new-york

Hans Hofmann

Ameringer Yohe Fine Art

Hans Hofmann’s paintings on paper have a freshness, an energy, a presence that belies their age. They’re sixty years old, but they have a timeless immediacy. “Time flows like water does back in the ocean back into Eternity,” he wrote in the poem on paper that hung as an introduction to the paintings, which themselves flow like the water of eternal life—water with a strong, relentless current, a deep expressive undertow, a painterly Heraclitean water that is never the same but nonetheless flows with sure-footed fastness over the paper.

Clement Greenberg, critiquing the artist’s exclusion from the Museum of Modern Art’s 1958 “New American Painting” exhibition, remarked that Hofmann’s art was being “recognized increasingly as a major fountainhead of style and ideas for the ‘new’ American painting” and that he was “a virtuoso of invention—as only the Klee of the 1930s was.” Perhaps he wasn’t

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