.jpg?w=1)
拍品專文
This work will be included in the forthcoming Hans Hofmann Catalogue Raisonné, sponsored by the Renate, Hans and Maria Hofmann Trust.
"Whether the artist works directly from nature, from memory, or from fantasy, nature is always the source of his creative impulses"
(H. Hofmann, Search for the Real and Other Essays, M.I.T. press, Cambridge, 1948, p. 70).
Clement Greenberg called Hans Hofmann "in all probability the most important art teacher of our time" (C. Greenberg as quoted by I. Sandler, The Triumph of American Painting: A History of Abstract Expressionism, Harper & Rowe, New York, 1976, p. 27). Although the art critic was referring to the many years he devoted towards teaching the likes of Helen Frankenthaler, Frank Stella, and Alfred Jensen, Hofmann's creations also provide for viewers an education on the uncontainable rhythm of color. Foreboding of Spring is one of these lessons, engaging a vibrant array of red, orange, yellow, blue and purple to remind us of the beautiful palette of springtime. The calm backdrop renders the painting's riot of color all the more striking, and the sweep of Hofmann's exuberant strokes all the more energetic. Foreboding of Spring carries a swift and robust tempo in its composition, with the artist once commenting, "A picture must be finished in one sweep," (H. Hofmann as quoted by E. de Kooning, "Hans Hoffman Paints a Picture: Recording Hofmann's 'Physical Struggle' with the canvas", ARTnews, February 1950) and the sense of immediacy and movement embodied in this painting is a testament to his belief. Greatly concerned as he was with the properties of color, it is not surprising that Hofmann chose nature as one of his most important muses. As early as the 1940s, the artist had begun to make abstract paintings referring to the natural world, including one of the earliest works to employ the paint-dripping technique now famously associated with Jackson Pollock. Amongst his many philosophical observations of art, Hofmann once said, "Whether the artist works directly from nature, from memory, or from fantasy, nature is always the source of his creative impulses" (H. Hoffman, Search for the Real and Other Essays, M.I.T Press, Cambridge, 1948, p. 70). With its spirited brushwork and dynamic juxtaposition of color, Foreboding Spring is an example of the artist's commitment to both nature and the painterly process.
"Whether the artist works directly from nature, from memory, or from fantasy, nature is always the source of his creative impulses"
(H. Hofmann, Search for the Real and Other Essays, M.I.T. press, Cambridge, 1948, p. 70).
Clement Greenberg called Hans Hofmann "in all probability the most important art teacher of our time" (C. Greenberg as quoted by I. Sandler, The Triumph of American Painting: A History of Abstract Expressionism, Harper & Rowe, New York, 1976, p. 27). Although the art critic was referring to the many years he devoted towards teaching the likes of Helen Frankenthaler, Frank Stella, and Alfred Jensen, Hofmann's creations also provide for viewers an education on the uncontainable rhythm of color. Foreboding of Spring is one of these lessons, engaging a vibrant array of red, orange, yellow, blue and purple to remind us of the beautiful palette of springtime. The calm backdrop renders the painting's riot of color all the more striking, and the sweep of Hofmann's exuberant strokes all the more energetic. Foreboding of Spring carries a swift and robust tempo in its composition, with the artist once commenting, "A picture must be finished in one sweep," (H. Hofmann as quoted by E. de Kooning, "Hans Hoffman Paints a Picture: Recording Hofmann's 'Physical Struggle' with the canvas", ARTnews, February 1950) and the sense of immediacy and movement embodied in this painting is a testament to his belief. Greatly concerned as he was with the properties of color, it is not surprising that Hofmann chose nature as one of his most important muses. As early as the 1940s, the artist had begun to make abstract paintings referring to the natural world, including one of the earliest works to employ the paint-dripping technique now famously associated with Jackson Pollock. Amongst his many philosophical observations of art, Hofmann once said, "Whether the artist works directly from nature, from memory, or from fantasy, nature is always the source of his creative impulses" (H. Hoffman, Search for the Real and Other Essays, M.I.T Press, Cambridge, 1948, p. 70). With its spirited brushwork and dynamic juxtaposition of color, Foreboding Spring is an example of the artist's commitment to both nature and the painterly process.