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棕榈沙漠画廊漫步--战后和当代艺术

2021年5月

新闻

在我们成立25周年之际，我们很高兴能继续展示受人尊敬的艺术家如伊莱恩-德库宁、阿道夫-戈特利布、阿格尼丝-马丁和琼-米罗的稀有蓝筹艺术品。在过去的25年里，Heather James Fine Art已经扩展成一个全球网络，在美国和欧洲都有画廊和咨询机构。仅在2020年，Heather James Fine Art就将382件艺术品放入世界各地的新收藏中，我们很自豪地继续为其他人提供咨询，以增加他们的收藏。

战后和当代作品的样本

动物圆环/十二生肖头像：金色

镀金青铜 12 个部分

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

塞恩·斯卡利

铝合金上的油彩

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

朱利安·施纳贝尔

篷布上的油和蜡

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

费尔南多·博特罗

桑切斯-科坦工作室

51 1/4 x 57 1/2 英寸

布面油画和拼贴画

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

达米安·赫斯特

被遗忘的想法

帆布上的蝴蝶和家用光泽

<div><font face=Calibri size=3 color=black>Born in 1982, French native and Brooklyn-based artist Julie Curtiss is celebrated for her beguiling paintings that reimagine a surrealist's conceptual and aesthetic principles for the contemporary era. Her work draws heavily on the Surrealist fascination with Freudian psychology and the subconscious, themes championed by figures like André Breton and Louis Aragon. By blending these Surrealist influences with the dreamlike, graphic qualities reminiscent of the Chicago Imagists, Curtiss creates a visual language that is both referential and distinctly hers. Her imagery often focuses on deconstructing the female form and symbolically representing stereotypical feminine aesthetics, echoing the work of early 20th-century female Surrealists who used dreamlike settings and humor to explore and critique the female experience.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“D'apres l'Olympia”</em> epitomizes Curtiss's painterly approach to 21st-century sexuality, combining a distinctive yet referential visual lexicon that has earned her international acclaim. By destabilizing the art historical trope of the female nude and reinterpreting Manet's iconic painting of the same name, Curtiss melds elements of French modernism with the graphic sensibilities she developed after moving to Tokyo in 2006, where she honed her signature comic book-like aesthetic. The large red shoes—a striking departure from Manet's original—introduce a sense of humor, simultaneously evoking pop-cultural references while critiquing stereotypical femininity. These oversized, vivid shoes might symbolize the exaggerated expectations placed upon women or serve as a playful nod to the absurdity of societal norms. While her admiration for Manet is evident, it is Curtiss's ability to merge these historical references with contemporary concerns and aesthetics that makes<em> “D'apres l'Olympia”</em> a powerful commentary on the evolving nature of female.</font></div>

朱莉-库蒂斯

D'apres l'Olympia

帆布上的丙烯酸和油

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

马诺洛-瓦尔德斯

一个女人的画像

油画和麻布画

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

日本桑皮纸上的天然颜料和铂金，裱在木板上

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

201 x 48 x 48 in.

Genieve Figgis 是当代爱尔兰艺术界的知名人物，她的群像作品巧妙而富有批判性，常常嘲讽久远的社会习俗。作为一名相对较晚接触绘画的人，她在推特上引起了美国挪用艺术家理查德-普林斯（Richard Prince）的注意，普林斯购买了她的一幅作品，并将她介绍给纽约艺术界有影响力的圈子。菲吉斯的作品对富裕的中产阶级消费习惯和奢华的生活方式进行了嬉笑怒骂的批判，这些都是过去的艺术家们永垂不朽的作品，而菲吉斯则将这些题材牢牢地带入了当代，作品中既有对生活的讽刺，也有对生活原始而真实的描绘。菲吉斯的作品经常对当代社会进行讽刺，他是从事社会讽刺并以敏锐观察力著称的艺术家之一。

格尼耶夫-菲吉斯

女士俱乐部

31 1/2 x 39 3/8 英寸

画布上的丙烯酸

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

威廉·肯特里奇

波特系列。Carte L'Europe (Shower Woman)

98 3/8 x 137 7/8 in.

