汉斯·霍夫曼全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-20
 无题 | - |
| 圣特罗佩 | - |
| 自画像与画笔 | Hofmann created many self-portrait drawings and paintings, usually depicting himself at work. Self-Portrait with Brushes is typical of his approach, yet it stands out in the way it combines styles to create an expressive character sketch. Using bold outlines to exaggerate his own features - creating a broad triangular nose and tousled hair - Hofmann projects a playful persona in a blue on yellow palette set within the interior space of his studio. |
| 自画像 | - |
| 构成：五号 | - |
| 构成 No. 1 | - |
| 白色中的抽象 | - |
| 雷纳特的楠塔基特岛 | - |
| 晨雾 | - |
| 大门 | The Gate was painted in 1959–60 as part of a series of works loosely devoted to architectonic volumes. Hofmann used rectangles of color to reinforce the shape of his essentially unvarying easel-painting format. Although The Gate is subjectless, Hofmann insisted that, even in abstraction, students should always work from nature in some form. With determination, a viewer can see that the complex spatial relationship established by the floating planes of color begins to resemble the gate of the title. |
| 至圣所 | - |
| 永恒的记忆 | In Memoria in Aeturnum (Eternal memory) Hofmann remembers five American painters who died in their prime: Arthur B. Carles, an early American Cubist, and four other abstract painters—Arshile Gorky, Franz Kline, Jackson Pollock, and Bradley Walker Tomlin. Painted near the end of his life, Hofmann’s work is a tribute to the preceding decades of abstract art, incorporating a wide range of techniques that evoke the spirits of the departed: stains, drips, drawn-out brushstrokes, and smooth-edged geometric forms. |
| 致米兹- 帕克斯·沃碧思坎姆 | Hofmann's first wife, Miz, was a constant support and companion to him for almost 60 years, and after her death he painted this vibrant canvas as a memorial. He used the relationship of bright colors to create shapes expressing his feelings of loss. |
| 露水和黄昏 | - |
| 田园 | - |
| 八月之光 | - |
| 金碧辉煌 | - |
| 鸟笼变异II | - |
| 巨人 | - |
| 格洛丽亚蒙迪 | - |
评论