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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

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

安德鲁-怀斯和N.C.怀斯--清教徒鳕鱼渔民--布面油画--108 1/2 x 157 1/2英寸。

Andrew Wyeth & N. C. Wyeth

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>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.

托姆·韦塞尔曼

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

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

When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.

韦恩·蒂博

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

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

When Frida Kahlo died in 1954, a grief-stricken Diego Rivera had her belongings locked away for fifteen years, and her personal effects remained sealed, undisturbed, and undocumented until 2004 when the small room in the home her father built in Coyoacán, Mexico was opened to the world. Among the many belongings revealed at Casa Azul were her clothes, jewelry, drawings, letters, documents, and more than 6,500 photographs (among them works by Edward Weston, Tina Modotti, Man Ray, and Nickolas Muray) as well as the most personal and ironically moving item: the orthopedic plaster corsets she turned into an extension of herself. These harsh clinical objects assaulted her free-spirited nature, yet they remain today as the most palpable reminders that as she suffered through unbearable pain — over thirty surgeries, batteries of tests, X-rays, spinal taps, blood transfusions, physical therapy and strong pain killing drugs, she was an absolute survivor, not a victim.<br><br>It was Frida’s father, Guillermo who gave her his box of paints and brushes as she was recovering from the bus accident that had shattered her spine. The devastation she suffered is shown in excruciating detail in her 1944 painting, The Broken Column. Yet the first canvas she painted upon was the most convenient one — the plaster cast bodice encasing her body. As she related, she had dreamed of becoming a doctor, yet “to combat the boredom and pain (and) without giving it any particular thought, I started painting.” Later, her mother asked a carpenter to fashion an easel “if that’s what you can call the special apparatus which could be fixed to my bed because the plaster cast didn’t allow me to sit up.” (Andrea Kettenmann, Frida Kahol: 1907-1954: Pain and Passion, Taschen, 1999, pg. 18)<br><br>On this particular corset, Kahlo painted a blood-red Hammer and Sickle, the symbolic configuration representing proletarian solidarity — a union between the peasantry and working-class expressing her lifelong political sympathies and below, a developing fetus entering perhaps its third trimester, a reminder of the still deeper insult of the accident, the one that added a layer of suffering and regret to Frida’s personal tragedy — her inability to bear children. Frida’s corsets hardened around her resolve as much as her body, but they also speak of her almost unbearable longing. They are ruminations on the power of creativity to heal as well as demonstrations of Frida Kahlo’s unbounded capacity for confronting the very bodily enclosures that imprisoned her, transforming them, taking them over as much as she could, and turning them into something beautiful and expressive.

弗里达·卡洛

Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history.

北卡罗来纳州

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

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

Reflective surfaces have become a hallmark of Anish Kapoor’s sculpture. One of his most iconic public works, Cloud Gate, in Chicago is a celebration of a mirrored surface and form, reflecting back the environment and its occupants.<br><br>Connecting all of his themes is Kapoor’s use of immersivity. From large-scale installations to more intimate pieces, Kapoor seeks to subsume the viewer within a world of light and color. In doing so, Kapoor pushes the viewer to consider their own place – within society, within their personal relationships, within the larger cosmos. The work does not exist without that interaction of object and viewer.<br><br>Mirrors have had a long and potent history as a symbol. Think of Perseus using his shield as a mirror against Medusa, the mirror given to Jia Rui and the interaction of Granny Liu with the large mirror in Dream of the Red Chamber/Story of the Stone, or Alice falling through the looking glass. Mirrors are not just tools but imbued with symbols – warnings of carnal pleasure, totems of modernity, protectors, or devices to upend our own worldly perceptions. Kapoor’s series of mirrors continue this tradition, opening doorways to new insight within ourselves and beyond in the natural world.<br><br>In this piece, Kapoor pushes back against the inherent narcissism of mirrors – the desire to look at oneself. The pleats are more than an aesthetic choice. The folds obscure the viewer so that they see everything but themselves. And even in this, the world around the viewer becomes fractured and splintered. One must focus to make sense of the reflected surroundings. Like Alice in Wonderland, the world is on its head, and like Granny Liu, we confront this familiar object anew. Kapoor’s mirrors are never straightforward. Whether concave or tilted, this distortion expands our visual observations to provide interior insight into ourselves and the world.<br><br>This sculpture was made the same year as Kapoor’s triumphant Sky Cloud in New York. Cate McQuaid, art critic for the Boston Globe, notes that Halo “draws viewers like flies”, and “you may see others, but it’s hard to find yourself.” This physical manifestation points to the more figurative difficulty to look within, to know oneself.

阿尼什·卡普尔

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

Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit.

马斯登-哈特利

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

FRANK STELLA - 火枪 - 铝制混合媒体 - 74 1/2 x 77 1/2 x 33 in.