马海毛和丝绸刺绣挂毯

在赫伯-艾伯特的许多青铜铸造的、经过丝光处理的精神图腾中，很少有 "勇士 "这种独特的男性感觉。顶端有一个下降的锯齿状的皇冠，它可以很容易地指代猛禽的头顶和平原印第安酋长的头饰，"勇士 "这个标题是一个恰当的描述，涉及到力量、勇气和牢不可破的精神等属性。与亨利-摩尔的作品一样，这些联想部分取决于负空间，以创造这个强大的雕塑的动态和强烈印象。

161 x 40 x 40 in.

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

48 x 72 x 2 英寸

画布上的油画

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

一个男孩的肖像

39 3/8 x 31 5/8 英寸

画布上的油画

威廉-德-库宁--《划船的女人》--纸上油画，铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

划艇上的女人

47 1/2 x 36 1/4 in.

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

噬人者的前奏

59 x 42 x 18 英寸

金属板、金属丝、油漆

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

28 3/4 x 36 1/4 in.

画布上的油画

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show, "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York. <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier. <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

格哈德·里希特

24 1/2 x 32 1/4 英寸

画布上的油画

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

汉斯·霍夫曼

84 x 47 1/2 英寸。

面板上的油

KENNETH NOLAND - Passage - 布面丙烯 - 69 1/2 x 140 1/2 英寸。

肯尼思·诺兰

69 1/2 x 140 1/2 英寸

画布上的丙烯酸

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

托姆·韦塞尔曼

卧室里的布鲁内特与伊尔塞斯

105 3/4 x 164 5/8 英寸。

切断铝上的油

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

画布上的油画

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

无题（鸽子解剖图）

纸上油彩、石墨和粉笔

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

汉斯·霍夫曼

36 1/4 x 48 1/4 英寸

画布上的油画

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

伊莱恩·德·库宁

无题（图腾极）

97 x 12 3/8 x 12 3/8 in.

画布上的油伸过纸板缸

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

汉斯·霍夫曼

25 x 30 1/4 英寸

画布上的油画

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

梅尔·拉莫斯

莱塔和山麦纳

画布上的油画

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

大卫·史密斯

12 x 15 3/4 英寸。

画布上的油画

DAVID SMITH - 无题 - 布面油画 - 12 x 16 in.

大卫·史密斯

画布上的油画

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

哈里·贝托亚

无题（发声雕塑）

103 x 16 x 16 英寸

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

约翰·张伯伦

阿萨拉巴卡

20 x 23 x 22 英寸

工业级铝箔，丙烯酸漆和聚酯树脂

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

裸体下楼梯 No.

70 x 52 1/8 in.

画布上的油画

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

理查德·塞拉

布列塔尼角第 16 号水平反转展台

19 3/4 x 55 7/8 英寸

两张手工纸上的石版蜡笔画

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

双银点罗伯斯

53 1/2 x 96 in.

银点和丙烯酸在艺术家的画框2连接画布，木材，刀和字符串

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

妇女与方形伞

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

罗兰·彼得森

画布上的油画

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我们在2020年为收藏家安排的部分艺术家。

克劳德·莫奈

亚历山大·卡尔德

爱德华·霍珀

Helen Frankenthaler

卡米耶-毕沙罗

Tracey Emin

Fernand Leger

巴勃罗-毕加索

大卫-霍克尼

安德鲁-怀斯

Grace Hartigan

萨尔瓦多·达利

Anish Kapoor

乔治·康多

Jean Arp

梵高

安迪·沃霍尔

罗伯特-马瑟韦尔

马克-夏加尔

德博拉·巴特菲尔德

帕特·斯蒂尔

Raoul Dufy

Georgia O'Keeffe

Ed Ruscha

伊莱恩·德·库宁

Mark Bradford

安塞尔-亚当斯

诺曼·罗克韦尔

艾未未

Carlos Cruz-Diez

克劳德·莫奈
萨尔瓦多·达利
亚历山大·卡尔德

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