Hans Hofmann Abstract Expressionist
Hans Hofmann (1880–1966) is one of the main figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism.
Between 1900 and 1930, Hofmann’s early scientific studies, decades of painting, and schools of art took him to Munich, to Paris, after that to Munich. By 1933, and also for the next four decades, he lived-in ny as well as in Provincetown. Hofmann’s advancement from leading contemporary art teacher to pivotal modern-day musician brought him into connection with lots of the leading artists, critics, and dealers for the twentieth-century: Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, Sonia and Robert Delauney, Betty Parsons, Peggy Guggenheim, Lee Krasner, Jackson Pollock, and others. His effective career was shepherded by the postwar modern art dealer Sam Kootz, secured by the art historian and critic Clement Greenberg, and anchored because of the professional and private help of their very first partner, Maria “Miz” Wolfegg (1885–1963).
Already 64 by the time of his very first solamente convention at Art for this Century in nyc in 1944, Hofmann balanced the needs of teaching and artwork until he sealed their school in 1956. This enabled him to restore target their own artwork at during heyday of Abstract Expressionism, and for the next 20 years, Hofmann’s voluminous output—powerfully impacted by Matisse’s utilization of shade and Cubism’s displacement of form—developed into an artistic approach and concept he called “push and pull, ” that he called interdependent interactions between kind, shade, and space. From his early landscapes of this 1930s, to their “slab” paintings of this late 1950s, along with his abstract works after his profession upon their death in 1966, Hofmann continued generate boldly experimental shade combinations and formal contrasts that transcended style and style.