HEATHER JAMES FINE ART presents a rare look into art historyâ€™s past and present, offering important works from a cross section of periods, movements, and genres including Post-War, Contemporary, Impressionist, Modern, American, Latin American, and Old Masters. In twenty-three years, Heather James Fine Art has expanded into a global network with galleries located in Palm Desert, California; New York, New York; San Francisco, California; Montecito, California; Jackson Hole, Wyoming, along with consultancies in Los Angeles, Chicago, Newport Beach, Austin, New Orleans, and Basel. Each year, its galleries present an array of museum-quality exhibitions, exploring historical and contemporary themes, or examining the work of individual influential artists. Heather James Fine Art is dedicated to bringing exceptional art to private clients and museums globally, while providing the utmost personalized logistical, curatorial, and financial services.
Twenty-three years ago, we opened our first gallery, a small space on an elegant street in a resort community. With backgrounds in art, art history, education, and finance, we curated our gallery to feel like a tiny museum, with the finest art and cultural antiquities we could find, while providing education, information, and curated experiences for each of our clients. We wanted every person who came in to our gallery to feel enriched in some way, to have a personal experience with the art, to understand its importance within art history, and to feel a connection to it. Today we have grown to include galleries in Palm Desert (right down the street from the first Heather James), Jackson Hole, New York, San Francisco, and Montecito, with art consultancies in Los Angeles, Chicago, Austin, Newport Beach, New Orleans, and Basel. Weâ€™ve expanded our specialties to showcase important works from a cross section of periods, movements, and genres. As Heather James has grown, we have maintained the standard of providing top notch customer service, while continuing to make that personal connection between the art and our client. We have always been enchanted by the beauty of the object and intrigued by its history â€“ where it was made, and why, who touched it, owned it and loved it in the past, and sharing these stories with our clients, and seeing them fall in love with a work of art, is both a joy and a reward. We invite you to come in to one of our galleries and experience what Heather James Fine Art has to offer. We are confident that you, too, will find yourself enriched by the experience. - Heather Sacre and James Carona
CLAUDE MONET (1840-1926) Le Mont Riboudet à Rouen au Printemps Signed lower right, "Claude Monet" oil on canvas 21 1/2 x 28 5/8 in. 1872
Claude Monet in his gardens, 1915
One of Claude Monet’s characteristic processes was to paint scenes and areas over and over, at different times of the day and of the year. In Le Mont Riboudet à Rouen au Printemps, Monet has captured the countryside outside of the rapidly developing metropolitan Rouen in spring. His careful brushstrokes of the fields and houses contrast with the muted tones of the soft sky, all in an effort to capture the changing light of a rural spring. Rouen would become a site that Monet returned to often. This painting was acquired by dealer Paul Durand-Ruel who supported and championed the Impressionists and was subsequently bought by fellow Impressionist, Gustave Caillebotte.
SALVADOR DALÍ (1904-1989) Les Yeux Fleuris oil on canvas 27 x 19 3/8 in. 1944
Salvador Dali created a curtain with eyes for Alfred Hitchcock's psychoanalytic thriller Spellbound (1945)
In 1942, a few months after his retrospective exhibition at the Museum of Modern Art in New York, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Its provenance traces to Marques Jorge de Cuevas, who also owned a similar painting by Dalí, the 15-foot-wide Yeux Fleuris, a 1931 tempera and oil on canvas that was used on the set for Mad Tristan. Eyes appear in Dalí paintings throughout his career — as late as the 1981 painting Argus, which has five eyes. Most notably, the eye appears in paintings Dalí made for the dream sequences of the film Spellbound starring Ingrid Bergman and directed by Alfred Hitchcock.
EDWARD HOPPER (1882-1967) Rain on River Signed in pencil, lower right, "Edward Hopper" watercolor on paper 13 1/2 x 19 1/2 in. 1938
While his process for oils was meticulous, involving extensive preparatory drawings to study the subject of a single painting, his watercolors were quick and spontaneous. Edward Hopperâ€™s Rain on River captures an instant impression of nature. The horizontality, combined with the slant of the landscape, draws the eye across the canvas. The artistâ€™s impulsive application of pigment captures the delicate and fleeting light of a summer shower.
Farm House at Essex Signed lower left, "Edward Hopper, Essex House" watercolor on paper 14 x 19 7/8 in. 1929
Farm House at Essex, a watercolor from 1929, is a masterwork by Edward Hopper. Created in the same year as Chop Suey, the record-setting painting that sold at auction in November 2018 for $91.9 million, this piece presents a quiet scene from a New England coastal town. Hopperâ€™s depiction of a solitary house in a landscape devoid of people exemplifies the sense of stillness that made him one of the most important painters of 20th century American art.
