HEATHER JAMES FINE ART presents a rare look into art history’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 over twenty-four years, Heather James Fine Art has expanded into a global network with galleries located in Palm Desert, California; Montecito, California; Jackson Hole, Wyoming, along with consultancies in New York, Los Angeles, San Francisco, Newport Beach, Austin, New Orleans, and Basel. Each year, its galleries present an array of museumquality 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-five 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, and Montecito, with art consultancies in New York, Los Angeles, San Francisco, Austin, Newport Beach, New Orleans, and Basel. We’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 – 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) L’Ancienne rue de la Chaussée, Argenteuil oil on canvas 18 1/4 x 25 7/8 in. 1872
INQUIRE MORE INFO Argenteuil was not exclusively Monet’s domain during the 1870s, but the six years he spent here and the superb paintings that came of that time and place are at the nexus of the Impressionist movement. Monet’s rue de la Chaussée is a softly modulated interpretation of this quaint and historic street; a luminous, late afternoon study of light and shadows as they play against the folding and unfolding planar aspects of facades and roofs of the buildings lining the street. Monet also chose this site carefully and stood directly in the middle of rue de la Chaussée. He intended it to be picturesque and as alluring as possible and it succeeds beautifully. The composition is built upon an open, virtually unbounded base foreground, the lines of which are of a severe convergent triangulation aided by well-orchestrated effects of light and shadow that inexorably carry the eye to the narrow confines of rue de la Chaussée near the center of the picture plane. Yet it is the light-hued warm tints ranging from soft pinks to mauves that lift the shifting planar elements of the architecture to a setting of extreme beauty, aided by the formal accents of phthalo blues and greens evident in the clothing and window shutters — a splendid painting that foretells of so much to come.
CAMILLE PISSARRO (1830-1903) Le Pere Melon Fendant du Bois gouache on linen 12 5/8 X 9 3/4 in. 1880
INQUIRE MORE INFO Camille Pissarro’s paintings of rural workers are influenced by his Barbizon school predecessors like Millet and Corot, but capture the individual people more uniquely and are imbued with the innovation of Impressionism. It may be difficult for a 21st century eye to appreciate its modernity, but in 1880, Le Père Melon fendant du Bois is as resolute in its defiance of Salon hegemony as it is a modern painting based on Pissarro’s own sensations of color. This painting presents a harmonious ensemble of figures staged within an atmosphere of imbuement, full of color and light. Works by Pissarro featuring male figures are rare, and this particular individual was a favorite of the artist. He gave him the nickname “le Père Melo” because of his melon-shaped hat and painted him several times during the 1880s. This piece has been in the same collection for over 15 years and has been protected from the light in a UV filtering frame. It has been extensively published and exhibited, most notably in the Sixth Impressionist Exhibition of 1881. This subject matter is among his most widely admired and is represented in the most prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington D.C., and the Musée d’Orsay in Paris, among many others.
CAMILLE PISSARRO (1830-1903) Le Quai de Pothuis a Pontoise oil on canvas 18 1/8 x 21 7/8 in. 1876
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When Camille Pissarro returned to his former residence at Pontoise in the early 1870s, he was surprised that the landscape had been substantially altered. Just across from the Hermitage quarter where he had settled now sat a large factory with its smoke piling skyward. Le Quai de Pothuis à Pontoise is one of four closely related views in 1876. Signs of industry interested Pissarro not as statements of vile or ugly encroachment, but as substantive facts worth commitment to paper, board, or canvas. He painted this canvas during the year of the second Impressionist exhibition, and at a time when the painters displayed a growing interest in light, color, and atmosphere. This painting is a consummate example of Pissarro’s knack for creating highly unified compositions; here, using to great advantage the strong diagonal lines of the quay attenuated by the verticality of smokestacks and the barge mast. These elements add rhythm and structure to a composition finely balanced within the parlance of Impressionism at this decisive stage of its development. Comparable Pissarro paintings from this time and place are held in museum collections worldwide, including the Metropolitan Museum of Art in New York, the Cleveland Museum of Art, the Israel Museum in Jerusalem, and many others.
CAMILLE PISSARRO (1830-1903) Le Jardin des Tuileries, Apres-Midi, Soleil oil on canvas 26 x 36 1/2 in. 1900
INQUIRE MORE INFO Camille Pissarro is among those rare artists whose freshness of vision and relentless search to perfect his art permitted him to realize during the last years of his life a succession of masterworks — among them, this brilliantly-hued afternoon study of Tuileries Gardens. Moving from one window to the next in his upper-story apartment opposite the park, Pissarro painted twenty-eight studies of this urban landscape and Jardin des Tuileries, après-midi, soleil is perhaps the most elegant painting of the series, capturing a deep and expansive view bathed in the delicate and defused light of a late afternoon spring day in 1900. Pissarro punctuates and counterbalances the panoramic expanse with strong vertical elements; the silhouetted, sparsely foliaged trees, the statuary with their deep shadows and in the far distance, the spires of basilica Sainte-Clotilde that despite the modest scale becomes the point of convergence for the entire composition. The painting is a tour de force of color and chroma restraint; an intoxicating optical mix of cool and warm tones brought to vibratory effect to create the atmospheric halo-like light of that late afternoon.
