Candy Counter

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

…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 common in advertising art. The bands of complimentary colors edging the class and candy create a flicker…

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…

Hunk, Moo Anderson give modern art masterpieces to Stanford

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

…ork 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 study their art. By all accounts, the visitors were uniformly disarmed by the couple’s friendliness, not to mention the jaw-dropping treasures on the wa…

Lucifer

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

…ote that my pictures didn’t have a beginning or any end,” Jackson Pollock once recalled. “He didn’t mean it as a compliment, but it was. It was a fine complement.” By dripping, pouring, and splattering paint onto the surface of a canvas tacked carefully to the ground, Pollock constructed not just an anti-narrative picture but one that was radically open, existing perpetually in static suspension. Lucifer represents one of Pollock’s earliest exper…

A new lust for art takes hold in Silicon Valley

05/15/17|SF Chronicle

…ors. In the ’90s and the aughts were the finance folks, he says. “I remember telling a friend, ‘Hell will freeze over before people on Wall Street collect contemporary art.’ Well, hell froze over,” Glimcher says. “Each of these communities of wealth, entrepreneurship and innovation has taken its place eventually in support of art and culture. And now it’s Silicon Valley’s turn.” Anh-Minh Le is a Portola Valley freelance writer. Email: travel@sfch…

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…

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…

Ocean Park #60

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

…ing 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] blue and green, or the concrete abutments that would come, and you could … see wh…

Sky Garden

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

Louise Nevelson constructed her sculpture Sky Garden using pieces of discarded wood. As a whole, Sky Garden resembles a series of modular cabinets, each containing a group of strange but alluring objects. As she did with many of her sculptures, the artist covered Sky Garden with a thick coat of black paint. Nevertheless, by carefully placing each wooden piece, Nevelson was able to create subtle patterns of light and shadow. Close examination of…

Homage to the Square: Diffused

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

…64 he published the influential text Interaction of Color, a handbook based on the color course he had developed over four decades of teaching. Homage to the Square: Diffused is one of hundreds of concentric-square paintings the artist made between 1949 and 1976. Each work in the series is designed to demonstrate the complex perceptual effects produced by the interaction of different colors. On the back of this panel Albers specified the four col…

Window

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

Mark Tobey is considered a leader of the Northwest School, a group of artists working in the Seattle area who were influenced by both the nature of the Pacific Northwest and East Asian philosophy. In his late twenties, Tobey 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…

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

12/28/18|Forbes Magazine

…ock, Lucifer, is from 1947. It stands between two worlds, like Heaven and Hell itself, one in which painting was composed and paintbrushes moved the paint in recognizable fashion. Pollock’s drips obliterated all that. Yet this painting speaks to a fierce compositional control even as the paint fell to the canvas. There are two Rothkos, Pink and White over Red, from 1957 and Untitled (Black on Gray) from 1969. Between these two paintings is a whol…

The Anderson Collection at Stanford: An Uplifting Experience

09/24/14|Huffington Post

…#8217;s most precious works, and standing between Pollock’s Lucifer and Mark Rothko’s Pink and White Over Red is pretty cool, but what I came to see were the Bay Area paintings. A painter friend who doesn’t quite share my taste once called me “one of those David Park people,” and frankly I took that as a compliment. I think that one of the most valuable things that the Anderson Collection is going to do over time is…

A Private Passion Goes Public: Stanford’s Anderson Collection

10/22/14|Art in America

…ith art to the public venue. In the Andersons’ home, the works were displayed simply, as domestic objects. Over the Raggedy Ann and Andy dolls on their daughter’s bed hung the masterwork of the collection, Pollock’sLucifer (1947); canvases by Josef Albers and Ad Reinhardt flanked a curio cabinet. Over the breakfast table were works by Frank Stella and Wayne Thiebaud, and above the refrigerator an Ed Ruscha. Olcott wanted to appr…

Anderson Collection a modern art trove not to be missed

08/23/15|San Francisco Chronicle

…visit. Here are just a handful of the museum’s highlights: “Jackson Pollock’s ‘Lucifer’ is something that people come to see. It previously hung over Putter’s bed, before moving to the dining room and before coming here.” “There’s an incredible Mark Rothko (‘Pink and White Over Red’) that’s just beautiful — a seductive red painting.” “Robert Irwin’s untitled disk is capturing people’s attention. There’s this shadow quality — he was very intereste…

Review: Anderson Collection of 20th-century art opens Sept. 21

09/18/14|Contra Costa Times

…ack, brown and white colorwork. It suggests the shock of the new in the 1950s, and a window into all that was to come.   At the right side of this gallery is Richard Diebenkorn’s “Ocean Park #60” from 1973 with its cool blue geometric variations. Facing it, on the left wall, is Wayne Thebaud’s “Candy Counter” from 1962, unusually muted in blues and grays with a few pops of bright color. Not far away is Lou…

The Magic of The Anderson Collection

10/08/14|Huffington Post

Pollock’s Lucifer now resides at Stanford University and is welcoming visitors. The news is of significance to everyone for reasons described in this article. Lucifer, the crown jewel of the Anderson Collection, moved to Stanford with a retinue of 120 colorful accomplices he’s befriended while living at the Andersons’ residence. The whole gang is now happily installed in a custom-designed museum on the Stanford campus. With ro…

Up Close: One Painting Tours With Artists

06/05/20|A project of the Anderson Collection at Stanford University

A project of the Anderson Collection at Stanford University Hosted by art historian and the associate director of ITALIC at Stanford, Kim Beil, the micro-video series “Up Close: One Painting Tours with Artists” focuses on a single object in the Anderson Collection, sparking dialogue with a guest artist. This project is made possible by a grant from Stanford Arts and the Anderson Collection at Stanford University. Artist Rebekah Goldstein explor…