ROBERT RAUSCHENBERG (1925-2008) Bugle (Scale) Signed in pen verso, "Rauschenberg 79" fabric collage, mirror, acrylic paint 73 x 61 1/2 x 6 1/4 in. 1979
Related to the Spreads (1975-83) as large three-dimensional works, Scales is a sculptural series that incorporates solvent transfer onto wood structures usually comprised of fabric, mirrored Plexiglas, and found objects. This work summarizes the diverse processes and themes that have engaged Rauschenberg throughout his career. References to technology, art and commerce evoke the complexity of the 20th-century experience.
ROBERT INDIANA (1928-2018) LOVE Stamped paint on metal 35 7/8 x 38 x 18 in. 1966-2002 Edition AP 4/4
Born Robert Clark in 1928 in New Castle, Indiana, Robert Indiana is one of the most influential Pop artists of the 20th century. His work has become a pervasive visuality in American culture. Short, bold, and simple, it speaks to viewers through shared cultural touchstones, through word associations, and through its striking relationship to everyday graphics. Indiana first created his iconic â€œLOVEâ€? imagery as a design for a Christmas card for the Museum of Modern Art in 1965, and few images since have captivated the public imagination so thoroughly. Shimmering in gold and accented in red, this sculpture takes on any symbolism that the viewer can dream. Blending word and image, Indiana recognized language as a functional element of art, employing simple words with numerous associations and interpretations.
ED RUSCHA (b. 1937) The End glass hologram set 11 x 14 in. each 1998-2014 Edition RU-12 of 25
The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings â€“ notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself. Considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewerâ€™s movement. In this set, some of the depictions include a film strip stopped between two frames. While there is innate movement in the shifting words and images, these holograms also represent a full stop â€“ a transitory moment frozen in time.
TOM WESSELMANN (1931-2004) 1962 Plus 35 Nude Sketch II Signed lower left, "Wesselmann 97" alkyd on canvas 43 x 58 5/8 in. 1997
American painter Tom Wesselmann was considered a Pop artist, though he never agreed with the label. His renowned Great American Nude series fuses the commercial and the aesthetic, removing individualistic features and reducing the figures to their erogenous zones. Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. In 1962 Plus 35 Nude Sketch II from 1997, the woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hypersexualized presentation of the female body addresses the consumer culture of Post War America – the commoditization of the flesh.
ANISH KAPOOR (b. 1954) Blood Cinema acrylic and steel 77 1/4 x 77 1/4 x 18 3/4 in. 2000 Anish Kapoor’s sculptural work explores perception, captivating and challenging viewers worldwide with iconic public installations, such as Chicago’s Cloud Gate, and in his well-known reflective glass and mirror pieces. Blood Cinema from 2000, composed of acrylic and steel, is nearly six and a half feet in diameter. Resting on the floor like an oversized lens, it warps the viewer’s perspective and distorts its environment through ethereal shades of red. The sculpture’s internal convex shape results in different visual effects when it is viewed from either side, exploring polarities of presence and absence, inward and outward, light and dark. The viewer’s presence activates these relationships – a central theme in Kapoor’s work.
Untitled alabaster 40 5/8 x 48 1/2 x 17 1/2 in. 2011 In Untitled from 2011, Kapoor creates a luminous cavern in alabaster stone. Exploring perception by embracing duality, it is full of contradictions, combining ephemerality and permanence. The sharp rectangular space is carved into a soft rounded form, and the edges are left rough, reminding the viewer that this is a piece of dense and heavy rock hewn from the earth. Still, the mediumâ€™s translucence infuses the piece with light.
RUFINO TAMAYO (1899-1991) Retrato de Olga pastel, crayon, sanguine, and oil stick on masonite 48 x 36 in. 1948
Rufino Tamayo and his wife Olga
Retrato de Olga, depicts one of Rufino Tamayo’s favorite subjects: his wife, Olga. He painted her often, using the color palette and her facial expression to convey the struggles in their lives. This portrait is done in brown tones—a light brown background, a dark brown shawl matching the brown of her hair, and her brown shirt that nearly matches the brown tone of her skin. Her arms are crossed gently in front of her, one hand grasping the other arm. He depicts her with high, arched brows, a straight nose, and her expression is one of poise and neutrality. Retrato de Olga was included in Tamayo’s first retrospective, which took place at the Instituto de Bellas Artes, Mexico City, in 1948.
