

In 1955, closer to home, the mosaic for the lobby of the building at 711 3rd Avenue is introduced by an abundant material including reproduction of two panels, photographs and preparatory works. The technically challenging mosaic required half a million Venetian glass tiles in five hundred different shades. The ongoing collaboration with the architect William Lescaze led to the creation of another landmark in 1958 on the facade of the School of Printing 439 West Forty-Ninth Street and two studies are also displayed, labelled "Apartment House Sketch" which were not realized. Parallel to these, the paintings produced by Hofman at the same period reflect the influence of his public art. Hofman started to integrate rectangles in his works like in Lonely Journey, 1965, a gouache on paper from the Metropolitan Museum of Art, a brownish background interrupted by islands of brightly colored rectangles and a reddish path wandering through the landscape. Two other paintings from the same period illustrate the changes and the use of rectangles by the painter. Working with architects for specific commissioned projects brought some limitations to creativity and some technical challenges. Hofman did not leave these deter him from his goals. Constrained by a limited palette of colors, he played with their juxtaposition to make them sing on the mosaics. The results are showing Hofman's commitment's to color and abstract shapes to engender spirituality, shining through his compositions.

Hofman was always a pioneer, introducing drip painting, redefining perspective, depth and dynamic with colors and shapes.
The exhibition succeeds in making an enlightening contribution to Hans Hofman's legacy.
photographs by the author:
"Awakening", 1947
Chimbote Mural Fragment of Part I, 1950
" Push and Pull" (Study for Chimbote Mural). 1950