的二元性,无限的潜力与不可知的神秘相遇。

多萝西-胡德

随着胡德进入她艺术和生命的最后几年,她仍然通过对外部和内部空间的探索来维持,她对墨西哥的记忆继续成为源泉。因此,90年代的画作散发出一种年轻的活力,掩盖了艺术家的年龄。面对这些作品,就是在第一次原始的光芒或世界末日中感受自己。Gravity 的 Rainbow II 囊括了 Hood 独特的空间背景和心理取向的演变,让人联想到广阔的能量场和大片光芒四射的爆炸性色彩。书名参考了托马斯·品钦(Thomas Pynchon)的小说,主要以二战末期的欧洲为背景。它包括有关V-2火箭开发和部署的叙述线索。胡德可能被科学家沃纳·冯·布劳恩(Wernher von Braun)的名言所吸引,“大自然不知道灭绝;它所知道的只是转变。科学教给我并继续教给我的一切,都加强了我对死后精神存在连续性的信念。

多萝西-胡德

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

在 1980 年代和 90 年代,胡德对空虚观念的奉献并没有在新波普、后现代主义或关于挪用艺术有效性的辩论统治的一代人中受到青睐。沃尔特·达比·班纳德(Walter Darby Bannard)是一位著名的色域画家,他认识到多萝西·胡德(Dorothy Hood)的巨大才华,并建议她放弃对无限制和无法理解的事物的深奥兴趣。正如我们所知,胡德坚持自己的立场。正如她所说,“黑色可以被涂成一种伟大的光明,因为在黑暗的虚空中,一切都开始了。形式在重力中,或者它们被悬浮而没有时间,或者运动的匆忙。胡德在处理黑色方面的精湛技艺在《无题(黑美人)》中得到了充分的展示,这部杰作在她不懈地探索宇宙统一性的镜头中得到了最有力的体现。

多萝西-胡德

一个年轻男人和女人互相拥抱,一个女人抱着一个孩子,一个熟睡的婴儿拿着一条黑色和红色的线,另一个年轻女子脱光衣服,天使在拼贴画中像作文一样展开翅膀。这些角色共同创造了一个叙事,其中年轻的爱情,命运和生活交织在一起:沉睡的婴儿持有一条红线和黑线,让人想起神话中的三个命运,谁旋转生与死在他们的织机。这些线在物理上与年轻的恋人相连,他们互相拥抱,完全不知道婴儿对他们Holdhold。一个女人抱着一个孩子看着年轻的男孩和女孩的爱,就像玛丽和耶稣看着和保卫人类。叙述和符号的融合是佩莱格里尼作品中的一个共同元素,在这里被巧妙地表达。

马克斯·佩莱尼

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

安迪·沃霍尔

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

安迪·沃霍尔

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.<br><br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

马克斯·佩莱尼

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

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

马克斯·佩莱尼

In an abstracted image of St. Peter’s basilica in Rome, Pellegrini returns to religious narratives to express his “anti-ideological and anti-pauperist” impression of the church and its relationship with faith (Antonio Monda, “Interview with Max Pellegrini). In the lower half of the painting, the birth of Jesus is the central focus, while the life of the church is highlighted in the upper half. According to Pellegrini, he depicted the birth of Jesus in the style of a baroque 18th century Neapolitan nativity scene that can be interpreted “as a feast for the birth of faith.” This faith is conceived of as “the material support for the Popes’ power and of the Church’s glory,” represented in this painting by the Pope clutching the moon in his hand. <br> <br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

马克斯·佩莱尼

一个披着斗篷的人物的镜像拥抱着一个赤裸着胸膛和胡子的男人,他相对的身材几乎像孩子一样。他们的拥抱反映了米开朗基罗的皮耶塔,以及许多类似的基督和麦当娜的描述。深浅的蓝色阴影在构图上投下阴影,无疑是一个时间指标,但也可能提到毕加索的蓝色时期,对佩莱格里尼的艺术作品有重要影响。人物背后的墙板描绘了宗教场景,并提醒观众教堂和教堂的彩色玻璃墙。灯光从下面的城市的窗户照耀,也照亮了满月高峰在山区的风景。

马克斯·佩莱尼

ANDY WARHOL - Blackglama (Judy Garland) - 丝网版画 - 38 x 38 英寸。

安迪·沃霍尔