604:(1948), which includes his discussions of his push/pull spatial theories, his reverence for nature as a source for art, his conviction that art has spiritual value, and his philosophy of art in general. In formal terms, he is especially noteworthy as a theorist of the medium who argued that "each medium of expression has its own order of being," that "color is a plastic means of creating intervals," and his awareness of a painting's frame, represented by his quote, "any line placed on the canvas is already the fifth." Hofmann believed in remaining faithful to the flatness of the canvas support, and that to suggest depth and movement in a painting an artist must create what he called "push and pull" in the image—contrasts of color, form, and texture.
290:. Hofmann worked and exhibited in Paris until the onset of World War I, producing paintings most influenced by the Cubists and Cézanne. Forced to return to Germany, and excluded from military service because of a respiratory condition, Hofmann opened an art school in Munich in 1915, developing a reputation as a forward-thinking instructor. In 1930, he was invited to teach on the west coast of the United States, which ultimately paved the way for him to permanently settle in the United States in 1932, where he resided until the end of his life. Hofmann and Miz would live apart for six years, until she procured an immigration visa to the United States in 1939.
331:(1944), in terms of their “painterly attacks,” jolting contrasts, rich color, and gestural spontaneity as “records of the artist’s intense experience” of paint, color, and processes that were arbitrary, accidental and direct, as well as intentional. They demonstrate Hofmann's early stylistic experimentation with the techniques that would be termed “action painting,” which Pollock and others made famous by the end of the decade. Hofmann believed that abstract art was a way to get at important reality, once stating that “the ability to simplify means to eliminate the unnecessary, so that the necessary may speak.”
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diverse body of students. He founded his first school, Schule für
Bildende Kunst (School of Fine Art) in Munich in 1915, building on the ideas and work of Cézanne, the Cubists, and Kandinsky. His hands-on teaching methods included ongoing discussion of art theory, life drawing sessions, and regular critiques from Hofmann himself, a practice which was a rarity in the Academy. By the mid-1920s, he attained a reputation as a forward-thinking teacher and was attracting an international array of students seeking more avant-garde instruction, including
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American citizen. During this time, his work drew increasing attention and acclaim critics, dealers and museums. In 1958, he retired from teaching to focus on painting, which led to a late-career efflorescence (at age seventy-eight) of his work. In 1963, Miz
Hofmann, his partner and wife for over sixty years, died after a surgery. Two years later, Hofmann married Renate Schmitz, who remained with him until his death from a heart attack in New York City on February 17, 1966, just prior to his 86th birthday.
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public service, working for the
Bavarian government as assistant to the director of Public Works. He increased his knowledge of mathematics there, eventually developing and patenting devices including an electromagnetic comptometer, a radar device for ships at sea, a sensitized light bulb, and a portable freezer unit for military use. During this time, Hofmann also became interested in creative studies, beginning art lessons between 1898 and 1899 with German artist Moritz Heymann.
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a modernist, though still identifiably representational style, creating landscapes, still lifes and portraits largely influenced by Cubism and Cézanne in terms of form, and
Kandinsky, Matisse and Van Gogh in terms of color. He began an extended period focused solely on drawing sometime in the 1920s, returning to painting in 1935. By 1940, however, he began to paint completely abstract works such as
367:, one of the first to call the new work “abstract expressionism,” expressed skepticism about the “spatter-and-daub” style of painting in a 1946 review of Hofmann's work. In 1947, Hofmann began exhibiting annually at the Kootz Gallery in New York (and would do so every year through 1966, except 1948 when the gallery temporarily closed), and over the next decade continued to gain recognition.
406:(a 1964 memorial after her death), that were loosely devoted to architectonic volumes and sometimes referred to as his “slab paintings.” In these works, he used rectangles of sensual color that reinforced the shape of his consistent easel-painting format and sometimes suggested a modular logic, yet escaped definitive readings through areas of modulated paint and irregular shapes.
241:, among many—as well as on the theories of Greenberg, in his emphasis on the medium, picture plane, and unity of the work. Some of Hofmann's other key tenets include his push/pull spatial theories, his insistence that abstract art has its origin in nature, and his belief in the spiritual value of art. Hofmann died of a heart attack in New York City on February 17, 1966.