ALFRED SISLEY (1839-1899) Confluent de la Seine et du Loing oil on canvas 21 1/4 x 28 3/4 in. 1885
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Alfred Sisley and Claude Monet were the closest of friends. In Sisley’s final hours in January 1899, it was Monet he called to his bedside to entrust his children to his protection. Monet rushed to his side, and later, took charge of the sale of organizing the sale of works and gathered friends to present a Sisley painting to the Musée du Luxenbourg. It is a disservice to compare any painter’s working habits with Monet’s disciplined obsession with momentby-moment transience. Yet a canvas such as Confluent de la Seine et du Loing demonstrates Sisley’s extraordinary ability to touch a state of delicacy, refinement and upbeat positivism that captures the qualities we find so endearing in Monet’s most beloved period of work at Argenteuil between 1872 and 1876. As with many of his so-called ‘waterside’ paintings, much of the canvas is occupied by the sky. In fact, Sisley wrote that he always painted the sky first so as to set the scene and mood for the whole painting. Painted mid-day, Confluent de la Seine et du Loing is a glorious sunlit view that elevates the picturesque aspects of the setting. The water sparkles and the large buildings on the opposing bank with their highly reflective surface are brought to a veritable glare aesthetic pitch. There is a rarefied moment here where Sisley separates himself from Monet.
PABLO PICASSO (1881-1973) La Communiante Avec Missel oil on canvas 25 5/8 x 21 1/2 in. 1919
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One of the titans of 20th century art, Pablo Picasso pushed our conception of what art could and should look like. Most associated with Cubism, Picasso was also adept in many different styles including the neo-classical form as seen in La communiante avec missel. Painted in 1919, the work appears at a crossroads in Picasso’s career and world history. A year after the end of World War I, Picasso began to shift from Cubism into a more classical style – emulating the forms of Greco Roman antiquity. In the sobering light after WWI, many sought refuge in “traditional” art that prioritized order and stability. However, if Picasso were only mimicking these early traditions, his paintings would not have the same power or potency that speaks to us today. His forms have heft and visual weight translating classical art through aesthetics, vision, and psychology. In this neo-classical painting, the girl occupies a visual weight and statuesque features that are softened by the curved lines the artist has used for her body and dress. In doing so, the painting asks us to meditate on youth and rites of passage. Picasso continually pushed the possibilities of the style to investigate the visual plane and psychological depths.
PABLO PICASSO (1881-1973) Image Top:
Portrait de Femme (Françoise) colored wax crayons on paper 25 7/8 x 19 7/8 in. 1946
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Portrait de Femme (Françoise) colored wax crayons on paper 25 7/8 x 19 7/8 in. 1946
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Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot, in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).
JOAN MIRÓ (1830-1903) Tête de Femme (Déesse) bronze with black patina 66 x 36 1/2 x 30 in. 1970 (cast 1988) Edition 3/4
INQUIRE MORE INFO Tête de Femme is based upon one of Miró’s most utilized themes. He characterized his sculptures as being from the ‘truly phantasmagoric world of living’ which is, undoubtedly, intended as a term of endearment. Yet Tête de Femme seems to evince something less monstrous or grotesque and instead presents in more sobering light as a free-standing, monolithic presence suggesting essential nature, if not a monumental one. Its attributions are fixed, intrinsic, and suggestive of its innateness; a strikingly austere design that adheres to Miró’s resistance to a classic bourgeois concept of ideal beauty. While it does not suggest a simple ‘female figure’ designation, there is plenty of referential material in the curves, domed protrusions, and a central depression suggesting a birthing matrix that in sum, evokes a celebration of fecundity and the creation of life. In any event, any tether to representational reality is a tenuous one, yet one that is calculated to stimulate the imagination and evoke unconscious primordial references and long-forgotten mythologies.
