Candy Counter

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

…a cold, ambiguous environment, the various sweets become a means for formal exploration and finally works of art in themselves, displayed in a glass case. Paintings crack. California artist Wayne Thiebaud’s Candy Counter is no exception. Cracks are the inevitable material traces of time’s passing, Nostalgia infuses the work, which recalls displays of sweets the artist encountered in his youth. Candy Counter is one of many Thiebaud paintings that…

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…


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

…his layered and rhythmic use of line can be understood in dialogue with Jackson Pollock’s Lucifer, also on view in this gallery. -Linden Hill, PhD candidate in the department of Art & Art History From Left of Center, opened Sept 20, 2019 Although he has frequently been linked to Jackson Pollock and other New York School painters because of his abstract, all-over pictorial style, Tobey put himself and his work at a geographic and philosophic…

Sky Garden

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

…lose 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 full rooms. Nevelson spent much of her career in New York City, but she shares a sense of is…

Hunk, Moo Anderson give modern art masterpieces to Stanford

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

…ay in Paris, Hunk, 91, and Moo, 87, have always approached collecting art as a team. “We’ve all read the same books, we’ve all looked at the same pictures, ” Moo said, “and that’s how you get to see things the same way. Hunk and I have never asked one another to give up and say, ‘I’m going to buy it whether you like it or not.’ There’s too much good art to be had to argue about something…


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…

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

12/28/18|Forbes Magazine

…CE Tuition Free Community College Opens Doors For Students UNICEF USA BRANDVOICE Children Uprooted: The Things They Carried Their collection began to fill their home. In a short film that can be viewed at the Anderson collection Putter recalls that throughout much of her childhood a Jackson Pollock drip painting hung over her bed. The Andersons felt that art was meant to be shared. At first they opened their home to art tours,…

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

07/11/14|Los Angeles Times

…rhol and others were donated to the museum in 1992 and seven Frank Stella paintings from 1959 to 1988 were given in 2001. Much of their collection was shown at the museum in 2000, in “Celebrating Modern Art: The Anderson Collection.” (They also collected prints and gave more than 650 to San Francisco’s Fine Arts Museums in 1996, which transferred them to the De Young.) However, what the Andersons call their “core collectio…

On Elite Campuses, an Arts Race

11/13/14|The New York Times

…ion-dollar master plan that included renovations and new buildings for art, art history, architecture, music and theater. The capstone was the $135 million overhaul of the Yale University Art Gallery in 2012. Ennead Architects restored and merged three obstreperous buildings of varying ages. The project allowed curators to put so much on view it was as if a great metropolitan art museum had materialized out of thin air. Attendance has doubled to…

How to find love at the Anderson Collection

09/30/14|The Stanford Daily

…ish between fabric and flesh, and the painting as a whole feels intensely personal, plucky and seductive. Now is your chance to introduce yourself. Approach her hat in hand, ready to be vulnerable first. Court her. Set a regular date and return, over and over. If things get serious, plan to visit the family that lives next door: At Cantor Arts Center, you can un-dust her ancestors. They will tell you stories about how she was possible. All of thi…

A private art collection becomes a Stanford collection on Sunday, Sept. 21

09/17/14 |Press Release, Stanford Report

…have achieved this milestone without the enormous support of the Anderson family, our terrific Stanford team and the many supporters and volunteers who have made so much possible. I’m thrilled to be sharing this collection with the world and invite you to became a part of the journey.” Stanford constructed a building exclusively for the collection within the expanding arts district, and over the summer the collection moved in. The bui…


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…

How the Stanford Arts District grew from a midair inspiration

05/13/14|SFGate, Sam Whiting (reprinted with permission from the San Francisco Chronicle)

…carried two other passengers: McMurtry’s wife, Deedee, and Stanford President John Hennessy. Hennessy sat in back working at his laptop until the moment he moved forward to the seat opposite McMurtry. “Middle of the country somewhere,” is how McMurtry recalls it. “He said, ‘I really want to get this consolidation of art and art history near Cantor. Would you guys do a lead gift for it?’ ” Hennessy return…

The Tale

Philip Guston, 1961, oil on canvas, 68 1/4 x 72 in.
The Tale, 1961

In 1919, Philip Guston moved from Montreal to Los Angeles with his family. A high school classmate of Jackson Pollock, Guston trained for a year at the Otis Art Institute before moving to New York to pursue abstract painting. Like Pollock, Guston was interested in the expressivity of paint, albeit with a much different effect. In The Tale, thick oil paint is layered to form a dense, patchwork-like composition that culminates near the center of t…

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…

Ocean Park #60

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

…;s work-the Ocean Park period-where he precisely balanced form, space, and color. Recording his new environment, the artist painted and sketched the interior studio space and the view from his windows overlooking landscapes and rooftop scenes. As remembered by friend, Wayne Thiebaud, “I went … several times, to his Ocean Park studio … And he had these transom windows. And you’d look out there and you’d see this little patch [of]…

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…

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…

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…

The Anderson Collection at Stanford: An Uplifting Experience

09/24/14|Huffington Post

…s, two terrific Paul Wonners and a great David Park. Elmer Bischoff and Joan Brown are conspicuously absent, but you can see their work — and two more fine Diebenkorn canvases — at the Cantor Arts Center next door. Add to that two Lobdell abstractions, terrific paintings by Christopher Brown and Squeak Carnwath and you will have some idea of how strong the presence of California painting is at the Anderson Collection. The reputation o…