15 facts about Hans Hofmann

Hans Hofmann (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 Abstract Expressionism. Born and educated near Munich, he was alert in the in advance twentieth-century European militant and brought a deep concurrence and synthesis of Symbolism, Neo-impressionism, Fauvism, and Cubism considering he emigrated to the United States in 1932. Hofmann’s painting is characterized by its rigorous event with pictorial structure and unity, spatial illusionism, and use of bold color for expressive means. The influential critic Clement Greenberg considered Hofmann’s first New York solo doing at Peggy Guggenheim’s Art of This Century in 1944 (along in the freshen of Jackson Pollock’s in late 1943) as a breakthrough in painterly in contradiction of geometric deduction that heralded abstract expressionism. In the decade that followed, Hofmann’s tribute grew through numerous exhibitions, notably at the Kootz Gallery, culminating in major retrospectives at the Whitney Museum of American Art (1957) and Museum of Modern Art (1963), which traveled to venues throughout the United States, South America, and Europe. His works are in the unshakable collections of major museums approximately the world, including the Metropolitan Museum of Art, Tate Modern, Germanisches Nationalmuseum, National Gallery of Art, and Art Institute of Chicago.

Hofmann is along with regarded as one of the most influential art teachers of the 20th century. He acknowledged an art hypothetical in Munich in 1915 that built upon the ideas and be in of Cézanne, the Cubists and Kandinsky; some art historians recommend it was the first modern moot of art anywhere. After relocating to the United States, he reopened the instructor in both New York City and Provincetown, Massachusetts until he retired from teaching in 1958 to paint full-time. His teaching had a significant influence on post-war American broadminded artists—including Helen Frankenthaler, Nell Blaine, Lee Krasner, Joan Mitchell, Louise Nevelson, and Larry Rivers, among many—as skillfully as on the theories of Greenberg, in his emphasis on the medium, picture plane, and agreement of the work. Some of Hofmann’s supplementary key tenets adjoin his push/pull spatial theories, his insistence that abstract art has its parentage 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.