JOAN MIRÓ (1830-1903) Oiseau, Insecte, Constellation oil on canvas 50 3/4 x 38 1/8 in. 1974
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Oiseau, Insecte, Constellation depends upon a finite number of pure marks and symbolic gestures pared down to create a very succinct, powerful impression. Miró’s profound influence on American Abstract Expressionism is well known, but the fine splatter, spray and drips here suggest Pollock, whose work epitomized Harold Rosenberg’s insistence that a canvas should not be an object, but rather “an area in which to act.” As referenced in the title, this piece combines some of the masterful Surrealist’s favored visual themes: birds and the night sky. As a motif, a bird invariably expresses the artist’s lifelong concern for independence and freedom. This painting is as much a celebration of skyward nocturnal vastness and its accompanying themes of wonder as it is of ‘escape’, the theme that illuminates the deepest appreciation for his Constellation masterworks. When Miró painted this piece in February 1974, it was a four-decade long reflex to Franco, authoritarian rule, and the pall of anti-freedom. In this same month, Miró created the compelling series of three paintings entitled The Hope of a Condemned Man. Miró revisited the Constellation theme throughout his career, and comparable paintings from the 1960s and ‘70s are represented in museum collections worldwide.
FRANCIS PICABIA (1879-1953) Lunis oil on canvas 25 1/2 x 20 1/2 in. c. 1929
INQUIRE MORE INFO Francis Picabia’s Lunis belongs to an exploration by the artist of layered figurative compositions. Called Transparences for their overlapping images akin to photographic transparencies, the works in this series mimic the delicate translucent qualities of a butterfly’s wings. Indeed, Picabia likely looked to those elegant insects for inspiration, studying an encyclopedia of butterfly species that was in his personal library. In Lunis, dotted wings swirl and mingle with other compositional elements, blending and transforming with other layers and lines. The ethereal and surreal compositions of the Transparences stand in contrast to the artist’s earlier explorations of Pointillism, Cubism, and perhaps most notably Dadaism. In paintings like Lunis, Picabia embraces ambiguity, opting for evocative subtlety over the satirical arresting nature of Dada. Here, the eye flutters between birds, plants, butterflies, and the tranquil gazes of three faces. It is a complex and mysterious arrangement, enhanced by captivating color.
AGNES MARTIN (1912-2004) Untitled #11 acrylic and graphite on canvas 60 x 60 in. 1998
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Agnes Martin ranks as one of the most important artists of the 20th century. Although her life and works have had lasting impact and influence, her paintings are impervious studies of complexities – filled with profound beauty, sitting at a steely remove. She is most known for her square canvases filled with grids and horizontal lines. To say they are silent meditations would do a disservice to their hermetic splendor. To say they are opaque examinations of line, color, and form would cut off conversations on their impact on the viewer and influence on other artists. Instead, we must treat her paintings as totems to a tireless artistic vision. As Martin grew older, she reduced her canvas from 72 x 72 in. to 60 x 60 in. Practical with the advancement of age, the reduction of size also presents a more intimate experience. While this work may have come late in life, the painting is by no means a work by an artist in decline. In fact, the work was exhibited by the Menil Collection in Houston in 2002 in a show studying Martin’s works from the 1990s. The piece holds within it, like all of her work, that it is an expression of creative energy rather than any representation, narration, or even an image.
AD REINHARDT (1913-1967) Abstract Painting, 1959 oil on canvas 108 x 40 in. 1959
INQUIRE MORE INFO More so than most of his contemporaries, Ad Reinhardt’s dedication to pure abstraction had farreaching influence on minimal and conceptual art movements. At the pinnacle of his career are the black paintings, also called ultimate paintings, which he claimed, in their pure abstraction, were the last paintings anyone could paint. Abstract Painting, 1959, is a striking piece from this revered final series. At the large scale of 108 x 40 inches, it is a rare and immersive example of Reinhardt’s work. A black painting of this large scale has not been in the public market for 30 years, and this painting has changed hands only twice since it was created in 1959. This painting was exhibited in the 1991 Reinhardt retrospective, which traveled to the Museum of Modern Art and LACMA. Reinhardt defines a black painting by invoking what it is not: the surface is “glossless” and “textureless,” its image is “non-linear,” with “no hard edge, no soft edge.” In seeking pure abstraction, Reinhardt reduced painting to its elemental forms: basic geometric shapes and hues nearly void of color—until you look closely. The barely legible distinction between the rich, profound purples, blues, and greens verging on cosmic black ensure a completely immersive, meditative, and intimate experience of what Reinhardt termed “slow art.”