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213:; some art historians suggest it was the first modern school of art anywhere. After relocating to the United States, he reopened the school in both New York City and Provincetown, Massachusetts until he retired from teaching in 1958 to paint full-time. His presence in New York teaching had a significant influence on post-war American avant-garde artists—including
425:. In 1963, The Museum of Modern Art gave a full-scale retrospective, organized by William Seitz, with a catalogue that included excerpts from Hofmann's writings. The exhibit traveled in the next two years to five other venues in the U.S., museums in Buenos Aires and Caracas, and finally to five venues in the Netherlands, Italy and Germany.
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354:. Critic Clement Greenberg regarded that show—and Jackson Pollock's a few months prior—as a “break-out” from the “cramping hold of Synthetic Cubism” on American painting, which opened the path to the more painterly style of abstract expressionism. That same year, Hofmann was also featured in a solo exhibition at
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Hofmann's art is generally distinguished by its rigorous concern with pictorial structure and unity, development of spatial illusion through the “push and pull” of color, shape and placement, and use of bold, often primary color for expressive means. In the first decades of the century, he painted in
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published an article titled, "From Caviar to Cat Food," which detailed the "sad and tortuous story" of
Hofmann's widow. The article contended that Renate's court appointed guardians "milk the Estate for more than a decade" and allowed the mentally unstable Renate to live "with her cats and liquor in
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Hofmann held a strong conviction about the spiritual and social value of art. In 1932, he wrote: “Providing leadership by teachers and support of developing artists is a national duty, an insurance of spiritual solidarity, What we do for art, we do for ourselves and for our children and the future.”
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Despite being credited with teaching a number of the most gifted women artists of the period—at a time when they were still somewhat rare—Hofmann has sometimes been described as exhibiting a “straightforward male chauvinist posture.” Lee
Krasner, who remained a devotee, likened some of his critiques
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on March 21, 1880 to
Theodor Friedrich Hofmann (1855–1903) and Franziska Manger Hofmann (1849–1921). In 1886, his family moved to Munich, where his father took a job with the government. From a young age, Hofmann gravitated towards science and mathematics. At age sixteen, he followed his father into
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Hofmann was renowned not only as an artist but also as a teacher of art, both in his native
Germany and later in the U.S. His value as a teacher lay in the consistency and uncompromising rigor of his artistic standards and his ability to teach the fundamental principles of postwar abstraction to a
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Between 1933 and 1958, Hofmann balanced his studio work with teaching, and as he did in Paris, immersed himself in (and influenced) New York's growing avant-garde art scene. He reopened his art school in 1934, conducting classes in New York and in
Provincetown during summer. In 1941, he became an
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Between 1900 and 1904, Hofmann met his future wife, Maria “Miz” Wolfegg (1885–1963) in Munich, and also became acquainted with
Philipp Freudenberg, owner of Berlin's high-end department store, Kaufhaus Gerson, and an avid art collector. Freudenberg became Hofmann's patron over the next decade,
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Under the will of Renate Hofmann, The Renate, Hans and Maria Hofmann Trust was formally created with Warshaw at its head. The mission of the Trust is "to promote the study and understanding of Hans Hofmann's extraordinary life and works" and to accomplish these goals "through exhibitions,
584:, was also among his pupils. In 1958, Hofmann closed his schools in order to devote himself exclusively to his own creative work. In 1963, The Museum of Modern Art curated the traveling exhibit "Hans Hofmann and His Students," which included 58 works representing 51 artists.
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Hans Hofmann : in conjunction with the exhibition "Hans Hofmann"; Whitney Museum of American Art, New York, June 20, 1990 – September 16, 1990; Center for the Fine Arts, Miami, November 1990 – January 1991; The Chrysler Museum, Norfolk, Virginia, February 1991 – April
469:. Art historian Herschel Chipp asserted that the school was likely the first school of modern art in existence. Hofmann ran the school, including summer sessions held throughout Germany, and in Austria, Croatia, Italy and France until he emigrated to the U.S. in 1932.
