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Hofmann Hans:     more books (100)

Hans Hofmann: Major Paintings, 1954-1965 by Hans] Andre Emmerich Gallery [Hofmann, 1985-01-01 Hans Hofmann by Hans] Bannard, Walter Darby Hofmann, 1977-01-01 Hans Hofmann: Pictures of Summer: Provincetown 1941-42 by Hans Hofmann, 1985 Hans Hofmann: The Late Small Paintings / 1952-1965 [exhibition: Nov. 15 through Dec., 1980] by Hans Hofmann, 1980 Hans Hofmann With An Introduction by Sam Hunter and Five Essays By Hans Hofmann Search for the Real Hans Hofmann by Bartlett H Hayes, Jr. (editiors) Sara T. Weeks, 1994-01-01 Hans Hofmann: Paintings on Paper From the 1940s by Andre And Hans Hofmann Emmerich, 1990-01-01 Search for the Real Hans Hofmann and Other Essays: A Monograph Based on an Exhibition, Covering a Half Century of the Art of Hans Hofmann, Held at the ... Andover, January 2-February 22, 1948 by Hans Hofmann, 1967 Hans Hofmann: Ten Major Works by New York. Andre Emmerich Gallery, 1973 Hans Hofmann by Hans Hofmann, 1963-01-01 Hans Hofmann Paintings 1936-1940, January 5 - January 24, 1974 by Illustrated by Hockney, David Andre Emmerich Gallery, 1974 Hans Hofmann. 7 Catalogues, 1982-1990 by Hans Hofmann, 1982 Hans Hofmann - Exhibition Catalogue by Hans Hofmann, 2006 Ehrensenator Der Universität Passau: Emil Brichta, Antonius Hofmann, Hans-Georg Härter (German Edition)

lists with details

81. Guggenheim Collection - Artist - Hofmann - Biography
    hans hofmann was born March 21, 1880, in Weissenburg, Bavaria. He was raisedin Munich, where in 1898 he began to study at various art schools.  
    http://www.guggenheimcollection.org/site/artist_bio_64.html
    
    Extractions: b. 1880, Weissenburg, Bavaria; d. 1966, New York City Georges Braque Pablo Picasso , and other Cubists and was a friend of Robert Delaunay , who stimulated his interest in color. In 1909, Hofmann exhibited with the Neue Sezession in Berlin, and in 1910 was given his first solo exhibition at the Galerie Paul Cassirer there. During this period, he painted in a Cubist style. At the outbreak of World War I, Hofmann was in Munich; disqualified from military service due to a lung condition, he remained there and in 1915 opened an art school, which became highly successful. The artist taught at the University of California at Berkeley during the summer of 1930. He returned to teach in California in 1931, and his first exhibition in the United States took place that summer at the California Palace of the Legion of Honor, San Francisco. In 1932, he closed his Munich school and decided to settle in the United States. His first school in New York opened in 1933 and was succeeded in 1934 by the Hans Hofmann School of Fine Arts; in 1935, he established a summer school in Provincetown, Massachusetts.

82. The Hans Hoffmann Collection
    http://www.bampfa.berkeley.edu/collections/findingaids/bampfa-hofmann.ead.html

83. Berkeley Art Museum: Exhibitions: Hans Hofmann
    navigation bar hans hofmann Tormented Bull, 1961; oil on canvas; 60 1/8x 84 1/4; gift of the artist. hans hofmann Real/Life Through May 16.  
    http://www.bampfa.berkeley.edu/exhibits/real_life/
    