SAM FRANCIS (1923-1994) A Whirling Square Unsigned, estate stamped acrylic on canvas 222 x 210 in. 1975 Sam Francis was born in 1923 in San Mateo, California and only became an artist after a training accident while in the U.S. Army Air corps in 1943. His true calling as an artist remained central to his experience until his death in 1994. At nearly 20’ tall, A Whirling Square is an imposing physical presence, softened by the peace and tranquility exuding off the paintings delicate surface. The work was inspired by Francis's interest in Eastern philosophy and the teachings of Zen Buddhism. The work is an attempt by Francis to approach the “archetype” in painting, or the purest form of art.
Untitled 1985, San Leandro Unsigned, estate stamped acrylic on canvas mounted on board 44 x 52 in. 1985 Untitled, (1985) San Leandro espouses the great experimental nature of Francis in his artistic practice, often using materials in revolutionary ways, in this instance the uniquely shaped canvas serves as a vehicle for his artistic expression.
JOHN McCRACKEN (1934-2011) Black Block Signed underneath, "BLACK BLOCK 1966 JOHN MCCRACKEN" lacquer, fiberglass, plywood 15 1/2 x 18 x 8 1/2 in. 1966
John McCracken, 1966
A revolutionary Minimalist also associated with LAâ€™s Cool School and the Light and Space Movement, John McCracken is perhaps best known for his Planks, narrow rectangular boards, finished in polished monochrome and leaned against a wall. He produced the first of these forms in 1966, the same year that he created Black Block. The 1960s were a formative and inventive time for McCracken, during which he produced much of his most celebrated work. To create his monochrome finish, McCracken coated wood and fiberglass with resin, polishing their surfaces smooth and applying thin stains of paint. Influenced by first generation Minimalists Donald Judd, Dan Flavin, and Carl Andre, McCracken created rich and refined finishes on sharp geometric forms. He often described his work as his idea of an extraterrestrial creation. McCrackenâ€™s aesthetic is one deeply rooted in a West Coast style while at the same time otherworldly.
GEORGE CONDO (b. 1957) The Arrival, The Departure Signed verso, "Departure Condo 04" and signed verso, "Condo The Arrival" oil on canvas 36 x 36 in. each 2004
In the early 1980s, George Condo arrived in New York where he collaborated with members of Andy Warhol’s Factory, such as Jean-Michel Basquiat and Keith Haring, and leaders of the Beat Generation, including William S. Burroughs and Allen Ginsberg. His work is housed in permanent collections of major museums worldwide, including the Museum of Modern Art in New York and the Solomon. R. Guggenheim Museum. Cartoon-like and slightly monstrous, Condo’s portraits are a wonderful expression of postmodern art and thinking. What appear to be portraits are, in fact, invented imagery, some filled with Condo’s so-called “Pod people,” derived from the word “antipode,” meaning direct opposite of something. The Arrival, The Departure from the artist’s 2004 Religious Paintings series showcases Condo’s “Artificial Realism” approach to portraiture, which he defines as the “realistic representation of that which is artificial.” From the priestly raiment to the clouds, this work suggests the religious paintings of Old Masters like Murillo but is upended by the psychoanalytic possibilities of the Pod figure, vegetables, and cigarettes.
From the Collection of Lester Marks
ANSELM KIEFER (b. 1945) The Fertile Crescent mixed media on board 39 1/2 x 29 1/2 in. 2008
Installation view of the exhibition The Seven Heavenly Palaces 2004-2015 Pirelli Hangar Bicocca, Milan, Italy, 2015
When Anselm Kiefer traveled to India in the early 1990s, he observed towers of brick that reached toward the sky. Essential to the manufacturing of mudbrick, the same bricks being fired within the towers were used to build them up. In a process of creation and destruction, the towering structures were then gradually dismantled as bricks were needed for construction elsewhere. Fascinated by the metaphorical resonance of this cycle of birth and decay, Kiefer’s work adopted the imagery of grand architectural constructions, monuments to ambition and its collapse. It recalls early civilizations in ancient Mesopotamia and reflects Kiefer’s own history growing up in Germany in the aftermath of World War II. In this mixed media piece from 2008, The Fertile Crescent, Kiefer incorporates thick layers of heavy texture that crackle like the dry bed of a once vital river. This specific tower imagery is drawn from Kiefer’s The Seven Heavenly Palaces, a large-scale installation first conceived at his sprawling studio at Barjac in the South of France.
