Steven Harvey Fine Art Projects

Steven Harvey Fine Art Projects Art gallery
(35)

05/08/2024

Pottery Vessel in the Form of Ram / Western Iran, 1350-800 B.C. Medium: Ceramic. Collection: Los Angeles County Museum of Art.

05/08/2024

Adolph Gottlieb
Parallels
1961

05/07/2024

Neo Sora, the son of music visionary Ryuichi Sakamoto talks capturing his father’s final concert through a cinematic lens in new film 'Opus'.

05/05/2024

« I believe in the relation between photography and music; And thats my inspiration. » Man Ray

05/05/2024

Milton and Sally Michel Avery, Woodstock, New York, 1950

05/05/2024

Pablo Picasso
Portrait de Françoise
1946

05/04/2024

J a c k s o n - P o l l o c k
The Blue Unconscious
1946

To Read📖 March 24, 2013, source: Sotheby's : The monumental canvas (84 x 56 in., 213.4 x 142.1 cm.) was painted in the critical year of 1946, just prior to the establishment of the artist’s celebrated drip paintings. Po***ck executed the present work in the famed Long Island barn studio he established after moving to East Hampton with his wife, Lee Krasner, the prior year to escape the pressures of the New York City art world. The canvas has remained in the same private collection for nearly 50 years having last appeared on the market in a 1965 auction at Parke-Bernet. The appearance of the work on the market comes just months after Sotheby’s set a new Po***ck auction record with Number 4, 1951 which sold for $40,402,500 (est. $25/35 million) in November 2012. The Blue Unconscious is estimated to bring $20/30 million and will be shown in Sotheby’s Los Angeles galleries from 22-24 March 2013 ahead of exhibitions in London and New York prior to the May auction.

In the fall of 1945, Po***ck and Krasner relocated to East Hampton on Long Island. Beginning in Spring 1946, Po***ck worked feverishly on two series of paintings as he prepared for his fourth and final one-man exhibition at Art of This Century scheduled to open January 14, 1947. The “Accabonac Creek” series named for the harbor and waterway that could be seen from his Long Island property, was executed in the makeshift studio in the upstairs bedroom of his home. For the ex*****on of the “Sounds in the Grass” series, which includes The Blue Unconscious, Po***ck moved out to his newly-renovated barn studio in Summer 1946, which would be the site of his greatest breakthroughs toward his signature style. The “Sounds in the Grass” canvases are triumphant examples of Po***ck’s complete melding of figuration and painterly abstraction, with early “all-over’’ compositions of swooping and colorful brushwork. In the monumentality of the canvases, one can feel how physicality abounds in Po***ck’s thickly applied and gestural brushwork. When his canvases moved to the floor of his Long Island barn studio in 1946 and 1947, the exuberance, daring and sheer painterly verve that coursed through paintings such as the present work gave birth to the cataclysmic enamel drip paintings that followed in the coming months.

Of the seven works in the “Sounds in the Grass” series, five are in the collections of major museums including the Museum of Modern Art, New York, the Tel Aviv Museum and the Peggy Guggenheim Foundation, Venice. Additionally, in the critical year of 1946, Po***ck executed only seven paintings on a monumental scale (larger than 50 inches in either direction); two are in private collections, including The Blue Unconscious, and the others are all in institutions: three in the Peggy Guggenheim Foundation, Venice, and one each at the Art Institute of Chicago and the Stedelijk Museum, Amsterdam.

05/03/2024

Franz Kline (1910–1962)
Study for Flanders
1961
Ink and oil on paper

To know more about 👉🏻Geoffrey Dorfman : “The Japanese loved Kline even when he was alive. As a matter of fact he once received a long distance phone call from Tokyo at the phone booth at the Cedar bar. The caller haltingly asked if this was the Cedar Bar. Pat Passlof took the call and said yes, it is. The caller then asked for Flan Krine. Pat called Franz over from the bar. He spoke to his admirer for 20 minutes, but most of the conversation was, "Is this really the Cedar Bar? Is this really Flan Krine?" Franz kept replying "Yes. What can I do for you?" This went on and on, and Franz's crowd, which had hushed because Franz was having trouble hearing on the line, finally started tittering which became contagious and exploded into laughter, as this ridiculous phone call went on. It turned out that Franz was showing in Japan and an art class had seen it and decided to pool their money to phone him and see if such a place and man really existed.” Thank you Dorfman!

05/03/2024
05/03/2024

Suzanne Valadon (1865–1938)
Portrait of the painter Maurice Utrillo.
1921
de Montmartre

05/03/2024

Matterport 3D Showcase.

05/03/2024

R i c h a r d - D i e b e n k o r n
Albuquerque No. 77
1951

05/02/2024

Henri Matisse
Nadia with Smooth Hair
1948

The Baltimore Museum of Art: Purchased as the gift of Laura and Barrett Freedlander, Baltimore. BMA 2000.5 © Succession H. Matisse/Artists Rights Society (ARS), New York

04/29/2024

Pierre Bonnard👨‍🎨🎨🇫🇷
French painter, illustrator and printmaker
(3 October 1867 – 23 January 1947) .........................................
"Renoncules au vase bleu" - circa 1925
signed 'Bonnard' (lower center)
oil on canvas
22 7/8 x 19 3/8 in. (58 x 49.2 cm.)
Private Collection
Christies 11 NOV 2021 | Live auction 20376
New York . Lot 7 C
In 1915, Pierre Bonnard sent himself “back to school ... to forget all I know,”as he told his nephew, Charles Terasse. “I am trying to learn what I do not know. I am restarting my studies from the beginning ... and I am on guard against myself, against everything that used to thrill me so much, against the color that bewilders you…”However, his delight in vibrant pigment could not be squashed, and in the second half of the 1920’s a new style, more sensuous in color and complex in composition, began to emerge in his painting.
Filled with sumptuous brushstrokes and deep, sonorous tones, Renoncules au vase bleu is a rich example of the growing sophistication of Bonnard’s pictorial style at this time. Focusing on a plethora of vividly colored blossoms and rich greenery as they sit in a squat vase balanced atop a heavy book, the composition also provides a window into the array of artistic sources, processes and techniques that underpinned Bonnard’s highly personal creative vision.
For Bonnard, the still-life offered a perfect vehicle for his studies in light and color, with bundles of flowers and fruit among his favorite subjects to explore. In the present bouquet, a bright summer arrangement dominated by a group of orange ranunculuses, the flowers have begun to droop, their full, heavy blossoms dipping downwards, over the edge of the ceramic blue vase.
Read more........
https://www.christies.com/en/lot/lot-6341123?fbclid=IwZXh0bgNhZW0CMTEAAR2yqVIQM5TnfjaRkz-z0FXjXNQAQ55UB8fNzMO2CgqeZzfG713wvXBGyok_aem_AWXnlwrH2_kk7n_vm4N1i5fTokUzA8zlYShbQXtyUrKH3dZ5QdRaGpFnop1FCRIYbXh5a0axe5ZwbVTvjxgz6old...........................................

04/29/2024

//...Leonora Carrington...//
Untitled - 1955.

04/29/2024

Joan Miró
«Woman», 1934

04/29/2024

Henri Matisse - Composition in Blue and Yellow, 1960s

04/29/2024

Lee Krasner
Noon
1947
oil,linen

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