Candy Counter

Wayne Thiebaud, 1962, oil on canvas, 55 1/8 x 72 in.
Candy Counter, 1962

Wayne Thiebaud is well known for his images of food, ranging from lollipops to display cakes. During the early 1960s, he was identified with Pop Art—a connection he was quick to disclaim. Yet his own background in commercial art affect the way he handled subject matter. In Candy Counter, he heightens the intensity of the color so that orange and green candies seem to vibrate with an improbable brightness, suggesting the chromatic enhancement com…

Pink and White over Red

Mark Rothko, 1957, oil on canvas, 105 x 116 in.
Pink and White over Red, 1957

His vast canvases engulf the viewer, inviting contemplation. A leading practitioner of Color Field painting, Rothko arrived at his signature format, represented here by Pink and White over Red, by the late 1940s. Rectangular fields of white and red hover weightlessly over the surface of the canvas. In contrast to many of his peers—like Jackson Pollock, who poured pre-mixed paint directly onto the canvas—Rothko achieved his luminous, shifting swa…

Ocean Park #60

Richard Diebenkorn, 1973, oil on canvas, 93 x 81 1/4 in.
Ocean Park #60, 1973

  Though he resisted being categorized as a “California artist,” Richard Diebenkorn spent the majority of his career on the West Coast. In the fall of 1966, Diebenkorn moved from Berkeley to Santa Monica, where he found an art studio in Ocean Park, a gritty neighborhood along the oceanfront that was a hub of artistic activity. It was here that Diebenkorn painted the 145 paintings in his Ocean Park series, which he developed over the course…

Lucifer

Jackson Pollock, 1947, oil and enamel on canvas, 41 3/16 X 105 1/2 in.
Lucifer, 1947

In a 1951 radio interview Pollock proclaimed: “It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. Each age finds its own technique.” Lucifer is among the earliest examples of Pollock’s own groundbreaking approach, which involved dripping, pouring, and splattering paint directly onto a canvas that had been tacked to the floor. The p…

Stanford’s Anderson Collection museum to feature trove of couple’s art

07/11/14|Los Angeles Times

…assmates together at Columbia.” He adds, “Bill [Rubin] was interested in selling off his collection. There was a question of ethics here, in selling works that could have gone to the museum, but he always said that he had offered them to the museum first.” Anderson gestures toward the splashy black and white “Figure 8,” 1952, by Franz Kline and “Pink and White Over Red,” 1957, by Mark Rothko. In the livin…

Barrier

Vija Celmins, 1985-1986, oil and wax on linen, 70 x 72 in.
Barrier, 1985-1986

  Up Close: One Painting Tours With Artists Barrier Hosted by art historian and the associate director of ITALIC at Stanford, Kim Beil, the micro-video series focuses on a single object in the Anderson Collection, sparking dialogue with a guest artist. Kim spoke with artist Davina Semo about Vija Celmins’ Barrier. Explore the Up Close Series   “The images are not from observations of nature, but are ’found images’ fr…

Wall Painting No. IV

Robert Motherwell, 1954, oil on canvas, 54 x 72 in.
Wall Painting No. IV, 1954

…aries like Jackson Pollock and Mark Rothko. Wall Painting IV shows Motherwell’s investment in shape and emotion. The crescent of black paint—a recurring shape in Motherwell’s oeuvre—tears through the center of the canvas. The swaths of black become the players in Motherwell’s drama, disturbing the regular order of the alternating brown and white stripes. Motherwell, who received a BA in philosophy from Stanford in 1937, arrived in New York in 19…

Japanese Dancer Series No. 2 [Makiko]

Manuel Neri, 1980, Charcoal, dry pigment/water on paper., 41 3/4 x 29 3/4 in.
Japanese Dancer Series No. 2 [Makiko], 1980

Makiko In the late 1970s Neri began making regular trips to Carrara, Italy. He established a studio there in 1981 in order to readily access marble from the city’s famed quarries. Neri’s practice was profoundly affected by his proximity to the sculptural traditions of Western civilization, from the art of ancient Etruscans and classical antiquity to the haunting figures of Italian modernists Alberto Giacometti and Marino Marini. In Carrara Neri…

Japanese Dancer Series No. 12 [Makiko]

Manuel Neri, 1980, Charcoal, dry pigment/water on paper., 41 3/4 x 29 3/4 in.
Japanese Dancer Series No. 12 [Makiko], 1980

Makiko In the late 1970s Neri began making regular trips to Carrara, Italy. He established a studio there in 1981 in order to readily access marble from the city’s famed quarries. Neri’s practice was profoundly affected by his proximity to the sculptural traditions of Western civilization, from the art of ancient Etruscans and classical antiquity to the haunting figures of Italian modernists Alberto Giacometti and Marino Marini. In Carrara Neri…

Makida III

Manuel Neri, 1997, Marble and oil-based enamel., 24 x 16 x 22 in.
Makida III, 1997

…ed with gestural strokes of bright pink-and-green paint used to set off her traditional Japanese hairstyle. When the figure is viewed from behind, the undulating shapes and energetic brushstrokes of her hair seem to morph into abstraction. In the late 1970s Neri began making regular trips to Carrara, Italy. He established a studio there in 1981 in order to readily access marble from the city’s famed quarries. Neri’s practice was profoundly affect…

