More About Hans Hofmann's Legacy

A visit to the Frost Museum of Art on the Florida International University campus is the occasion to discover a frequently omitted legacy from Hans Hofmann with the exhibition Walls of Color: The Murals of Hans Hofmann. The artist born in Bavaria, Germany, was a well-established artist and art teacher in Munich before he migrated to the United States in 1932. His reputation grew steadily as he opened well-attended art schools in New York City and Provincetown, eventually becoming known as the father of abstract expressionism in the United States. He is considered the theorist of the movement born after WWII, and shared his thoughts about art in his noteworthy book "Search for the Real". The first request for a collaboration toward a public art project came around 1950 when he was seventy years old. The Chimbote project commissioned by the Peruvian government never came to fruition, but was the start of a new period in Hofmann's career, characterized by the production of larger scale works. The exhibition is made of abundant material related to the murals composed for public buildings, as the artist's collaboration with architects and developers flourished.
The magazines laid in glass cases at the entrance are filled with photographs showing the artist surrounded by colors in his New York apartment and five small works chosen among the artist's easel paintings hang on the wall, introducing the show. A fauvist landscape from the late 30's is followed by a cubist-inspired painting and finally an abstract work Out of this world, 1945, a gouache with hints of drips, while two inks on paper, 1949, experiment with shapes and depth. The exhibition progresses rapidly to the murals with two large longitudinal panels conceived for the Chimbote project, side by side, taking over the room. The project itself is presented in the same area with maps and drawings. The deep involvement of the artist is highlighted in the adjacent room filled with seven more panels, studies for the final product, mosaics. The interaction between colors and abstract shapes illustrates the "push and pull" technique of the artist, creating perspective and motion. Smaller drawings with gouache or crayon on paper complete the presentation of the project aimed at a local audience, peppered with indigenous symbols like snakes, Inca artifacts mixed with catholic crosses.
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 Hofmann at the same period reflect the influence of his public art. Hofmann 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. Hofmann 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 Hofmann's commitment's to color and abstract shapes to engender spirituality, shining through his compositions.
The exhibition gives the opportunity to discover another stage in Hofmann's career. Foremost a teacher, he never stopped experimenting and his public works provided the occasion to add another dimension to his paintings. The Chimbote project appears to have been a turning point in his maturation, as he kept spreading bigger fields of colors. The mosaics in New York City are the tangible result of his research and the exhibition is including appropriate material to illustrate these points.
Hofmann 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 Hofmann's legacy.

photographs by the author:

"Awakening", 1947
Chimbote Mural Fragment of Part I, 1950
" Push and Pull" (Study for Chimbote Mural). 1950

Trees, arbres, sunflowers and more

Spring, Joan Mitchell is "the" artist of the season in New Orleans. Her works are displayed in three venues: the CAC. the NOMA and the Newcomb Gallery.

Starting with the CAC, downtown, the first floor is filled with lithographs and etchings.

Joan Mitchell's works can appear difficult to view at first. She is a well-known Abstract Expressionist painter who developed her own style, which can be recognized after looking at a number of her paintings. She had different periods, some darker, others more luminous. Her technique and her vision are unique. When one looks at her series on trees, we could call her Impressionist ( some may cringe). The trees are seen at different time of the day, and they appear dark, menacing with the light yellow illuminating the painting in the background. She is clearly giving an impression of the late time of the day, dusk.
The series of sunflowers could be described as dynamic, vibrant. She is not painting sunflowers. She is concentrating a lifetime of looking at sunflowers.



Uptown at the Newcomb gallery, a different set of works can be viewed, pastels and watercolors all inspired by nature. The presentation of the exhibition is well done and the bright colors of the works glow in the soft light of the gallery. The visitor can understand the different periods of the artists. One room is dedicated to a diptych which occupies a whole wall. Done the year of her death, it is an apotheosis with rich colors, movement, a story of the painter's life.
Joan Mitchell is one of the artists who, dealing with their own mortality composed brilliant pieces, like a final message, and at the same time, a hope for the future.



Joan Mitchell's works need to be looked at again and again: poetic, with impressions, colors, movements and intellectual talking about life, death.