弗兰克·斯特拉

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

JAN JOSEPHSZOON VAN GOYEN - 有风车和小教堂的河流景观 - 油画板上 - 22 1/2 x 31 3/4英寸。

JAN JOSEFSZON VAN GOYEN

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

琼·米罗

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文森特-梵高和大林荫道上的伟大印象派画家们

2021年3月2日-8月10日
现代版画
档案

现代版画

2020年12月26日-2021年6月19日
流行人物：梅尔-拉莫斯和汤姆-韦瑟曼Mel Ramos和Tom Wesselmann
档案

流行人物：梅尔-拉莫斯和汤姆-韦瑟曼Mel Ramos和Tom Wesselmann

2020年3月26日-2021年4月30日
美国和欧洲的印象派和现代艺术奇迹
档案

美国和欧洲的印象派和现代艺术奇迹

2020年8月26日-2021年4月30日
肖像。从19世纪到今天
档案

肖像。从19世纪到今天

2020年8月26日-2021年4月30日
激进路线
档案

激进路线

2020年4月11日-2021年1月31日。
抽象表现主义。崇高的愿景
档案

抽象表现主义。崇高的愿景

2020年8月11日-2021年1月31日。
Herb Alpert:近期作品
档案

Herb Alpert:近期作品

2020年9月28日至12月13日
Zúñiga x Castañeda
档案

Zúñiga x Castañeda

2020年4月30日至11月30日
印象派与现代艺术的宝石
档案

印象派与现代艺术的宝石

2020年2月19日至10月31日
酷酷的不列颠尼亚：英国青年艺术家
档案

酷酷的不列颠尼亚：英国青年艺术家

2020年4月2日至9月30日
加州人
档案

加州人

2020年2月3日至8月31日
欧文·诺曼庄园
档案

欧文·诺曼庄园

2019年10月1日至2020年8月31日
地点和天堂：来自圣巴巴拉的艺术家
档案

地点和天堂：来自圣巴巴拉的艺术家

2020年3月5日至8月31日
每周机会
档案

每周机会

2020年6月26日至8月31日
嗜血者布朗和保罗·旺纳：通过不同镜头看
档案

嗜血者布朗和保罗·旺纳：通过不同镜头看

2019年11月1日-2020年7月31日。
杰克逊霍尔：从1900年到今天的亮点
档案

杰克逊霍尔：从1900年到今天的亮点

2019年11月1日-2020年7月31日。
格蕾丝·哈迪根：后期作品
档案

格蕾丝·哈迪根：后期作品

2019年10月15日-2020年7月5日。
哈塞尔·史密斯：测量绘画
档案

哈塞尔·史密斯：测量绘画

2020年2月12日至4月20日
梅萨现代
档案

梅萨现代

2020年2月13日至2月29日
理查德·迪本科恩
档案

理查德·迪本科恩

2019年10月16日 - 2020年2月29日
艺术拍卖：图 + 表格
档案

艺术拍卖：图 + 表格

2020年2月13日至2月27日
加州人
档案

加州人

2019年11月1日至2020年2月14日
华丽的极简主义
档案

华丽的极简主义

2019年12月3日 - 2020年1月31日
罗兰·彼得森： 1961
档案

罗兰·彼得森： 1961

2019年11月18日 - 2020年1月31日
保罗·詹金斯和罗伯特·纳特金
档案

保罗·詹金斯和罗伯特·纳特金

2019年11月1日至12月27日
蒙特西托盛大开幕
档案

蒙特西托盛大开幕

2019年9月21日至11月30日
莫里斯·路易斯 - 早期绘画
档案

莫里斯·路易斯 - 早期绘画

2019年10月11日至11月30日
SHE/HER：自1900年以来艺术史的新面貌
档案

SHE/HER：自1900年以来艺术史的新面貌

2019年10月3日至11月17日
山姆·弗朗西斯：在杰克逊霍尔的景观
档案

山姆·弗朗西斯：在杰克逊霍尔的景观

2019年7月1日至10月15日
爱德华·霍珀
档案

爱德华·霍珀

2019年7月1日至9月30日
安塞尔姆·基费尔
档案

安塞尔姆·基费尔

2019年8月15日至9月30日
萨尔瓦多·达利
档案

萨尔瓦多·达利

2019年8月15日至9月30日
好奇心的线索：从著名的中西部集合的选择
档案

好奇心的线索：从著名的中西部集合的选择

2019年7月22日至8月31日
保罗·旺纳和威廉·西奥菲斯·布朗的遗产
档案

保罗·旺纳和威廉·西奥菲斯·布朗的遗产

2019年7月21日至8月31日
保罗·詹金斯：现象