FREDERICK FRIESEKE (1874-1939) Under the Striped Umbrella oil on canvas 60 1/2 x 190 1/2 in. 1905-1906
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VINCENT VAN GOGH (1853-1890) La Chaumière et une Paysanne Sous les Arbres oil on canvas 19 3/8 x 18 1/4 in. 1885
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Vincent van Gogh’s La Chaumière et une Paysanne Sous les Arbres is one of twelve oils in a group of paintings that depict peasant cottages with their characteristic thatched roofs. Despite his brother Theo’s encouragement to add more color, Vincent at this time maintained that only a darker palette could express the meager existence of the peasants, and that only an artist who lived and suffered among them could understand their plight. It was in the spirt of that plight he painted The Potato Eaters, the centerpiece about which all other works of the Neunen period are supporting compliments. Painted in 1885, this canvas shows little hints of Van Gogh’s exploration of heightened color. Small touches of brighter pigment indicate flowering plants in foreground and the scene is overall picturesque. This piece has a painterly quality displaying elegance in handling and suggests inspiration from the Barbizon aesthetic Vincent admired. Still, there are the unmistakable brushed traceries that reveal his haltingly energetic passages of jagged and angular brushstrokes.
VINCENT VAN GOGH (1853-1890) Uitzicht over Den Haag met de Nieuwe Kerk watercolor, gouache, and pen and brown ink on paper 9 7/8 x 14 in. 1882
INQUIRE MORE INFO When Vincent van Gogh arrived unexpectedly at the home of his cousin-in-law, Anton Mauve, on November 27, 1881, it was as much a surprise to Mauve as it was to his brother Theo. A prominent realist painter associated with the Hague School, Mauve fostered Vincent’s early studies of still lifes and models, loaned the young artist his studio, and introduced him to the medium of watercolor, which became immersive. It was against the backdrop of severe financial difficulties that Vincent engaged in several studies, including Uitzicht over Den Haag met de Nieuwe Kerk. This 1882 painting one of his earliest efforts challenging his ability to intensify color without losing the most alluring quality of pigment and binder suspended in water: its transparency. Despite financial distress and strained familial relations, progress was almost immediate under Mauve’s direction. Vincent’s draftsmanship could be frighteningly uneven at this stage of his development, but in light of the modest compositional demands of Uitzicht over Den Haag met de Nieuwe Kerk, as a study in color it is most impressive; a direct and honest work unburdened by any overzealous attention to detail.
HENRY MOORE (1898-1986) Reclining Figure: Circle bronze 17 x 35 x 13 in. 1983, Edition 3 of 9 plus 1 AP
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Reclining Figure: Circle (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.
HENRY MOORE (1898-1986) Girl Seated Against Square Wall bronze with patina 40 1/2 x 33 x 27 5/8 in. conceived in 1957-1958, 1961
INQUIRE MORE INFO By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. Girl Seated Against Square Wall (1957-1958) is one of eleven sculptures in the Wall series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre. Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another Girl Seated Against Square Wall (1957-1958) can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.
HENRY MOORE (1898-1986) Family Group bronze with patina 7 x 4 x 2 1/4 in. 1945
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Among the most desirable subjects in Moore's oeuvre are his Family Groups. The theme was first explored in a 1922 stone sculpture and evolved into a public commission from the British government prior to World War II. After the war, the subject was revisited as the message of rebuilding strong families was critical to the British people's recovery. Family Group (1945) documents the optimisim and hope of Post-War Europe in sculptural form. The young family depicted shows the rebirth of the British people after one of the darkest eras in human history.
BARBARA HEPWORTH (1903-1975) Five Forms with Three Circles white marble 9 1/2 x 4 1/4 x 5 1/2 in. 1966
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In a moment of sheer brilliance, Barbara Hepworth pierced a hole in a small carving sensing it would give the figure a sense of flow and to lead the viewer’s eye around it. “When I first pierced a shape,” she recalled later, “I thought it was a miracle. A new vision was opened.” The year was 1931, Hepworth was among the early devotees to the element and as much a revelation for the artist as a revolution for modern sculpture. From then on, she carved or chiseled holes in virtually all her abstractions. In doing so, she revealed a deeper structural nature and proved a hole can have as much shape-meaning as solid mass. Five Forms and Three Circles carved in 1966 is fashioned from five wafer-like slabs of marble keenly balanced on the fine edge of systematic order and entropy. The holes here have a veritable sine qua non effect that lift its full existence to a fully integrated composition working in perfect spatial relationship. Despite its obvious kinship with the monumental bronzes such as Square with Two Circles (Kroller-Müller Museum, Otterlo) and Four-Square Walk-Through (Norton Simon Museum, Pasadena) this is a petite œuvre d’art of beautiful precision that proclaims there is a perfect physical size for every idea and its scale is superb and ideal.
ANDY WARHOL (1928-1987) Electric Chairs screenprint 35 3/8 x 47 7/8 in. ea. 1971 Edition 37/250
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Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,” was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art. Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from masscirculated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. Electric Chairs (1971) belongs to this series. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is handsigned and stamped on the verso.
ANDY WARHOL (1928-1987) Portrait of Dorothy Blau-Blue acrylic and silkscreen ink on canvas 40 x 40 in. 1983
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Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This blue canvas presents a younger Blau in her first Warhol portrait in 1983. Warhol credited Blau as a critical component in his rise to international fame and as a pillar of 20th century art. This 1980s portrait contains all of the hallmarks of Warhol during his last decade, a period in which he found renewed creative impulses and a return to hand painting.