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a garbage-strewn oceanfront home." Under threat of prosecution, the original executor of the Hofmann Estate, Robert Warshaw, was successful in having the neglectful guardians pay $ 8.7 million to the Estate for "extraordinary conscious pain and suffering."
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when he emigrated to the United States in 1932. Hofmann's painting is characterized by its rigorous concern with pictorial structure and unity, spatial illusionism, and use of bold color for expressive means. The influential critic
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and Parsons. Reviewing a 1945 Hofmann exhibit, Greenberg wrote, “Hofmann has become a force to be reckoned with in the practice as well as in the interpretation of modern art.” Not all critics were uniform in praise; for example,
129:(March 21, 1880 – February 17, 1966) was a German-born American painter, renowned as both an artist and teacher. His career spanned two generations and two continents, and is considered to have both preceded and influenced
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publications and educational activities and programs focusing on Hans Hofmann" as well as a catalogue raisonné of Hofmann's paintings. The U.S. copyright representative for the Renate, Hans and Maria Hofmann Trust is the
170:’s in late 1943) as a breakthrough in painterly versus geometric abstraction that heralded abstract expressionism. In the decade that followed, Hofmann's recognition grew through numerous exhibitions, notably at the
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In 1957, the Whitney Museum put up a large retrospective on Hofmann, which traveled to seven additional museums in the United States over the next year. In his review of the retrospective, critic
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wrote, “No American artist could mount a show of greater coherent variety than Hans Hofmann.” In 1960, Hofmann was selected to represent the United States at the Venice Biennale, alongside
182:(1963), which traveled to venues throughout the United States, South America, and Europe. His works are in the permanent collections of major museums around the world, including the
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Hofmann is also regarded as one of the most influential art teachers of the 20th century. He established an art school in Munich in 1915 that built on the ideas and work of
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Hofmann's work in the 1940s was championed by several key figures who initiated a new era of growing influence for art dealers and galleries, including Peggy Guggenheim,
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436:. Hoyland first encountered Hofmann's work during his first visit to New York in 1964, in the company of Clement Greenberg, and had been immediately impressed.
382:, 18 painters and 10 sculptors who in May 1950 sent an open letter to the Met, rejecting the museum's "monster national exhibition" to be held in December.
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in 1933. By 1934, Hofmann opened his own schools in New York and in Provincetown, Massachusetts. Many notable artists studied with him, including
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to the back-handed praise earlier women artists often experienced (for example, “so good, you'd never know it was done by a woman!"). Sculptor
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432:(1976), Whitney Museum (1990), and London's Tate Gallery ("Hans Hofmann: Late Paintings," 1988), which was curated by the British painter
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Hofmann's works are in the permanent collections of many major museums in the United States and throughout the world, including the:
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in 1930, at the invitation of former student Worth Ryder, then a member of the art faculty. He taught again at Berkeley and at the
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A Finding Aid to the Hans Hofmann papers, circa 1904-2011, bulk 1945-2000 in the Archives of American Art, Smithsonian Institution
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in Los Angeles the next year before again returning to Germany. After relocating to New York City, he began teaching at the
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When Hofmann died on February 17, 1966, his widow, Renate Hofmann, managed his Estate. After Renate's death in 1992, the
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342:. His first New York solo show at Guggenheim's Art of This Century gallery in 1944 was positively reviewed in the
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664:(Toronto). Hofmann also designed a public work, a colorful mural located outside the entrance of the
1433:, ed. Sara T. Weeks and Bartlett H. Hayes, Jr., Cambridge, Massachusetts: M.I.T. Press, 1967, p. 58.