N.C. WYETH (1882-1945) “-and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon his head” Signed lower right, “N.C. Wyeth” oil on canvas 40 3/4 x 30 in. 1920
N.C.Wyeth, circa 1920
N.C. Wyeth produced around 3,000 paintings and illustrated 112 books. His popular illustrated series for publishing company Charles Scribner’s Sons, beginning with Treasure Island, came to be known as Scribner’s Classics and remains in print to this day. “-and then he kneeled down again…” is an illustration for Daniel Defoe’s Robinson Crusoe (p. 270), part of the Scribner’s Classics series. The painting represents a key scene in the novel in which Robinson Crusoe meets and rescues Friday, the indigenous man who becomes his companion. Wyeth is able to pinpoint the crucial moment in the text and translate it into a painting. The evocative colors and nimble brushstroke help bring forth the exotic scene while key details like the bodies in the background and the verdant beach help to fill out the narrative of the chapter.
PAT STEIR (b. 1940) Untitled (After Courbet and Hiroshige) colored pencil, pencil, gesso, and charcoal on paper 60 x 173 in. 1985 Pat Steir’s Untitled (After Courbet and Hiroshige), is a large work on paper completed in 1985. Best known for her dripping waterfall paintings, Steir’s work is characterized by spontaneity and unpredictability, embracing nature as an active force in art. This piece calls up a torrent of expressive power. It communicates with art historical tradition, referencing 19th century artists Ando Hiroshige and Gustave Courbet, translating previous depictions of the irrepressible sea. This drawing was featured in the Museum of Modern Art’s 1985 exhibition, New Works on Paper 3. Steir’s large wave drawings comprise a distinct body of work from the mid 1980s, after which she began to experiment with the poured canvases that became waterfall paintings.
Installation image from New Works on Paper 3 Museum of Modern Art, 1985
SIR WINSTON CHURCHILL (1874-1965) The Moat at Breccles oil on canvas 19 3/8 x 19 1/4 in. c. 1921 ÂŠ Churchill Heritage Limited
Winston Churchill painting at Miami Beach, FL.
Winston Churchill, best known for leading the UK to victory over Hitler and the Nazi regime, had a lesser known artistic talent. He did not take up a brush until he was forty years old. After the invasion of Gallipoli during WWI went devastatingly wrong and Churchill was blamed, the lure of putting paint to canvas coaxed him out of his depression. For the rest of his life, painting provided a much-needed distraction from the stress of his work as a statesman during some of the darkest times of the worldâ€™s history. Heavily influenced by Impressionism, his preferred medium was oil, thickly layered in an impasto style. A prolific painter, Churchill would bring his supplies to paint on travels as an escape from the stress of his political duties, much as he did when he and his wife visited Breccles Hall. Churchill renders the lush grounds of the grand country estate, from the reflective moat to the sun-dappled trees, by painting en plein air much as his admired Impressionists did before him.
KURT SCHWITTERS (1887-1948) Ohne Titel (Merzbild Mit Schuhsohle) Signed in paint, lower right, "KS 45" oil and relief assemblage on plywood 21 1/4 x 17 3/4 in. 1945
Ohne Titel (Merzbild Mit Schuhsohle), is representational of European Avant Garde trends of the early 20th Century, including most notably the Dada movement. Kurt Schwitters was born in Hanover, Germany, in 1887 and studied at the Dresden Academy. As an early associate of the Dada movement, it was planned for Schwitters to start a Hanover outpost of sorts for the group, but this never came to fruition. An assemblage of found and crafted objects, the present work is typical of the Merz style, for which Schwitters is most highly lauded. Merz is a made-up term, and describes the large assemblages and room installations that comprised the artist's output during the 1920s and 1930s. Schwitters is known as a father of installation art and was incredibly influential to artists such as Jasper Johns, Robert Rauschenberg, and Anselm Kiefer.
JULIAN SCHNABEL (b. 1951) Untitled oil, resin, gesso, fabric and leather on seamed dropcloth 96 x 120 in. 1991 Julian Schnabel is an American painter whose style is associated with the NeoExpressionist movement of the 1980s. His works, with their excessive mixed media, self-consciously gestural brushwork, and crude figuration, aligned with the trend of the eighties to push back against the previous decadesâ€™ reliance on Minimalism and Conceptualism. Monumental in scale, his paintings break free of conventional restraint. With his mercurial and alchemical vision, and through unconventional materials, Schnabel transforms his paintings into edifices brimming with symbolism, while still aligning themselves with the grand European tradition of painting.