FERNAND LÉGER (1881-1955) Étude Pour La Grande Parade gouache, watercolor, pencil and ink on paper 29 1/4 x 35 in. 1952
INQUIRE MORE INFO Fernand Léger’s 1940s and ‘50s compositions of tubes, barrels and linkages gave way to freely arranged bands of color juxtaposed with flattened forms of figures and objects outlined in black. The style, unabashedly simple and full of brightly lit positivism, was jazzy, fun, and readily consumed by the public. Léger credited the neon lights of New York City as the source of the innovation stating: "I was struck by the neon advertisements flashing all over Broadway. You are there, you talk to someone, and all of a sudden he turns blue. Then the color fades—another one comes and turns him red or yellow." At the heart of that unfolding transformation is Léger’s decade-long devotion to his magnum opus, La Grande Parade, now at the Guggenheim Museum of Art in New York. More than one hundred preparatory studies precipitated this masterwork. Created in 1952, this large and substantive Étude Pour La Grande Parade is among the final preparatory works. It is one of his most visually stimulating works of the series that continues his dedication to all-over pictorial design, infused and charged with joyous dynamism and energy. It is in the colorful world of La Grande Parade that an accessible arena exists in which all spectators are welcomed and can delight in the acrobats, dancers, musicians, and strongmen of Léger’s imagination.
FERNAND LÉGER (1881-1955) Le Vase Bleu oil on canvas 15 x 18 in. 1936
INQUIRE MORE INFO By 1936, the year Fernand Léger painted Le Vase Bleu, he had been in a decade-long commitment to an approach he called “Objects in Space” that reduced the elements of Cubism to a faint, redolent echo of its analytical nature — that is, if one could look past the oddly shaped, organic and irregular forms that belay the formality of his ‘mechanical’ works of the 1920s. Le Vase Bleu toys with these ideas with the casual playfulness of a lighthearted man and an artist of mid-career maturity. He placed these objects of common use and materiality on the canvas in a sort of play of aerial forms where each element retains its own autonomy yet assumes a place of greater importance. Everyday objects — here, presumably an electrical plug, a detached wire and a vase of ‘spent’ nails that one might use as a storage receptacle on a workshop shelf — have been chosen for their shapes and are reinforced by their contrasts. Still, there are real-life associations to be had here and Léger invites us to engage in some free associations as to why he may have chosen ‘this over that’.
ALEXANDER CALDER (1898-1976) Red Versus Yellow sheet metal, wire and paint 21 7/8 x 23 1/2 x 9 1/2 in. 1973
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Alexander Calder’s Red Versus Yellow evokes a delicate sense of balance in form and color. Calder began working on sculptures as early as 1909, and these early, often austere, pieces later developed into his iconic “Stabiles” and “Mobiles.” The “Stabile” form ranges in size from palm-sized works to monumentally scaled public art installations. The present work, Red Versus Yellow is a modestly sized work that shows the artist working with the confidence of a master. The piece registered in the archives of the Calder Foundation, New York, under application number A08159. 1973 was a prolific year for the artist; many seminal works were created in that year including Stegosaurus, a 50-foot-tall sculpture created for the Wadsworth Atheneum in Hartford, Connecticut. Calder’s work is held in 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 in New York, the Art Institute of Chicago, and the Tate Gallery in London among many others.
ALEXANDER CALDER (1898-1976) Jerusalem Stabile (Intermediate Maquette) painted steel 114 x 90 in. 1976
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Alexander Calder’s stabiles are a crucial element of the artist’s distinctive visual language. Fellow artist Jean Arp is credited with first using the term “stabile” to distinguish between Calder’s static sculptures and his kinetic sculptures, the “mobiles.” Though Calder’s hanging mobiles are some of his most iconic works, his giant sculptures act as landmarks in cities around the globe, speaking to the proliferation and continued public interest in Calder’s captivating forms. This work is a maquette of the much larger Jerusalem Stabile, the last monumental sculpture that Calder ever made. The 72-foot-long monumental piece was installed on Mt. Herzl in Jerusalem in 1977 and was intended to serve as a symbol of modernity, to improve the quality of life in Jerusalem, and to raise cultural awareness. This iteration captures the magnitude of Calder’s composition at a more intimate scale. Other scaled versions have been exhibited around the world, including the Huntington Library in San Marino, the 2006 New York art exhibition entitled, Alexander Calder in New York, the University of Pennsylvania, and the Rijksmuseum in Amsterdam.