    Extractions: The Berkeley Art Museum houses the most extensive museum collection of works by the modernist painter Hans Hofmann. Arguably, Hofmann's greatest legacy is the dissemination of the theories of European modernism, particularly Expressionism, through his extensive teaching. Born in 1880 in a small town near Munich, Hofmann studied art in Paris, surrounded by such artists as Henri Matisse and Robert Delaunay. In 1915 he returned to Munich, the city of Franz Marc, Wassily Kandinsky, and Alexej von Jawlensky, to open his own internationally known School for Modern Art. After moving to the U.S. in 1930, Hofmann exposed countless American students to European modernism while teaching throughout the country, including in his own Schools of Fine Arts in New York and Provincetown. Hans Hofmann: Real/Life, on view in the Hofmann Gallery, examines the artist's engagement with a pivotal issue of modern art - the role of the real in abstract painting - through comparisons with works by other modern artists including Kandinsky, Delaunay, and Jawlensky. The writings of Hofmann and these artists who fought the ideological battle for abstraction reveal an astounding agreement about equating the real with vitality. A true work of art is described as a living organism capable of a life of its own. Birthed by the artist, it does not need to resemble the world outside, but must be a self-sufficient system with its own laws, harmony, and balance. Thus, the artist is seen not as an imitator of life but as a demiurge breathing spirit into new, independent life. The vibrancy, grandeur, and internal complexity of Hofmann's paintings show his indebtedness to this original tenet of abstraction.

84. Genealogie-Daten Seite 23 (Seiten Familien)
    Translate this page Christoph geb. FEB 1588/89 Meineweh bei Weißenfels gest. 23 MAR 1663/64 EnthraGeschlecht männlich Eltern Vater hofmann, hans Familie Eheschließung  
    http://home.t-online.de/home/irene.staeves/ahnen/gf_16.htm

85. About Hans Hofmann | Abbeville Press
    of the title hans hofmann, By Cynthia Goodman, from the seriesModern Masters. From the Modern Masters Series hans hofmann  
    http://www.abbeville.com/booktemplate.asp?stockno=2512

86. Hans Hofmann - Grandfathers And Influences
    hans hofmann. Nocturnal Splendor, 1963 72 1/4 x 60 1/8 inches Oil on canvasBerkley Art Museum , University of California. hans hofmann . . .  
    http://www.abstract-art.com/abstraction/l2_Grnfthrs_fldr/g039_hofmann.html
    
    Extractions: Berkley Art Museum , University of California Hans Hofmann . . . combined hard-edge, oblong forms with reckless, loosely brushed areas. He created a visual tension between impulsive gestural areas and floating geometric forms. Rectangles seem to advance and recede against the ground, inducing a dynamic back and forth in space that epitomizes Hofmann's "push-pull." In a way, Hofmann produced a synthesis of Fauvism and Cubism. Or, in terms of the younger generation of American artists, a synthesis of the gestural painting of Willem de Kooning, Jackson Pollock, and Franz Kline, and the color-field painting of Clyfford Still, Mark Rothko, and Barnett Newman . . . Peter Seltz

87. EMC Fine Art Prints
    hofmann, hans, Song of the Nightingale, FAP hofmann 1. hofmann, hans,Blue Rhythm, FAP hofmann 2. hofmann, hans, Exaltment, FAP hofmann3.  
    http://instech.tusd.k12.az.us/EMC/resource/MultiRes/fineart/H.HTM
    
    Extractions: 7:30-4:30 M-F ARTIST TITLE CALL NUMBER Hals, Frans A Boy with a Lute FAP Hals 1 Hals, Frans Portrait of Jasper Schade van Westrum FAP Hals 2 Hals, Frans The Bohemian FAP Hals 3 Hansen, H.W. Questionable Companions FAP Hansen 1 Harnett, W.M. Just Dessert FAP Harnett 1 Harnett, W.M. Munich Still Life FAP Harnett 2 Harnett, W.M. Music and Literature FAP Harnett 3 Harnett, W.M. My Gems FAP Harnett 4 Harnett, W.M. The Faithful Colt FAP Harnett 5 Harnett, W.M. The Old Cremona FAP Harnett 6 Harris, Lawren Return from Church FAP Harris 1 Hart, James M. View on the Hudson near West Point FAP Hart 1 Hartley, Marsden Fox Island FAP Hartley 1 Hartley, Marsden Chanties to the North FAP Hartley 2 Hassam, Childe Allies Day FAP Hassam 1 Hassam, Childe Dune Hazzard FAP Hassam 2 Hassam, Childe FAP Hassam 3 Hassam, Childe Winter in Union Square FAP Hassam 4 Hayden, Palmer