Pascin Pig Passin Time oil, plates, and bondo on board 48 x 40 x 6 in. 1983 Pascin Pig Passin Time is part of Scnabel's broken plate series of paintings. Inspired by the trencadĂs (or broken tile mosaic) of architect Antoni GaudĂ when he traveled through Europe including Barcelona in 1978, this series of works brought theatricality and process back to mainstream painting. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.
From the Collection of Lester Marks
BEATRIZ MILHAZES (b. 1960) Untitled Signed verso, "B. Milhazes 1992 70 x 80 cm" oil on canvas 31 1/2 x 27 1/2 in. 1992
Beatriz Milhazes employs a unique amalgamation of techniques that combines collage, painting, and monotype printing. She paints directly onto transparent sheets of plastic that she then applies to a canvas. She does this several times to produce the final work, a brilliantly colored canvas layered with planar abstraction and elaborate adornments. Her work references European abstraction, but also symbols of colonial ornamentation, mixing with native Brazilian culture. She reuses certain favorite designs on plastic in other paintings, creating callbacks that reinforce her ideas on time, memory, and abstraction. In Untitled, the dominating image is the central ruff that recalls European portraiture while the lace ties into the circular, geometric abstraction. Ornamental items like the ruff, the flowers, the arabesques and other abstract designs bring the decorative to the fore so that time and memory collapse.
DEBORAH BUTTERFIELD (b. 1949) Untitled (Horse) sticks and paper on wire armature 100 x 157 x 36 in. 1981
In the 1970s, Deborah Butterfield made her first horse sculptures from plaster, papiermâché, mud, and sticks – organic materials that linked a horse to its environment. The emotional resonance of these forms is crucial to the artist as she considers them to be metaphorical representations of herself. Her horses are at once gentle and powerful, beautiful and commanding. This 1981 sculpture of sticks and paper stretches across a large wall space, overwhelming the viewer with a presentation of grace and strength. The impressive scale of this piece enhances the qualities that make Butterfield’s work so engaging.
TRACEY EMIN (b. 1963) Be Faithful To Your Dreams blue neon on plexiglas 15 7/8 x 87 7/8 x 2 7/8 in. 1998 Edition of 3, plus 2 AP
One of the leading voices of the Young British Artists (YBA), Tracey Emin centers her work on her own experiences, opening up all of her history, and disclosing her most private emotions. At once personal and universal, Emin’s autobiographical art occupies the space between the sentimental and the candid. She reclaims techniques relegated to “women artists” to create provocations that draws viewers into an intense relationship with her work. Emin’s oeuvre spans installation, painting, drawing, film, photography, and sculpture. Be Faithful To Your Dreams is part of her signature series of neon text. A continuation of art history’s fascination with the symbolic nature of neon signs, Emin’s signs mine neon’s relation to commerce, urban grit, and aesthetic attraction. In particular, this sculpture speaks to the commercializing of emotions to sell an idea and even itself. Utilizing her own handwriting, these early signs veer from the obscene and confrontational to the cloy and evocative as in this sculpture.
HASSEL SMITH (1915-2007) Homage to the Headhunters Signed verso, "Hassel Smith December 1977 in Berkeley" acrylic on canvas 68 x 68 in. 1977
Hassel Smith was born in 1915 in Sturgis, Michigan. Matching his restlessness in painting, Smith moved back and forth between the Midwest and the West Coast of the United States and at one point settling in Cornwall and Bristol in the UK. After WWII, Smith joined the faculty of CSFA, teaching alongside Clyfford Still, who would become a lifelong friend, David Park, Elmer Bischoff, Ansel Adams, and Richard Diebenkorn, along with visiting faculty Mark Rothko, another lifelong friend, and Ad Reinhardt. It was his friendship with Still that pushed Smith from figurative painting to Abstract Expressionism. These shifts in styles would become a hallmark of Hassel Smith’s career. In the 1970s and 1980s, Smith would embrace Hard-Edge Abstraction, contributing his unique spin via his “measured” paintings, which encompassed geometric shapes and numbers on grids. Using a system known only to him, Smith found rhythms in the paintings through the intervals and sizes of the shapes. Furthermore, unlike many Hard-Edge paintings that erased the hand of the painter, Hassel Smith’s paintings are lush in their varied brushstrokes and in their layered multi-hued surfaces.