378:, President of the Metropolitan Museum of Art." Hofmann was among a group who would become known as
319:, a small oil on panel “drip” painting. Art historians have described that work, and others such as
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1283:"Color Creates Light: Studies with Hans Hofmann – Partial List of Hofmann Students Per Era"
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enabling him to relocate and live in Paris with Miz. In Paris, Hofmann studied at the
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Smithsonian Institution, Archives of American Art: Kootz Gallery records, 1923–1966.(
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Installation view, paintings by Franz Kline and Hans Hofmann, Venice Biennale, 1960
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In his later period, Hofmann often worked less gesturally, creating works such as
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This article is about the 20th-century painter. For the 16th-century painter, see
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North American Women Artists of the Twentieth Century: A Biographical Dictionary
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People Reading: Selections from the Collection of Donald and Patricia Oresman
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1164:, The Baltimore Museum of Art Library and Archives. Retrieved June 25, 2018.
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Hofmann's influential writing on modern art have been collected in the book
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oil, India ink, casein and enamel on plywood panel, 54.375” x 35.875”, 1942.
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1212:(in Bulgarian). Sofia, Bulgaria: Култура. 3 September 2013. Archived from
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in France, achieved a world auction record for the artist at $ 6,325,000.
270:. He also immersed himself in Paris's avant-garde art scene, working with
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The Renate, Hans and Maria Hofmann Trust website: catalogue raisonné page
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Ed. by Lee Nordness;Vol.1, (The Viking Press, Inc., 1963. pp. 18–21
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1077:"18 Painters Boycott Metropolitan; Charge 'Hostility to Advanced Art'"
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Most frequently requested artists list of the Artists Rights Society
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has related that he told her that "only men had the wings for art."
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American Abstract Expressionism of the 1950s An Illustrated Survey,
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You're in Hell's Kitchen: High School of Graphic Communication Arts
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New York School Abstract Expressionists Artists Choice by Artists,
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Post-War and Contemporary Art Evening Sale, 13 May 2015, New York.
943:(1st ed.). London: Cacklegoose Press. pp. 96, 182, 273.
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Posthumous retrospectives of Hofmann's work include shows at the
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Hans Hofmann : peintures 1962 : 23 avril-18 mai 1963.
813:, 7th Ed., New York: Harcourt Brace Jovanovich, 1980, p. 857-8.
687:(1960), inspired by the expansive stained glass windows of the
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Hans Hofmann Biography: Tate Collection (Tate Gallery, London)
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Theories of modern art; a source book by artists and critics
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Karl Kasten on Worth Ryder retrieved online October 27, 2008
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http://www.aaa.si.edu/collections/kootz-gallery-records-9163
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PBS interactive pages on Hans Hofmann's "push/pull" theory
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Museum of Modern Art (New York, N.Y.) (7 February 1963).
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In the U.S., he initially taught a summer session at the
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Hans Hofmann Biography: Guggenheim Collection (New York)
1648:(Paris: Galerie Anderson-Mayer, 1963.) OCLC: 62515192
1111:, Collection Online, 1959–60. Retrieved June 26, 2018.
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Greenberg, Clement. “After Abstract Expressionism,”
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Members of the American Academy of Arts and Letters
1296:Jules Heller; Nancy G. Heller (19 December 2013).
137:and brought a deep understanding and synthesis of
1144:, Research Publications. Retrieved June 26, 2018.
158:considered Hofmann's first New York solo show at
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875:, Cambridge: Blackwell Publishers, 1992, p. 354.
1606:(Cambridge, Massachusetts, M.I.T. Press, 1967)
1589:Hofmann, Hans; Sara T Weeks; Bartlett H Hayes;
1235:Hofmann Chronology, retrieved October 27, 2008
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985:, Collection Online. Retrieved June 26, 2018.
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1402:"Restoring the Lost Art of Women Painters,"
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925:Hans Hofmann.org. Biographical Chronology.
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1713:. p. 16; p. 37; pp. 182–185
1429:Hofmann, Hans. “Painting and Culture,” in
1340:"Beulah Stevenson – Peyton Wright Gallery"
1270:"Hans Hofmann and his students 1963–1964."
1013:"The Making of a Modernist: Hans Hofmann,"
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809:de la Croix, Horst and Richard G. Tansey.
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666:High School of Graphic Communication Arts
1830:University of California, Berkeley staff
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624:, Whitney Museum, Museum of Modern Art,
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1880:People from Provincetown, Massachusetts
1865:Art Students League of New York faculty
1752:Information on Hans Hofmann: Askart.com
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1208:[The Unknown Bistra Vinarova].