88. WHIRLWIND OF DISTURBANCE: Hans Hofmann
    WHIRLWIND OF DISTURBANCE hans hofmann. Image hans hofmann Red Flight,1953, M0858, oil on canvas, 48 x 36 in. Courtesy hanshofmann.org.  
    http://nyartsmagazine.com/bbs2/messages/825.html
    
    Extractions: WHIRLWIND OF DISTURBANCE by Piri Halasz HANS HOFMANN, edited by James Yohe, with essays by Sam Hunter, Tina Dickey, Frank Stella. Rizzoli, 282 pp., nearly 300 color plates, $125. Most people who know of Hans Hofmann think of him primarily as a great teacher, and indeed he was, especially with the art school that he opened in New York in 1933, and that closed only in 1958, eight years before his death at the age of 85 in 1966. His greatness as a painter is much less well known, but that doesn’t mean it is any the less real. For gallery-goers who have always wondered just what that something is about Hans, this handsome book may help to explain it. For collectors who already know, it should make the perfect stocking-stuffer for Christmas. Even Clement Greenberg had trouble relating to Hofmann’s paintings at first. Though he’d attended lectures given by Hofmann in 1937, and been profoundly influenced by them, he didn’t review Hofmann’s first New York exhibition in 1944 at all, and dealt only briefly and cautiously with the second, suggesting that although the art was "completely relevant," and the artist himself "a force to be reckoned with" nonetheless "Perhaps Hofmann surrenders himself too unreservedly to the medium," and "Perhaps he insists too little on the resistances of his own temperament...." By 1959, when the critic was ready to publish a full-length article about the artist, he was still maintaining that Hofmann was "perhaps the most difficult artist alive." Yet he also considered him "an immensely interesting, original, and rewarding one....."

89. Hans Hofmann, Current Modern Exhibition, Hackett-Freedman Gallery
    The artist's technical problem is how to transform the material withwhich he works back into the sphere of the spirit. —hans hofmann.  
    http://www.realart.com/hfg/html/archive-html/mod-05-02-html/Hofmann-mod-05-02.ht
    
    Extractions: "The current exhibition is unique in presenting many groundbreaking works painted by Homann in the late 1930s and 1940s," states Curator Alla Efimova in the catalogue essay . It is "the period of his transition from Europe to America—from absorbing the theories of modernism to translating them into his own painterly idiom." Interior with Red and Green Draperies (HOF-052) In the introductory catalogue essay , art historian and founding director of the Berkeley Art Museum, Peter Selz, states: "For Hofmann, color was the absolute and the dominant aspect of painting. The effect of a painting, he said, was largely dependent on what he called 'tensional relationships'—the opposition of intense hues."

90. DLM Forum : Biographie Von Hans Hofmann
    Translate this page hans hofmann. Dr.phil 1961 – 1969, Studium Universität Göttingen,Freiburg i.Br. Geschichte, Deutsche Philologie, Historische  
    http://europa.eu.int/ISPO/dlm/program/bio_hh_de.html
    
    Extractions: DLM Forum Biographie Kooperation Europaweit Home ] [ Programme Dr.phil Studium Universität Göttingen, Freiburg i.Br.: Geschichte, Deutsche Philologie, Historische Hilfswissenschaften, Italienische Philologie, Rechtswissenschaften (Staatsprüfung für das Lehramt an Gymnasien) Archivschule Marburg (Staatsprüfung für den höheren Archivdienst) Hauptstaatsarchiv Düsseldorf Deutsches Historisches Institut Rom Staatsarchiv Münster seit 1980 Europäische Kommission Brüssel (Leiter des Historischen Archivs der Europäischen Kommission) Extern Examiner for Diploma in Archives Studies, University College Dublin

91. ARTEZINE: Hans Hofmann: Works And Teachings
    hans hofmann Works and Teachings. Robert Sievert. in the hans hofmann techniqueof spatial representation, his work has sometimes been a bit of a puzzlement.  
    http://www.artezine.com/archive/19991201/hanshof1.htm
    
