Hans Hofmann, ‘Serenity’, 1947, Sotheby's: Contemporary Art Day Auction

From the Catalogue

"If you have seen...many of Hofmann's paintings, you will have seen certain attributes persisting: bright color, painterly surface, impulsive...You will also have seen many puzzling things: the stylistic variety, abutting complimentary colors which never become garish or 'optical,' surfaces jam-packed with agitated pigment which somehow turn serene, icy greens exuding warmth." —Walter Darby Bannard in Exh. Cat., Houston, The Museum of Fine Arts, Hans Hofmann: A Retrospective Exhibition, 1976, p. 22

Courtesy of Sotheby's

Signature: signed and dated 47; dated 1947 on the reverse

New York, Hollis Taggart Galleries, Gallery Selections, January - March 2009

James Yohe, Ed., Hans Hofmann, New York 2002, p.135
Hollis Taggart Galleries, Art Market Report, New York 2008, p. 31, illustrated in color
Suzi Villiger, Ed., Hans Hofmann Catalogue Raisonné of Paintings Vol. II: 1901-1951, London 2014, cat. no. P666, p. 406, illustrated in color

Renate, Hans and Maria Hofmann Trust
Ameringer McEnery Yohe Fine Art, New York (acquired from the above in 2008)
Sahlman Fine Art, New York (acquired from the above in 2008)
Hollis Taggart Galleries, New York (acquired from the above in 2008)
Acquired from the above by the present owner in 2012

About Hans Hofmann

Hans Hofmann began painting in Paris, where he worked alongside such titans of European Modernism as Pablo Picasso, Georges Braque, Fernand Léger, and Henri Matisse. His best-known early paintings combine Cubist structure with Fauvist color, as in Untitled (1943). Although he would eventually be considered one of the preeminent Abstract Expressionists, having relocated to New York in 1932, Hofmann’s primary interest was in pictorial phenomena: the illusion of three-dimensional space, composition, and the optical effects of color. “It is not the form that dictates color, but the color that brings out the form,” he once said. In the 1950s, Hofmann made his most famous series of paintings, in which he explored the relativity of color, developing his “push-pull” theory and technique by which warm and cool colors interact to produce effects of movement, space, and depth. Perhaps even more influential as a teacher than as an artist, Hofmann counted Helen Frankenthaler, Alfred Jensen, Joan Mitchell, Wolf Kahn, Lee Krasner, Louise Nevelson, and Frank Stella among his many students.

German-American, 1880-1966, Weissenberg, Germany, based in Munich, Germany, New York, and Provincetown, Massachusetts

Solo Shows

2013
Acme Fine Art, 
Boston,
Hans Hofmann: Early Drawings

Group Shows

2016
Nantucket,
Savage Nature: The Importance of Place in Early American Modernism
2016
Acme Fine Art, 
Boston,
2015
Acme Fine Art, 
Boston,
Summer Salon 2015
2014
Acme Fine Art, 
Boston,
SUMMER SALON
2013
Acme Fine Art, 
Boston,
Boston International Fine Art Show
View Artist's CV