ROBERT COTTINGHAM (b. 1935) ME oil on canvas 77 1/2 x 77 3/4 in. 1972
Robert Cottingham in his studio, 2016
Although recognized as one of the most important photorealist painters, Robert Cottingham prefers to align himself with artists of the American vernacular, such as Edward Hopper, Stuart Davis, and Charles Demuth, as well as those interested in text and advertising like Robert Indiana and Andy Warhol. Cottingham began a career as an art director for an advertising firm after graduating from Pratt Institute, Brooklyn, in 1963. He moved to Los Angeles the following year, embracing the urban landscape of Southern California and began painting full time. Cottingham created ME in 1972, a few years before Tom Wolfe's famous essay, "The 'Me' Decade", was published as the cover story in New York magazine on August 23, 1976. From a series of work in which Cottingham isolated parts of words from signs, this image is pulled from the Cameo Theatre on South Broadway in Los Angeles. In the decades following this period, Cottinghamâ€™s imagery expanded to broader urban scenes of city blocks, buildings, and railroads.
ALEXANDER CALDER (1898-1976) The Palm Tree Signed lower right, "Calder 47" oil on canvas 39 ½ x 29 ¾ in. 1947
Alexander Calder was a prolific American artist who infused his artwork with a wit and whimsy inspired by his early fascination with the circus. In 1923, Calder enrolled in the Art Students League in New York and studied painting. Calder’s first breakthrough was his Circus series depicting circus acts and composed of wire, wood, cloth, and leather string. The series was an early example of his wire “drawings." Calder then abstracted the wire forms and transposed them into three-dimensional space. Duchamp conferred the word “mobile” to describe them. In addition to sculptures, Calder painted throughout his career. Even in his paintings and gouaches on paper, Calder captures dynamism in lines that appear to dance and pirouette like his mobiles. In The Palm Tree, the riot of color, shape, and line suggest both the form of the tree but also its movement in the wind and the dynamism of its tropical environs. While the painting’s energy is reminiscent of his mobiles, the arcs of color recall his monumental stabiles.
JEAN-BAPTISTE GREUZE (1725-1805) Portrait of Jeanne Philiberte Ledoux (1767â€“1840), half-length oil on panel 23 5/8 x 19 3/8 in. c. 1790
Lady Artist in her Atelier (Probably a Self- Portrait) by Jeanne-Philiberte Ledoux
Jean-Baptiste Greuze often painted his friends and other artists. Jeanne-Philiberte Ledoux came to Greuze to train as a painter. As his pupil, she gained success imitating his subject matter, exhibiting her head studies of young, beautiful women and children in the Paris Salons from 1793 to 1819. Ledoux became one of the leading female artists of the Revolutionary and Napoleonic eras, a fact made ever more significant by the rarity of women who dared venture into a public profession during that time. In this portrait, executed circa 1790, Greuze captured Ledouxâ€™s open expression and small, familiar smile as she gazes directly at the man who helped launch her career. The intricate folds of her dress and the fabric of the robe draped loosely about her shoulders are detailed precisely in dry brushstrokes, a perfect characterization of his work in the genre during the last decade of the 18th century.
HENRY MOORE (1898-1986) Two Seated Figures Against Wall bronze with brown patina 19 5/8 x 19 3/8 x 9 3/4 in. 1960 Edition of 12
Henry Moore, a father of Modern British sculpture, is known for his large-scale, semiabstract sculptures in bronze and marble. Influenced by such wide-ranging artistic traditions as Surrealism, Classical, Pre-Columbian, and African art, Moore is best-known for his abstracted representations of the supine human figure and mother-and-child groups. This 1960 bronze sculpture of two seated figures demonstrates Mooreâ€™s gestural treatment of material. The focus on family groups is reflective of the artistâ€™s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject matter and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.
JOHN MARIN (1870-1953) Cape Split, Maine Signed lower right, â€œMarin 45â€? oil on canvas 22 1/4 x 28 1/4 in. 1945
John Marin in 1922. Photo by Alfred Stieglitz
After a late start in studying art at the age of 29, John Marin set up his studio in Paris where he learned to meld the ideas of Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. A 1948 survey of directors, curators, and art critics voted John Marin as the greatest painter in America. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast through brushstrokes that push the painting towards abstraction without fully giving in to nonrepresentation.