Window

Mark Tobey, 1953, casein on board on masonite, 44 3/8 x 28 1/2 in.
Window, 1953

…ey became fascinated by haiku, Japanese and Chinese calligraphy, and mysticism, and he subsequently converted to the Baha’i World Faith. He believed that there could be no break between nature, art, science, religion, and one’s personal life. The unity in his personal worldview manifests itself in Tobey’s signature painting style, which he called “white writing”: densely packed calligraphic symbols overlaying an abstracted field. Resembling lacey…

Red in Red

Sam Francis, 1955, oil on canvas, 78 3/8 x 78 3/8 in.
Red in Red, 1955

San Mateo-born artist Sam Francis discovered painting during his recovery from a plane crash in the U.S. Army Air Corps in 1943. Francis’ intensely colored all-over style is associated with the New York School, but Francis skipped the New York art world altogether, working briefly in Paris and primarily in California. Red in Red has a cellular, anatomical quality, like many of Francis’ paintings. The composition also resembles a landscape of yel…

Before, Again IV

Joan Mitchell, 1985, oil on canvas, 110 x 78 3/4 in.
Before, Again IV, 1985

Joan Mitchell is considered part of the “second generation” of abstract expressionists, and one of the few women associated with the conventionally masculine action painting movement. Mitchell’s large, gestural, “all over” paintings are infused with light and movement, often referencing landscapes or the natural world. “My paintings repeat a feeling about Lake Michigan, or water, or field…it’s more like a poem…and that’s what I want to pai…

Standing Figure II

Manuel Neri, 1982, pigment on plaster, 69 1/4 x 17 7/8 x 19 1/2 in.
Standing Figure II, 1982

This life-size plaster figure was modeled after Neri’s long-time muse and model, the poet Mary Julia Klimenko, who became his principal model in 1972. It is not a portrait but a figure—one of hundreds Neri has made in plaster over the course of his seven-decade-long career. Plaster is the medium for which he is best known. Affordable and readily available, it can be worked quickly and easily—molded when wet and carved when dry. Every inch of the…

Homage to the Square: Diffused

Josef Albers, 1969, oil on masonite panel, 48 x 48 in.
Homage to the Square: Diffused, 1969

Together with his wife, the textile artist Anni Albers, Josef Albers immigrated to the United States in 1933 to escape the Nazi regime. Having been an instructor at the Bauhaus in Germany, Albers became a renowned teacher in his adopted home, first at Black Mountain College in North Carolina and later at Yale University. In 1964 he published the influential text Interaction of Color, a handbook based on the color course he had developed over fou…

Sky Garden

Louise Nevelson, 1959-1964, enamel on wood, 99 5/8 x 61 x 17 1/2 in.
Sky Garden, 1959-1964

…placing each wooden piece, Nevelson was able to create subtle patterns of light and shadow. Close examination of the sculpture reveals wooden table legs, banisters, and jagged planks. Nevelson began making these wooden constructions in the 1950s after relocating to New York City and taking classes at the Art Students League. These large-scale sculptures sometimes approach a monumental scale, like Sky Garden, or grow into environments, taking over

Hunk, Moo Anderson give modern art masterpieces to Stanford

09/09/14|SF Gate, Kenneth Baker (reprinted with permission from the San Francisco Chronicle)

…5740472.php 2/3 Pollock’s abstract “drip painting” “Lucifer” (1947), a capstone of the Anderson Collection and the last great work of its kind in private hands, might fetch more than $100 million were it to go on the block in today’s overheated auction market. Opening up their home Over the years, Hunk and Moo have welcomed countless visitors into their unpretentious home, built in the late 1960s, to view and s…

A Private Passion Goes Public: Stanford’s Anderson Collection

10/22/14|Art in America

…ilding, designed by Richard Olcott, contains works by 86 artists, the fruit of nearly 50 years of collecting and the product of self-education on the part of Harry and Mary Anderson. A 1964 visit to Paris’s museums inspired the couple to begin collecting. “We started off very naively,” 92-year-old Harry Anderson told A.i.A., “thinking that art was somebody we would play golf with.” Bowled over by the aesthetic experi…

The Museum of Hunk, Moo & Putter: The Anderson Collection at Stanford will Rock You

12/28/18|Forbes Magazine

…son Pence (“Putter”) could have led post-World War Two lives of suburban white privilege and comfort – thanks to the financial success of the Saga food service company Hunk co-founded that supplied many colleges (including Stanford) and for which they moved from the East Coast to the West. However, in the early 1960s, before their daughter was born, the Andersons traveled to Paris and had a life-changing visit to the Louvre. ‘Something came over

A new lust for art takes hold in Silicon Valley

05/15/17|SF Chronicle

…ng thing comes on the market, (art collectors in the area) can’t always get on a plane and go to New York to see them. So now that really amazing thing will come to them.” And there is certainly evidence of an increasing appetite for contemporary and modern art in the suburbs. Art Silicon Valley/San Francisco, which highlights postwar and modern works, is returning to San Mateo in October for its fifth annual edition; over the course of its three…