1049:Coates, Robert M. ‘The Art Galleries’,
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857:, New York: Museum of Modern Art, 1963.
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654:Provincetown Art Association and Museum
310:, oil on canvas, 84.25” x 52.25", 1959.
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1815:German emigrants to the United States
1596:Search for the real, and other essays
1586:(Paris, Editions Georges Fall, 1961).
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941:Joseph Glasco: The Fifteenth American
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656:, Städtische Galerie im Lenbachhaus (
1431:Search for the Real and Other Essays
1418:Search for the Real and Other Essays
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965:Search for the Real and Other Essays
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602:Search for the Real and Other Essays
1810:Artists from the Kingdom of Bavaria
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16:German-American painter (1880–1966)
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1855:20th-century American male artists
1771:San Francisco Museum of Modern Art
1490:ps-ca-web-02.artnet-web.artnet.com
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626:San Francisco Museum of Modern Art
474:University of California, Berkeley
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871:Harrison, Charles and Paul Wood.
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1805:People from Weißenburg in Bayern
1658:(München : Prestel, 1990.)
1616:John Hoyland: Scatter the Devils
1175:John Hoyland: Scatter the Devils
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1747:Hans Hofmann Biography: PBS.org
1705:(New York School Press, 2000.)
1681:(New York School Press, 2003.)
1614:Lambirth, Andrew (2009-10-01).
1591:Addison Gallery of American Art
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1328:. Spartanburg Art Museum. 2008.
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893:, Vol. VI, No. 8, October 1962.
482:Art Students League of New York
264:Académie de la Grande Chaumière
1840:20th-century American painters
1820:Abstract expressionist artists
1509:Hans Hofmann.org. The Artist.
1206:"Неизвестната Бистра Винарова"
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811:Gardner's Art Through the Ages
620:, Metropolitan Museum of Art,
176:Whitney Museum of American Art
23:. For the paleontologist, see
1:
1875:People from Greenwich Village
1362:Hans Hofmann and his students
794:
580:, a long-time curator at the
1850:20th-century German painters
1083:. 22 May 1950. pp. 1, 5
683:New York auction, Hofmann's
632:, Art Institute of Chicago,
622:Solomon R. Guggenheim Museum
244:
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1825:Painters from New York City
1769:from the collection at the
1388:Dictionary of Women Artists
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642:Museum of Fine Arts Houston
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192:Germanisches Nationalmuseum
10:
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1732:The Estate of Hans Hofmann
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1513:. Retrieved June 25, 2018.
1486:"artnet.com Magazine News"
1192:November 21, 2008, at the
1124:. Retrieved June 26, 2018.
1002:. Retrieved June 25, 2018.
929:. Retrieved June 25, 2018.
650:Philadelphia Museum of Art
630:Museum of Fine Arts Boston
612:Collections and art market
595:
274:and becoming friends with
184:Metropolitan Museum of Art
18:
1775:Retrieved 2010-08-13.
1546:January 31, 2009, at the
1240:December 2, 2008, at the
1173:Lambirth, Andrew (2009).
1153:Baltimore Museum of Art.
1066:. Retrieved 16 Nov. 2012.
939:Raeburn, Michael (2015).
249:Hans Hofmann was born in
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1574:University of California
1364:. Museum of Modern Art.
1253:BAM/PFA – Art Collection
1015:Retrieved June 26, 2018.
873:Art in Theory: 1900–1990
689:Cathédrale Saint Etienne
356:The Arts Club of Chicago
200:Art Institute of Chicago
1177:. Unicorn Press, p. 74.
1053:, March 30, 1946, p.83.
646:Cleveland Museum of Art
638:Baltimore Museum of Art
478:Chouinard Art Institute
196:National Gallery of Art
21:Hans Hoffmann (painter)
1870:Artists from Manhattan
1845:American male painters
1528:June 10, 2008, at the
1450:June 24, 2007, at the
1385:Gaze, Delia (Editor).
