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Self-Portrait II, 1942.Oil on gessoed plywood, 13-1/2 x 11-1/2 in. University Art Museum, University of California, Berkeley; Gift of James E. Foster, Jr.In Self Portrait II his averted eyes and tiled head convey a sense of introspection.
In the Wake of the Hurricane, 1960.Oil on canvas, 72-1/4 x 60 in. University Art Museum, University of California, Berkeley; Gift of the artist.The wildly varied stroking and jabbing gestures on In the Wake of the Hurricane capture some of the sense of pandemonium caused by a natural disaster. The rapidity with which Hofmann applied the short strokes aptly conveys the relentless rush of rain being swept along by hurricane winds; a fairly generous use of thick white paint suggests frothing waves. Despite the frantic activity, the composition is given solidity by its organization around three not immediately obvious large rectangular areas: a mauve one at the top, a brown one at the left of center, and a yellow one at the right of center.
Apples, c. 1932.Oil on canvas, 25 x 30 in. Lillian Kiesler, New York.Apples, is one of the earliest paintings in oil that Hofmann made in the United States. The way he applied the paint to this picture in small dabs demonstrates how important Impressionism continued to be for him, while the composition testifies to the continuing influence of Cézanne.
Ora Pro Nobis, 1964.Oil on canvas, 60 x 48 in. Private collection, New York.In the sublime late painting Ora Pro Nobis, a haloed solar form in a glowing yellow field emerges from the last obscuring clouds of night.
Nocturnal Splendor, 1963.Oil on canvas, 72-1/4 x 60-1/8 in. University Art Museum, University of California, Berkeley; Gift of the artist.In Nocturnal Splendor Hofmann celebrated the wonders of the night rather than its more sinister aspects. The radiance of the gemlike reds, greens, and yellows is intensified by the rich black paint that covers approximately one-half of the canvas.
Hans Hofmann
By Cynthia Goodman

Size: 8 1/2 x 11", 
Paperback, 128 pages
More than 115 illustrations, approx. 48 in full color
Published 1991
ISBN: 978-1-55859-251-3
In Stock

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Hans Hofmanns brilliance as a teacher to generations of American artists has tended to overshadow his equally brilliant accomplishments as a painter. Cynthia Goodman provides an insightful evaluation of Hofmanns two careers and makes strikingly clear the beauty and originality of his work.

As a young man in Paris, Hofmann participated in the artistic revolutions before World War I, than ran an influential art school in Germany between the wars. He came to America in 1930 and established schools in New York and Provincetown that has had a profound impact on the development of American art. By presenting his lifes work, from the rare landscapes and portraits of his early years to the majestic late abstractions, this vibrantly colorful book establishes Hofmanns major contribution to the art of this century.

About the Modern Masters series:

With informative, enjoyable texts and over 100 illustrations — approximately 48 in full color — this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artists life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museumgoer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.

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