Oil on canvas
"The paintings that Hofmann produced in the 1950s and 1960s are a dazzle of color. While this is unabashedly painted color, with all the lurid force and crazy artificiality of the stuff that comes out of a tube, Hofmann somehow manages to use his electrically unnatural hues to create a whole variety of naturalistic effects. He excels at shimmers and halos and sparks and radiant glows, and he's terrific at suggesting a mysteriously effulgent darkness. He's also a master of textures, which in his work range from watercolored to impastoed, from cake-frosting smoothness to stucco-like roughness. Often in his painting, colors and textures are pushed to dissonant extremes, so that the artist's power is presented in perpetual, turbulent play. He knows how to achieve a beyond-analysis impact, as if we are seeing a brilliant sunset right after a fast-moving storm."
— Jed Perl, New Art City
if you stay awake
for an entire night
watch out for a treasure
trying to arrive
you can keep warm
by the secret sun of the night
keeping your eyes open
for the softness of dawn
day is to make a living
night is only for love
commoners sleep fast
lovers whisper to God all night
Excerpts from “Rumi, Fountain of Fire”
Deauville Racetrack (1929)
Oil on canvas
In cheerful colors and quickly sketched figures, Raoul Dufy captured the lively spirit of the Deauville Racetrack. Jockeys atop sleek horses meander through the crowd of fashionably dressed men and women enjoying a perfect day in the park behind the track.
Located in Normandy, on the northwest coast of France, the delightful beachside Deauville attracted wealthy visitors. Easy train travel from Paris made it a readily accessed destination.
Pergusa Three Double (1984)
linocut, woodcut, engravomg. screen print, edition 14 of 30
"Frank Stella was twenty-three when his Black Paintings were displayed in exhibition 16 Americans at the Museum of Modern Art in New York alongside work by Louise Nevelson and their contemporaries: Frank Stella, Jasper Johns, and Robert Rauschenberg. These acclaimed works were created when Stella applied commercial black enamel paint with a house painter's brush to create a geometric pattern of thin, unpainted lines. By the mid -- 1980's, however, Stella was working in a more exuberant--and colorful--mode. Pergusa Three Double (1984), for example, is much less contained to geometric lines and forms than his earlier works; it is named for a race track in Italy and depicts an aerial view of this subject."
The Power of a Word
There is a story told that once a Sufi was healing a child that was ill.
He was repeating a few words, and then gave the child to the parents saying,
“Now he will be well.”
Someone who was antagonistic to this said to him,
“How can it be possible that by a few words spoken, anyone can be healed?”
From a mild Sufi an angry answer is never expected,
but this time he turned to the man and said,
“You understand nothing about it. You are a fool.”
The man was very much offended. His face was red. He was hot.
The Sufi said, “when a word has the power to make you hot and angry,
why should not a word have the power to heal?”
Hazrat Inayat Khan
Still Life with Oleander and Fruit (1911)
Oil on paper mounted on canvas
A sprawling bouquet of pink oleander spills from a rustic French Provençal ceramic vase in this casual and asymmetrically balanced still life. Yellow and green pears cluster at left, and a lone yellow pear rests on the tabletop at right. A brilliant flood of light illuminates the upper left side of all objects while casting shadows to the right. Together, the vitality of colors and composition suggest the pleasant comforts of home.
Albert André began his artistic career as a fabric designer in Lyon. Later, living in Paris, he counted fellow artist Pierre-Auguste Renoir among his closest friends and mentors.
Rue Saint-Honoré, Sun Effect, Afternoon (1898)
Oil on canvas
This vertically oriented canvas depicts an urban street scene, specifically a large square at the intersection of two avenues, painted from an elevated viewpoint. The long avenue on the left side of the composition recedes sharply into the distance, framed on either side by tall, multistoried buildings with street level storefronts. In the right foreground, a fountain is positioned in the middle of the square on a paved circular base planted with tall trees; a tall streetlamp on a smaller circular base is positioned just in front of the fountain. In the right middle ground, a band of Haussmann-style Parisian buildings stretches horizontally across the composition. The trajectory of the second avenue is suggested by the angle of the building at the far right. Numerous clusters of sparsely painted figures and horse-drawn carriages populate the streets and paved islands. The palette is a harmony of muted pastel tones punctuated by the dark brown and black forms of people, horses, and carriages. The brushwork is a mixture of short and long strokes rapidly applied in a loose, sketch-like manner.