THOMAS MORAN (1837-1926) The Great White Throne, Zion oil on canvas laid on panel 20 x 30 in. 1901
INQUIRE MORE INFO The Great White Throne, Zion from 1901 is a luminous canvas from one of the most important painters of the American landscape. Thomas Moran depicted his landscape subjects with a majestic and sublime quality, and he drew inspiration from travels throughout the American West. This painting presents the expansive monolith at Zion National Park in southwestern Utah. The sheer power of nature and the immensity of natural world emerge in Moran's compositions. Moran was a member of the "Hudson River School," a group of painters responsible for reinventing the concept of landscape painting, in which observation within nature became the central element to creating a painting.
FRANK STELLA (b. 1936) Untitled three dimensional mixed media on board, mounted on wood 43 x 128 x 12 in. c. 1991
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WILLEM DE KOONING (1904-1997) Woman in a Rowboat oil on paper laid on masonite 47 1/2 x 36 1/4 in. 1964
INQUIRE MORE INFO By 1950, Willem de Kooning was already an established member of the downtown New York avant-garde and a widely respected Abstract Expressionist by critics and fellow artists. De Kooning abandoned one of the first paintings in what would become his Woman series in early 1952. He only resumed after Meyer Shapiro visited his studio and offered words of encouragement about the piece. Altogether, he would paint six Woman works. In 1953, Rauschenberg approached de Kooning for a drawing from the series, which he would erase for the seminal Erased De Kooning Drawing (1953). The Second Woman series began when de Kooning began painting on doors discarded during the construction of a studio in Long Island. Aiming to capture a water surrounded environment, de Kooning used an increasingly fluid paint mixture, mixing different oils such as safflower cooking oil, water, and a solvent. As was his practice, once the paint had dried de Kooning would frequently scrape part or all of the surface down. As a result, the work we see is only the last stage in a process that was deeply iterative.
ED RUSCHA (b. 1937) Six Oh oil on canvas 24 x 30 in. 2003
INQUIRE MORE INFO Since the 1960s, Los Angeles-based Ed Ruscha quickly became an iconic American artist. He is known for his enigmatic works featuring glib words and phrases in combination with color field backgrounds and the iconography of place. In addition to his intermedia explorations, Ruscha is admired for textual paintings and prints that teasingly withhold meaning and seek tension. These paintings explore relationships between spoken and visual language, sign and referent. Ruscha considers himself an artist inspired by Americana just as much as the cultural climate of Southern California. He is an artist of America’s roadways, both the highways stretching across the country and the freeways and boulevards slithering through Los Angeles, flanked by signs. In the oil on canvas Six Oh from 2003, white stenciled letters are spaced horizontally across deep-hued color fields. The deep, cool blue of Six Oh promises profundity while the spelledout number resists comprehension. Sounded, the words have texture. “S-i-x-o-h” slips together and the spaced stenciling of the word draws it out seductively. Sleek and aloof, Ruscha’s work bears antecedents of Conceptualism, Minimalism, Pop Art, even Dada and Surrealism. But most befittingly, Six Oh fortifies Ruscha’s reputation as California Cool.
CHILDE HASSAM (1859-1935) The Ash Blonde oil on panel 25 1/2 x 20 1/2 in. 1918
INQUIRE MORE INFO The Ash Blonde (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes. Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.
ADOLPH GOTTLIEB (1903-1974) Azimuth oil on canvas 95 3/4 x 144 1/4 in. 1965
INQUIRE MORE INFO Having spent a major part of his life by and on the sea, Adolph Gottlieb maintained a strong connection with nature. Yet, as much as the relationship between art, nature and experience is reflected in his work, Gottlieb emphasized that he was freed from the desire or need to transcribe that experience in traditional terms. Azimuth of 1965 has been characterized as resting between his Pictograph and Bursts works, but it clearly shares a strong affinity for his Imaginary Landscapes that evince referential zones delineating sky and ground. As a man devoted to sailing, Gottlieb clearly recognized that the pictographic elements in the upper zone suggested navigational and astronomical references that are well known to the sport. The term “azimuth” describes the point where a vertical circle passes through a given heavenly body and intersects the horizon. This painting demonstrates that the properties of color can rule the physical mystery of shape and that in the absence of color, forms can float untethered, and without restraint upon a vast emptiness. Azimuth was exhibited at the Whitney Museum of American Art in 1968 during Gottlieb’s great retrospective, a simultaneous exhibition between the Guggenheim Museum and the Whitney in their only collaborative effort.
DEBORAH BUTTERFIELD (b. 1949) Untitled (Horse) sticks and paper on wire armature 100 x 157 x 36 in. 1981
INQUIRE MORE INFO Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.