档案

保罗·詹金斯：现象

2019年7月1日至8月31日
彼得·谢尔顿：你撞到的东西
档案

彼得·谢尔顿：你撞到的东西

2019年7月16日至8月31日
安迪·沃霍尔
档案

安迪·沃霍尔

2019年7月16日至8月31日
亚历山大·卡尔德：宇宙抽象
档案

亚历山大·卡尔德：宇宙抽象

2019年6月21日至8月30日
朱利安·施纳贝尔
档案

朱利安·施纳贝尔

六月 4 - 七月 31， 2019
现代英国雕塑
档案

现代英国雕塑

六月 30 - 七月 30， 2019
我们一直在这里：日美战后艺术先驱
档案

我们一直在这里：日美战后艺术先驱

2019年4月4日至7月15日
哈塞尔·史密斯
档案

哈塞尔·史密斯

2019年5月6日至6月30日
吕克·伯纳德：非常规边界
档案

吕克·伯纳德：非常规边界

5 月 3 日至 5 月 31， 2019
山姆·弗朗西斯：从黄昏到黎明
档案

山姆·弗朗西斯：从黄昏到黎明

2018年11月15日- 2019年4月29日
德库宁 x 德库宁
档案

德库宁 x 德库宁

2018年11月8日 - 2019年2月28日
大卫·莱文塔尔
档案

大卫·莱文塔尔

2018年12月1日 - 2019年1月31日
建筑景观
档案

建筑景观

2018年12月1日 - 2019年1月31日
沃伊切赫·方戈尔：20世纪60年代初
档案

沃伊切赫·方戈尔：20世纪60年代初

2018年10月11日至12月31日
赫伯·阿尔珀特：视觉旋律
档案

赫伯·阿尔珀特：视觉旋律

2018年10月11日至11月1日
赫伯·阿尔珀特：视觉旋律
档案

赫伯·阿尔珀特：视觉旋律

2018年8月1日至9月30日
加州：南北
档案

加州：南北

2018年6月16日至9月30日
温斯顿·丘吉尔爵士的画作
档案

温斯顿·丘吉尔爵士的画作

2018年8月1日至9月16日
佩内洛普·戈特利布：反对遗忘
档案

佩内洛普·戈特利布：反对遗忘

2018年5月3日至8月12日
伊莱恩·德·库宁
档案

伊莱恩·德·库宁

2018年7月1日至8月4日
温斯顿·丘吉尔爵士的画作
档案

温斯顿·丘吉尔爵士的画作

六月 1 - 七月 27， 2018
甘达拉佛教雕塑
档案

甘达拉佛教雕塑

七月 13， 2018
沃伊切赫·方戈尔：20世纪60年代初
档案

沃伊切赫·方戈尔：20世纪60年代初

2018年4月19日至6月30日
格雷戈里·苏米达：美国
档案

格雷戈里·苏米达：美国

2018年4月5日至5月31日
赫伯·阿尔珀特：视觉旋律
档案

赫伯·阿尔珀特：视觉旋律

2018年2月17日至5月31日
N.C. 惠氏：绘画和插图
档案

N.C. 惠氏：绘画和插图

2018年2月1日至5月31日
崇高的抽象
档案

崇高的抽象

2017年11月25日 - 2018年5月31日
温斯顿·丘吉尔爵士的画作
档案

温斯顿·丘吉尔爵士的画作

2018年3月21日至5月30日
爱德华·柯蒂斯
档案

爱德华·柯蒂斯

2018年2月3日至3月17日
沃伊切赫·方戈尔
档案

沃伊切赫·方戈尔

2017年11月25日 - 2018年3月17日
法拉利与未来主义者：意大利人对速度的观察
档案

法拉利与未来主义者：意大利人对速度的观察

2016 年 11 月 21 日 - 2017 年 1 月 30 日
诺曼·罗克韦尔：艺术家在工作
档案

诺曼·罗克韦尔：艺术家在工作

2016年6月30日至9月30日
亚历山大·卡尔德
档案

亚历山大·卡尔德

2015 年 11 月 21 日 - 2016 年 5 月 28 日
马克斯·佩莱格里尼：回顾展
档案

马克斯·佩莱格里尼：回顾展

2015 年 11 月 27 日 - 2016 年 3 月 27 日
加州印象派大师
档案

加州印象派大师

2014 年 11 月 22 日 - 2015 年 5 月 23 日
劳伦斯·席勒：玛丽莲·梦露和60年代的伟大时刻
档案

劳伦斯·席勒：玛丽莲·梦露和60年代的伟大时刻

2012年11月23日 - 2013年1月31日
绘画抽象：AbEx的球体
档案

绘画抽象：AbEx的球体

2011年11月25日 - 2012年5月31日
瓦西故事：伊子子的作品
档案

瓦西故事：伊子子的作品

2011年12月11日 - 2012年1月28日
厄尔·坎宁安：美国福夫
档案

厄尔·坎宁安：美国福夫

2011年9月8日至10月29日
印象派与现代艺术大师
档案

印象派与现代艺术大师

2010年11月20日 - 2011年9月25日
毕加索
档案

毕加索

2009年11月20日 - 2010年5月25日
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