1138:, 1959 by Hans Hofmann
1026:"Hans Hofmann: Quotes"
837:Theories of Modern Art
712:Artists Rights Society
662:Art Gallery of Ontario
618:UC Berkeley Art Museum
391:
311:
131:Abstract Expressionism
119:Abstract Expressionism
1258:June 9, 2007, at the
1122:Works by Hans Hofmann
570:Louisa Matthíasdóttir
404:To Miz - Pax Vobiscum
373:
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1860:German male painters
1561:Chipp, Herschel B..
1011:Berkeley Art Museum
384:Francis Henry Taylor
298:Work and exhibitions
180:Museum of Modern Art
166:in 1944 (along with
1104:Guggenheim Museum.
1030:www.hanshofmann.net
981:Guggenheim Museum.
835:Chipp, Herschel B.
702:New York Daily News
558:Richard Stankiewicz
534:Robert De Niro, Sr.
490:Helen Frankenthaler
388:Robert Beverly Hale
219:Helen Frankenthaler
164:Art of This Century
1701:2007-09-29 at the
1689:. pp. 166–169
1677:2007-09-29 at the
1668:Marika Herskovic,
1644:2007-09-29 at the
1602:2007-09-29 at the
1580:Greenberg, Clement
1568:2007-09-29 at the
1391:, Routledge, 1997.
1216:on 19 October 2013
1160:2018-06-26 at the
1081:The New York Times
996:Academie Colarossi
853:Seitz, William C.
634:Seattle Art Museum
574:Nína Tryggvadóttir
514:Irene Rice Pereira
392:
312:
268:Académie Colarossi
209:, the Cubists and
1800:Abstract painters
1651:Cynthia Goodman,
1625:978-1-906509-07-1
1618:. Unicorn Press.
1400:Tighe, Mary Ann.
1309:978-1-135-63882-5
891:Art International
759:Abstract Imagists
376:Roland L. Redmond
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1795:1966 deaths
1790:1880 births
1718:ART USA NOW
1572:(Berkeley,
1142:Tate Modern
774:Color field
590:Lila Katzen
510:Nell Blaine
486:Lee Krasner
463:Worth Ryder
419:Franz Kline
398:(1959–60),
352:Arts Digest
327:(1943) and
227:Lee Krasner
223:Nell Blaine
188:Tate Modern
178:(1957) and
135:avant-garde
97:Nationality
1784:Categories
1635:, Michel.
1495:7 February
1470:Christie's
1345:29 October
1051:New Yorker
1035:7 February
795:References
768:aesthetics
764:Art theory
732:Art portal
681:Christie's
506:Red Grooms
447:Alf Bayrle
402:(1959) or
251:Weißenburg
70:Weißenburg
62:1880-03-21
779:Modernism
674:Manhattan
542:Wolf Kahn
494:Ray Eames
245:Biography
211:Kandinsky
139:Symbolism
1699:Archived
1675:Archived
1642:Archived
1600:Archived
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1256:Archived
1238:Archived
1220:16 April
1190:Archived
1158:Archived
1108:The Gate
1000:Tate.org
718:See also
440:Teaching
396:The Gate
325:Fantasia
323:(1942),
321:The Wind
115:Movement
109:Painting
1610:1125858
1584:Hofmann
1556:Sources
1465:Auxerre
1136:Pompeii
685:Auxerre
596:Writing
400:Pompeii
348:ARTnews
308:Pompeii
276:Picasso
272:Matisse
255:Bavaria
207:Cézanne
147:Fauvism
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1467:(1960)
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465:, and
338:, and
317:Spring
284:Robert
282:, and
237:, and
198:, and
151:Cubism
149:, and
1633:Tapié
1087:1 Apr
1707:ISBN
1683:ISBN
1660:ISBN
1655:1991
1620:ISBN
1608:OCLC
1497:2018
1366:OCLC
1347:2017
1304:ISBN
1222:2017
1089:2021
1037:2018
945:ISBN
572:and
421:and
350:and
286:and
266:and
81:Died
56:Born
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162:’s
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