DEBORAH BUTTERFIELD (b. 1949) Untitled (1979) steel armature, chicken wire, mud, sticks, paper, dextrine & grass 70 x 100 x 26 in. 1979
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WINSLOW HOMER (1836-1910) The Busy Bee watercolor and gouache on paper 10 x 9 1/4 in. 1875
INQUIRE MORE INFO The Busy Bee, demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium. This piece is from the reconstruction era and depicts a single figure. The boy depicted in The Busy Bee is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like Dressing for the Carnival (1877) at the Metropolitan Museum of Art. Nearly all Homer’s works from of the reconstruction era south are in museum collections. Another painting of the same model, Taking Sunflower to Teacher (1875), is in the Georgia Museum of Art. This work is available from a private collection where it has stayed for the last 25 years. It has been exhibited widely beginning in 1876 at the National Academy of Design in New York and going on to be exhibited throughout the 20th century at major American museums such as The Metropolitan Museum in New York, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and The Amon Carter Museum of American Art in Fort Worth, Texas.
WINSLOW HOMER (1836-1910) The Shepherdess oil on canvas 22 3/4 x 15 3/4 in. 1879
INQUIRE MORE INFO One of the most influential and important artist, Winslow Homer was born in Boston in 1836. He is considered one of the greatest of American realists in the 19th century and although he never formerly learned or aligned with any of the major movements like the Barbizon School, his influence and recognition is widespread, and his process marked a turn away from the divinely infused works of earlier landscape artists. Homer created this work in 1879, a time in which he focused mainly on idyllic landscapes, images of children, and young adults in oils and watercolor. During this period, he became a member of The Tile Club, a group of artists that discussed ideas and organized painting excursions. Other members included William Merritt Chase. The Shepherdess was a theme he returned to multiple times as it allowed him to depict pastoral landscapes, grounded by young women. While beautiful, we can also sense the work and labor involved in the rural setting, the solitary figure set off by shades of green and dappled spots of reds and oranges. Much like Rembrandt and other Old Master painters, Homer imbues his subject with emotional content and personality.
TOM WESSELMANN (1931-2004) 1962 Plus 35 Nude Sketch II alkyd on canvas 43 x 58 5/8 in. 1997
INQUIRE MORE INFO 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 hyper-sexualized presentation of the female body addresses the consumer culture of Post War America – the commoditization of the flesh.
JAMES ROSENQUIST (1933-2017) Vanity Unfair for Gordon Matta Clark oil on canvas 62 3/4 x 43 x 2 3/4 in. 1978
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Combining sculptural elements on a canvas work, Vanity Unfair for Gordon Matta Clark evokes the experimental nature of the Pop Art movement. Created as a tribute to his close friend, Gordon Matta Clark, the present work is a layered creation, each element having significance and a deeper symbolic meaning. Starting as a commercial sign painter, Rosenquist learned the power of large-scale bold images. These large images, vibrant colors, and recognizable imagery would be the mainstay of Rosenquist's artistic output. "Much of the aesthetic of my work comes from doing commercial art," the artist once said. "I painted pieces of bread, Arrow shirts, movie stars. It was very interesting. Before I came to New York I wanted to paint the Sistine Chapel. I thought this is where the school of mural painting exists." Rosenquist's works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among many others.
JAMES ROSENQUIST (1933-2017) Samba School oil on canvas over panel 78 x 132 in. 1986
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James Rosenquist's contributions to Pop Art's development, along with his contemporaries Andy Warhol, Jasper Johns, and Roy Lichtenstein, would leave an indelible mark on art history. Rosenquist's humble beginnings as a billboard painter were a stark contrast to his widely acknowledged status as one of the greatest artists of his generation at the time of his death in 2017. Samba School (1986) is a billboard-scale work imbued with a sense of movement and color, much like the dance that inspired the painting. Rosenquist's iconic work, F-111 (1964-65) at the Museum of Modern art in New York, shares a similar sense of scale and visual energy. Rosenquist's developments in the 1960s and 1970s led to a high level of proficiency in working with these large paintings from which a distinct and powerful visual language emerge. This painting was featured in the 1987 Oliver Stone film Wall Street as well as the 2003-2004 exhibition, James Rosenquist: A Retrospective, which traveled between the Menil Collection and the Museum of Fine Arts Houston, the Guggenheim Museum in Bilbao, and featured prominently at the Guggenheim Museum in the artist's beloved New York City.
