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Hans Hofmann in his studio, 1961.© Fred W. McDarrah/Premium Archive via Getty Images -
HANS HOFMANNBlissful Darkness, 1959Oil on canvas48 x 36 inches
121.9 x 91.4 cm -
"Black presented challenges similar to those Hofmann cautioned about with white, especially if it was mixed with other colors. . . It is interesting, then, that within a year of closing his art schools in Manhattan and Provincetown to devote himself to his practice, the artist made an assertive painting, Blissful Darkness (1959), with black as its dominant color. In this large, dramatic work, black is a structural force that occupies the center of the composition, but it still allows for yellows and greens and, yes, white, to appear spatially active. Although it is more experimental than the architectonic 'slab' paintings for which Hans Hofmann is best known—works that exemplify his push/pull theory and that he exhibited at the Venice Biennale in 1960—it is nonetheless closely related to them. . . Blissful Darkness shows the palpable tension between problem-solving and self-expression. In this painting, Hofmann operates in the interstices between the two."
- Michèle Wije in "Hans Hofmann"
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HANS HOFMANNFloating Mirage, 1961Oil on canvas78 x 84 inches
198.1 x 213.4 cm
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HANS HOFMANNGrief, 1961Oil on canvas72 x 60 inches
182.9 x 152.4 cm -
"Just as we think we have figured out who Hofmann was as a painter, he proves himself to be—as [Frank] Stella once noted in admiration—'a wise guy.' We are familiar with the painter who embraced texture and liberally applied colors (with a loaded brush or palette knife) that served to fulfil his dictum, 'In nature light creates color; in the picture, color creates light.' Then he pivots. He thins the paint. In doing so, he creates the most ethereal and featherlight compositions of his later years.
In Grief (1961) and Pénombres du Soir (1961), Hofmann severely restricts his palette and stains the canvases with splashes of color and the lightest of brushstrokes to support a gestural painterliness in which the natural world yields to the immediacy of perception. The saturation of the browns that convey dusk in Pénombres du Soir or the reds in Grief, which are so different from his reds in Shimmering Red (1952), invite deep reflection and solace. These paintings, alongside Floating Mirage (1962), are eloquent examples of pure painting; the work itself, rather than fulfilling an illustrative function, becomes an object of contemplation and aesthetic enjoyment. We do not just see these paintings; we experience them."
- Michèle Wije in "Hans Hofmann"
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HANS HOFMANNPénombres du Soir, 1961Oil on canvas48 x 60 inches
121.9 x 152.4 cm -
HANS HOFMANNMirage, 1962Oil on canvas60 x 52 inches
152.4 x 132.1 cm -
HANS HOFMANNThe Prophet, 1962Oil on canvas60 x 52 inches
152.4 x 132.1 cm -
HANS HOFMANN[Untitled], 1964Oil on Upson board31 3/4 x 23 7/8 inches
80.6 x 60.5 cm -
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Hans Hofmann in 1950.Photograph by Rudolph Burckhardt ©2023 Estate of Rudy Burckhardt
/ Artists Rights Society (ARS), New York. -
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HANS HOFMANNSubmerged, 1940Oil on panel7 3/4 x 9 3/4 inches
19.7 x 24.8 cm -
HANS HOFMANNVerde Chiaro (Light Green), 1949Oil on board15 x 22 inches
38.1 x 55.9 cm -
HANS HOFMANNNight, 1952Oil on panel8 x 9 1/2 inches
20.3 x 24.1 cm -
HANS HOFMANNShimmering Red, 1952Oil on panel7 1/2 x 9 3/4 inches
19.1 x 24.8 cm
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HANS HOFMANNThe Bay, 1952Oil on board9 x 17 3/4 inches
22.9 x 45.1 cm -
HANS HOFMANN[Untitled], c. 1960-1965Oil on board23 1/4 x 18 1/4 inches
59.1 x 46.4 cm -
HANS HOFMANNBlissful Darkness, 1959Oil on canvas48 x 36 inches
121.9 x 91.4 cm -
HANS HOFMANNBlue Mountains, 1960Oil on panel10 x 8 inches
25.4 x 20.3 cm
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HANS HOFMANNDead Crow, 1960Oil on Upson board24 x 32 inches
61 x 81.3 cm -
HANS HOFMANNFall, 1960Oil on cardboard11 x 9 inches
27.9 x 22.9 -
HANS HOFMANNStormy Blue, 1960Oil on board14 x 11 inches
35.6 x 27.9 cm -
HANS HOFMANN[Untitled], c. 1960-1965Oil on panel4 7/8 x 16 3/4 inches
12.4 x 42.5 cm
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HANS HOFMANN[Untitled], c. 1960-1965Oil on paperboard6 x 40 inches
15.2 x 101.6 cm -
HANS HOFMANNFloating Mirage, 1961Oil on canvas78 x 84 inches
198.1 x 213.4 cm
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HANS HOFMANNGrief, 1961Oil on canvas72 x 60 inches
182.9 x 152.4 cm -
HANS HOFMANNPénombres du Soir, 1961Oil on canvas48 x 60 inches
121.9 x 152.4 cm
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HANS HOFMANN[Untitled], c. 1960-1965Oil on panel13 3/4 x 6 inches
34.9 x 15.2 cm
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HANS HOFMANN[Untitled], 1961Oil on Upson board32 3/8 x 9 5/8 inches
82.2 x 24.5 cm -
HANS HOFMANNMirage, 1962Oil on canvas60 x 52 inches
152.4 x 132.1 cm -
HANS HOFMANNThe Prophet, 1962Oil on canvas60 x 52 inches
152.4 x 132.1 cm
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HANS HOFMANN[Untitled], c. 1960-1965Oil on board8 3/4 x 24 1/2 inches
22.2 x 62.2 cm -
HANS HOFMANN[Untitled], 1962Oil on panel5 3/4 x 23 3/4 inches
14.6 x 60.3 cm -
HANS HOFMANN[Untitled], c. 1960-1965Oil on cardboard9 5/8 x 8 1/8 inches
24.4 x 20.5 cm -
HANS HOFMANN[Untitled], 1963Oil on cardboard10 1/2 x 8 inches
26.7 x 20.5 cm
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Artwork Images, with permission of the Renate, Hans & Maria Hofmann Trust / Artists Rights Society (ARS), New York, NY.Special thanks to Patricia A. Gallagher, John J. Powers, Mary Ducran, Stacey Gerhson and Tom Behrens of
the Renate, Hans and Maria Hofmann Trust.The Renate, Hans and Maria Trust is exclusively repressentated by Miles McEnery Gallery.








