Hans Hofmann

Kootz Gallery, New York
Acquired by the present owner from the above in 1966

This painting is in good condition. This painting is in very good condition. For further information, a condition report has been prepared by Terrence Mahon, Painting Conservator, New York City. Please contact the Contemporary Art department at 212-606-7254 to receive this report. This canvas is framed in a wood frame with gilt facing.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Continuity of color development is achieved through successful, successive developments of the color scales.  These are comparable to the tone scales in music. ... Each color scale follows again a rhythm entirely of its own...  Any color shade within one color shade can become, at any moment, the bridge to any other color-scale.  This leads to an interwoven communion of color scales over the entire picture surface.
- Hans Hofmann, "The Color Problem in Pure Painting - Its Creative Origin"

 

Painted during an exuberant outburst of creative genius in the twilight of the artist's life, Eine Kleine Nachtmusik, 1964, is an outstanding example of Hans Hofmann's major developments with his Push Pull theory, using rectangular blocks of color to inform spatial organization and create a bold symphony of color.  In Eine Kleine Nachtmusik, the distinct rectangles of blue and green separate themselves from the thick impasto of the vibrant red ground, creating a pulsing sensation of movement and energy, breaking the 'negative' space into geometric slabs themselves.  The architectonic rectangles contrast with the economic, yet powerful use, of the yellow pigment, its amorphous forms in bold contrast to the planar blocks of blue and red.  Hofmann's acute sense of harmony and proportion allows the pure, bold colors to co-exist within the picture plane without overwhelming the viewer, a delicate balancing act of breaking apart the color blocks, creating bridges which tie the forms together.  The `push and pull' of the slabs resonates in the highly dynamic surface, further amplified by the furiously expressive brushwork.

The title refers to Mozart's 1787 piece, also known as Serenade for Strings in G Major, composed for a small chamber ensemble.  Hofmann's titles often recalled famous musical works for he claimed that he wished "to form and paint as Schubert sings and as Beethoven creates a world in sound". (Exh. Cat., London, Tate Gallery, Hans Hofmann: Late Paintings, 1988, p. 12).