    Extractions: Hans Hofmann: "Golden Dust" Hans Hofmann: "Orpheus" Then why does Hofmann's work represent such a problem to others and me? Some love it. It is clearly the demonstration of mastery as far as spatial construction goes. Does it have a great sense of depth? Well, sort of! When one is confronted with a Hofmann canvas, the first impression is a flat space; one does not see the "expansive" space until further regard. Do his paintings convey the sensitivity to form that makes De Kooning so wildly exciting? No! Somehow they seem very blunt and clumsy. The materials do not transcend themselves and the paint remains paint. Paint remaining paint remained a battle cry for many years in the underworld of New York painting. To be in the "New York School" meant to have a certain "weight" of paint. This process oversteps the traditional transformative nature in art by which a daub of paint becomes a pearl or other object. Hofmann was a longtime voice of authority in the "Artist Club," a downtown meeting of New York artists in the heyday of Abstract Expressionism. It is important to distinguish between the teaching and the work of Hans Hofmann. His teaching clearly defined a powerful technique while his painting seemed to be an exposition of his teaching technique combined with an attempt to define the future of art with an admiration for the purity of Mondrian.

92. ARTEZINE: Hans Hofmann Technique And Me
    hans hofmann Technique And Me. Robert Sievert. As a student I studied with NicolasCarone, a brilliant artist, who had been a student of hans hofmann.  
    http://www.artezine.com/archive/19991201/hham.htm
    
    Extractions: Robert Sievert: "Marth's Vineyard Sunrise" Robert Sievert: "Autumn Pond" Robert Sievert: "New York Harbor Plein Aire" As a student I studied with Nicolas Carone, a brilliant artist, who had been a student of Hans Hofmann. What was taught in Nick's class was straight Hofmann technique. We learned how to work from models and still life and create an illusion of three dimensions on a two dimensional plane. The technique involved finding volumes within analytical lines, and learning to flatten the entire design on the plane. Great Art has always been flat, I was told. I struggled with the technique for five years in Nick's classes. We worked only in charcoal and all work was subject to revision by both Nick and myself. I had a hard time witnessing Nick draw over my work and put in revisions. Later I was to learn that Hofmann spoke directly to this issue when he told students that the paper was a learning ground, not a personal expression and was subject to revision by both the teacher and the student. I was very studious and helped run classes, organizing a drawing studio with fellow student Joyce (Sudborough) Sampson. This was the 14th Street Drawing Studio. It became a Mecca for many practicing artists. I remember Paul Jenkins sitting next to me one night. He looked at the work on my pad and shook his head, "This way of drawing concerns itself too much with method" he told me,"It's like trying to have good manners"

93. Greenberg: Hans Hofmann
    hans hofmann'S ART is recognized increasingly as a major fountainhead of styleand ideas for the new American painting, yet its value, independent of its  
    http://www.sharecom.ca/greenberg/hofmann.html
    
    Extractions: CLEMENT GREENBERG HOFMANN More than a simple essay in praise of a great artist, this pays tribute to Hofmann's vast influence on American abstraction as well as on Greenberg, himself. Unfortunately, the "omissions" that Greenberg mentions in his first paragraph continue to this day. Hofmann the artist, as opposed to Hofmann the famous teacher, seems never to quite get hs due... TF H ANS H OFMANN'S ART Hofmann himself explains the lateness of his development by the relative complacency fostered in him during his Paris years by the regular support of a patron, and by the time and energy he needed, afterward, to perfect himself as a teacher. But I would suggest, further, that his Paris experience confronted him with too many faits accomplis by artists his own age or only a few years older; that he had to wait until the art movements of those and the inter-war years were spent before making his own move; that he had first to "get over" Fauvism and Cub-ism, and over Kandinsky, Mondrian, Arp, Masson, and Miro as well.

94. Hans Hofmann At The Metropolitan Museum Of Art - Metropolitan Museum Of Art - Ab
    hans hofmann at The Metropolitan Museum of Art Metropolitan Museum of Art The workof the noted abstract artist and influential teacher hans hofmann (18801966  
    http://www.absolutearts.org/cgi-bin/news/arts-news-elaborate.cgi?output_number=2

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