TAKASHI MURAKAMI (b. 1962) Want to Hold You acrylic on canvas 59 x 59 in. 2014
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Murakami’s source material is multi-faceted, from manga story boarding, anime, and Otaku – staples of Japanese subculture – to earlier, more traditional influences, ukiyo-e woodblock prints. The absence of perspective and two-dimensionality of ancient Japanese art gave rise to the naming of his style as “superflat,” differentiated from the Western approach in its emphasis on surface and flat planes of color. Murakami’s deliriously happy flowers debuted in 1995 and soon became ubiquitous. Within a circular canvas, such as Want to Hold You, traditional western associations are there to be noted. Tondos, or circular paintings, were in favor by Michelangelo and Rubens during the Renaissance as symbols of perfection. Want to Hold You also creates the optical sensation of dynamic expansion; an effect well known in the Op Art world, particularly that of Vasarely, whose sophisticated use of dimensional vectors upon spherical swelling grids creates the optical illusion of volume. Murakami’s style blends east, west, past, and present.
IRVING NORMAN (1906-1989) The Palace oil on canvas 90 x 60 in. 1959
INQUIRE MORE INFO Irving Norman was an American painter whose works examined modern civilization and the human condition. Norman conceived his paintings as public works that bore witness to history and systems of power. He was influenced by his experiences as a Polish immigrant, as a defender of the Spanish Republic during the Spanish Civil War, and as an observer of the conflicts in the 20th century. The Palace has been exhibited at the Crocker Art Museum in Sacramento, the Pasadena Museum of California Art, the Nora Eccles Harrison Museum of Art at Utah State University, and Katzen Arts Center at American University in Washington D.C. Heather James is proud to represent the estate of Irving Norman.
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In twenty five years, Heather James Fine Art has expanded from our original location in Palm Desert, California, to a global network with three galleries around the United States and seven consultancy offices internationally. In 2020, we celebrated the ten-year anniversary of our gallery in Jackson Hole, Wyoming, the second Heather James location to open its doors. Our Fine Art Consultants are dedicated to bringing exceptional artworks and services at our consultancy locations in New York, Los Angeles, San Francisco, Newport Beach, Austin, New Orleans, and Basel.
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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 artist’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 Awardnominated 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 Churchill’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 Burckhardt’s widow, and art critic Amei Wallach sharing their insights about the de Koonings.
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 Léger, 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.
Sam Francis: From Dusk to Dawn November 2018 - April 2019
An exhibition of paintings by the acclaimed California artist Sam Francis was on view at Heather James Fine Art, Palm Desert. Drawing upon diverse influences including Fauvism, French Impressionism and Modernism, Color Field painting, and Japanese calligraphy, Francis is considered a central figure of the second generation of Abstract Expressionists whose pioneering style helped to establish the movement on the West Coast and internationally.
The Female Gaze: Women Surrealists in the Americas and Europe May - July 2019 Piercing through the male gaze, works by leading American, British, Latin American, and Polish female Surrealist artists was on view at Heather James Fine Art, New York. The Female Gaze: Women Surrealists in the Americas and Europe reframes the history of the movement by focusing exclusively on the pivotal role played by female artists as independent from their male counterparts. Featuring paintings, sculpture, mixed media, and collages spanning from 1938 to 2008, the exhibition also seeks to reveal the underlying political, social, and cultural attitudes that influenced ideas of gender.
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 Hoschedé-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 Montreal Museum of Fine Arts Montreal, Quebec ELAINE DE KOONING (1918-1989) Bill at St. Marks, 1956, oil on canvas, 72 x 44 in.
Hassel Smith The varied career of Hassel Smith includes periods of Abstract Expressionism, Gestural Abstraction, and Hard-Edge Abstraction. His noteworthy “measured” 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 non-Western artists engaging in dialogues of abstraction outside of the European context.
Grace Hartigan Grace Hartigan was a pioneering Abstract Expressionist of the New York School and exhibited in the legendary Ninth Street Show in 1951. As early as 1952, Hartigan absorbed figuration into painting. By including familiar images, Hartigan is often considered a precursor to Pop Art. However, by replacing the sterile remove and mass manufacture of Pop Art with emotion and painterly technique, Hartigan deepens our understanding of the intersection of Pop, abstraction, and painting. Heather James Fine Art is the West Coast representative of the artist’s estate.
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.
Nathan Oliveira Nathan Oliveira and his California contemporaries Diebenkorn and Park came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often-characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning. His works, characterized by a sense of melancholy and expressionist brushwork, are populated by isolated figures, birds of prey, and other subjects from the natural world. Heather James Fine Art is association with the Oliveira Family Estate and our initial offering of more than forty paintings, sculptures and graphics by Nathan Oliveira.
Irving Norman Social Surrealist painter Irving Norman produced some of the most potent visual indictments of a contemporary world shaped by war, immoral profiteering, and the nightmarish, dehumanizing elements of modern society. His mantra, “to tell the truth of our time,” and his mission to unmask the darker, most nefarious elements of human nature, grew from a belief that art had the power to change people’s behavior. The highly detailed dystopian scenes present a message not of hopelessness, but of motivation to effect change.