AD REINHARDT (1913-1967) Untitled Signed lower right, "Reinhardt '49" oil on canvas 40 x 32 in. 1949
Born in 1913, Ad Reinhardt was an American abstract painter who belonged to a group of artists that showed with Betty Parsons Gallery and who later became key members of the Abstract Expressionist movement. Although associated with that New York School, Reinhardt rejected the pursuit of personal expression in art, instead seeking, in his words, “the strictest formula for the freest artistic freedom.” While Reinhardt's early work was Abstract Expressionist in style, he sought a more ordered and pure form of abstraction after 1949, the style for which he is best known. He created this painting during that period of exploration before his work developed an increasingly monochromatic and minimalist aesthetic, which culminated in his Black Paintings in the 1950s and ‘60s. At the time of this piece’s creation, Reinhardt became interested in East Asian philosophy. Inspired by Chinese and Japanese calligraphy, he used all-over compositions and avoided reworking the paint after applying it. This painting represents a pivotal moment in the artist’s career and a crucial development for a revelatory artistic voice for Minimalism and Conceptualism.
ROBERT MOTHERWELL (1915-1991) Gesture No. 45 Signed verso, "AZUL CON Rojo Soto 1991" acrylic on canvas 48 x 36 in. c. 1977
Robert Motherwell is widely recognized as a father of Abstract Expressionism and a great champion of painting in America during his lifetime. Outliving many of his Abstract Expressionist contemporaries, Robert Motherwell had an extensive body of work that can be seen as a time capsule of sorts, documenting the evolution of the artist over a career spanning over half of a century. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 shows how Motherwell approached his canvas, often leaving an element of chance to determine composition and form. This belief and practice was to be shared with his students Cy Twombly and Robert Rauschenberg while he was teaching at Black Mountain College. This work belongs to a small series of approximately five paintings created within a very brief period that work out a theme of bold-black elements against a gold-hued background.
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PAST EXHIBITIONS Picasso
November 2009 - May 2010 The exhibition, Picasso, was a major survey of the works of this 20th century master, including paintings, drawings, and sculptures from several of the artistâ€™s major periods including Cubism. The exhibition also featured an important private collection of more than 80 pieces of his ceramics.
The Paintings of Sir Winston Churchill March - September 2018
Widely known as the greatest statesman of the 20th century, the savior of Western civilization, a Nobel prize winner, and the subject of a recent Academy Award-nominated film, Sir Winston Churchill (1874-1965) is capturing the attention of more people than ever. Yet few are aware that he was an avid painter. Eleven oil paintings by Churchill from the 1920s to 1940s from the collection of the family of the late Julian Sandys, the eldest of Churchillâ€™s grandchildren, joined the spotlight in The Paintings of Sir Winston Churchill.
November 2015 - May 2016 Alexander Calder was a prolific American artist who infused his artwork with a wit and whimsy inspired by his early fascination with the circus. His childhood hobby of crafting objects from found materials evolved into his invention of mobiles. In addition to these sculptures, he created stabiles, or static sculptures, paintings, gouaches, drawings, prints, jewelry, and tapestries. Calder featured several artworks from private collections that have never been exhibited, including a five feet wide standing mobile constructed circa 1940.
de Kooning x de Kooning
November 2018 - February 2019 The first show in many years to include works by both Willem and Elaine de Kooning, de Kooning x de Kooning showcased many works from the private collections of family and friends. The selection of paintings, works on paper, and photographs provided an intimate portrait of the relationship shared by two major 20th century artists with one another and with the canvas. Our accompanying exhibition video features artist Yvonne Jacquette, Rudy Burckhardtâ€™s widow, and art critic Amei Wallach sharing their insights about the de Koonings.
Wojciech Fangor: The Early 1960s April - June 2018
Wojciech Fangor’s first U.S. travelling solo exhibition debuted in New York and then travelled to San Francisco. Bringing renewed recognition for one of Poland’s preeminent Post-War abstract artists, these selections of large-scale abstractions boldly illustrated Fangor’s distinctive saturated color palette and blurred silhouettes.
Masters of California Impressionism November 2014 - May 2015
Masters of California Impressionism celebrated the bright, optimistic paintings that changed the course of the prevailing style of the early 20th century. While American Impressionist painters on the East Coast depicted cold gray scenes from inside their homes and studios, the California Impressionists — who favored the state’s healthier climate and diverse natural scenery — painted en plein air, capturing the light and color of the diverse California regions.
Masters of Impressionism and Modern Art November 2010 - May 2011
Spanning the creatively avant-garde decades of the late 19th century to the mid-20th century, Masters of Impressionism and Modern Art brought together exquisite examples of art by Fernand LĂŠger, Claude Monet, Berthe Morisot, Pablo Picasso, Pierre Auguste Renoir and Kees Van Dongen among many others.
Ai Weiwei Circle of Animals/Zodiac Heads - Gold November 2016 - May 2017
Ai Weiwei created two series of sculptures representing the animal symbols from the traditional Chinese zodiac: a monumental bronze edition for outdoor display and a smaller-scaled gold edition (made of bronze) for indoor display. This set of works measures between 20 and 30 inches in height, depending on the animal. Editions of Zodiac Heads have been exhibited at 35 international venues (and counting) around the world.
SELECTED MUSEUM ACQUISITIONS The National Gallery of Art, Washington, D.C. MORRIS LOUIS (1912-1962) Sub-Marine, 1948, oil on canvas, 22 1/4 x 35 1/2 in.
The Art Institute of Chicago, Chicago, Illinois EDWARD HOPPER (1882-1967) Attic in Nyack, 1899, charcoal on paper, 13 1/2 x 9 3/4 in.
The Denver Art Museum, Denver, Colorado TOM WESSELMANN (1931-2004) Stocking Nude, 1980, pencil on paper, 8 x 18 3/4 in.
The Crocker Art Museum, Sacramento, California PAUL SAMPLE (1896-1974) Stockton, c. 1935-1936, oil on canvas, 25 x 30 in.
The Cincinnati Art Museum, Cincinnati, Ohio JUAN SORIANO (1920-2006) Bull, 2004, bronze, 27 x 73 x 23 in.
The Currier Museum of Art, Manchester, New Hampshire ELAINE DE KOONING (1918-1989) Michael Sonnabend, 1951, oil on canvas, 65 x 31 3/4 in.
The Barry Art Museum, Old Dominion University Norfolk, Virginia JULES OLITSKI (1922-2007) Embraced: Yellow and Pink, 2005, acrylic on canvas, 72 x 60 in.
The Mint Museum, Charlotte, North Carolina JOHN LESLIE BRECK (1860-1899) Suzanne HoschedÃ©-Monet Sewing, 1888, oil on canvas, 18 1/8 x 21 7/8 in.
The Smith College Museum of Art Northampton, Massachusetts THERESA BERNSTEIN (1890-2002) Armistice Day Parade: The Altar of Liberty, 1919, oil on canvas, 30 x 40 in.
The Wittliff Collections, Texas State University, San Marcos, Texas EDWARD S. CURTIS (1868-1952) Potter Building Her Kiln, 1906, vintage small format copper photogravure printing plate, 6 1/2 x 8 1/2 in.
Hassel Smith The varied career of Hassel Smith includes periods of Abstract Expressionism, Gestural Abstraction, and HardEdge Abstraction. His noteworthy â€œmeasuredâ€? paintings encompassed rhythmic compositions of geometric shapes and numbers on grids. Smith taught at the California School of Fine Art alongside Clyfford Still, David Park, Ansel Adams, and Richard Diebenkorn. His wok can be found in the Los Angeles County Museum of Art, the Tate Gallery in London, and the Whitney Museum of American Art in New York.
Jae Kon Park A Post-War abstract modernist, Jae Kon Park located inspiration not in his native South Korea, but in his travels through South America. Park theorized that art began with lines and dots transformed into the sacred circle. Park comprehended this communal circular motif as the Mandala, reaching across cultures as disparate as the Incan to the Chinese. His oeuvre travels a wide range of abstraction and was part of a larger trend of nonWestern artists engaging in dialogues of abstraction outside of the European context.
William Theophilus Brown A prominent member of the Bay Area Figurative Movement, William Theophilus Brown studied painting in New York and Paris, during which time he met Picasso, Braque, Giacommetti, and de Kooning. His diverse subject matter includes studies of the male figure and rich landscapes. Brown gained recognition in 1956 when his football player paintings appeared in Life magazine, and his work was included in the seminal Contemporary Bay Area Figurative Painting exhibition at the Oakland Museum in 1957.
Paul Wonner Paul Wonner was a distinguished California artist associated with the Bay Area Figurative Movement. Acclaimed for his expressive figurative paintings and distinctive style of crisp realism in still life painting, Wonner had numerous solo exhibitions in New York, Los Angeles and San Francisco. His work is held in major museums throughout the United States, including the San Francisco Museum of Modern Art, and the Solomon R. Guggenheim Museum in New York.
Top Art catalog 2019