Moeller Fine Art

Dear Friends, I am pleased to announce the participation of Moeller Fine Art in Master Drawings New York 2021. We will be alongside 18 international art galleries exhibiting online and by appointment from January 23 to January 30, with an online preview at noon today, January 22, at this link: https://www.masterdrawingsnewyork.com/exh/moeller-fine-art/ Perceiving a drawing is a particular challenge for the eye. To perceive a drawing is to discover the most spontaneous, direc...t, and unaltered expression of the artist, to engage in an intimate dialogue with the artist. As the German painter #HansvonMarées (18371887) said: "Drawings exist only for the artist himself, or at most for those whom he invites to participate in his inner life." All works are for sale. All offers are subject to availability. For further information please contact: [email protected] +1 212 644 2133 Wishing you and your loved ones continued good health, Achim Moeller __ Pictured: Paul Cézanne (18391906) | Sous-bois, c. 1895 | Watercolor and graphite on paper | 17 1/8 x 12 1/8 in. (43.2 x 30.5 cm) #MasterDrawingsNewYork #MDNY #drawings #masterdrawings #onlinegallery #PaulCézanne #art #moellerfineart #moellerart #modernart #arthistory #nycgallery #artist #curator #artadvisor #artcurator #virtualvisit #museumfromhome #achimmoeller

Highlighting excellence at Moeller Fine Art: Paul Klee, Palast im Vorübergehn (Passing the Palace), 1928, Oil on board. One of our many notable sales from more than 50 years in business dealing in modern and contemporary masters Palast im Vorübergehn, painted during #Klee’s tenure as form-master at the Dessau Bauhaus, demonstrates the relationship of Klee’s pictorial structure to linguistic systems, a correlation developed in #RainerCrone’s essay Cosmic Fragments of Meaning: ...On the Syllables of Paul Klee. In the picture’s rhythmical tracery of lines and geometrical forms, we read what Klee would have termed a dividual structure, a repetition of small values, like a series of syllables. Deviations from the regularity of this perceived pattern in arcs, crooked lines, and gradations of color in turn signify an individual form, which we read as palace, landscape, and figure. Arrows pointing in either direction, coupled with bright green, yellow, and red, signify a dynamic movement, a passing conceived of by Klee as motion freed from gravity. Thus, in this architectural landscape, elements of the visible world are mapped by Klee onto canvas, which confirms that the eye is far from innocent, and that sight encodes nature, recreating and transforming it into a cosmos of signs. __ Pictured: Paul Klee (1879-1940), Palast im Vorübergehn (Passing the Palace), 1928, Oil on board, 12 x 17 in. (30.4 x 45.2 cm), Staatliche Museen zu Berlin, Nationalgalerie, Museum Berggruen #PaulKlee #bauhaus #DessauBauhaus #landscape #abstract #moellerfineart #moellerart #notablesales #modernart #arthistory #nycgallery #art #painting #artist #curator #artadvisor #artcurator #virtualvisit #museumfromhome #achimmoeller

Dear Friends, In January 1911, exactly 110 years ago, #LyonelFeininger (18711956) completed Still Life on Blue Table I in his studio in Berlin-Zehlendorf. The painting shows a royal blue table viewed simultaneously from above and straight-on. On its upper right corner, a patterned ceramic bowl holds a wood-handled, polished brass pitcher and an orange. A second orange sits outside of the bowl. In the middle of the table, a pastel green cup and saucer rests on a carefully dra...ped white cloth. Another cup sits directly on the tabletop. An unlit pewter oil lamp, like those commonly used in the 19th century, sits on the table’s upper left corner. Rays of sunlight coming from the upper right of the picture illuminate this lovely scene. Before he started painting, #Feininger enjoyed a successful career as a caricaturist. In a letter to his wife, Julia, he wrote: Not for nothing one starts painting at the age of 36 as a jolly old man and paints with a locomotive-like passion 5 to 10 hours daily. Shortly after he completed Still Life on Blue Table I, Feininger discovered Cubism. By then he had been painting for four years and had shifted his focus to plein-air painting. But he would soon find that plein-air painting was not for him. Subsequently, he incorporated the exaggerated style of his caricatures into his compositions as he struggled to overcome the influence of Impressionism and find his own path. In April 1911, six of his paintings were shown at the 27e Exposition de la Société des Artistes Indépendants, the Salon des Indépendants at the Quai d'Orsay in Paris. In a letter to his friend and fellow artist Alfred V. Churchill (18641949), Feininger wrote: 1909 I first commenced to sketch landscape, still decorative, worshipful of Van Gogh. 1910 I had attained to greater rhythm, somewhat neglecting color, of which I felt perfectly sure. 1911 my studies had brought me to the critical state where imitation of Nature is imminent, but in that Spring I had gone to Paris for 2 weeks and found the artworld there agog with cubisma thing I had never heard ever mentioned before, but which I had already, entirely intuitively, striven after for years. Still Life on Blue Table I is among the 13 still lifes in Feininger’s oeuvre. Although they comprise only a small portion of his work, his still lifes illustrate his conceptualization of space, compositional prowess, and propensity to depict the same elements in a variety of ways. All of which is typical of his remarkable body of work. Wishing you and your loved ones continued good health, Achim Moeller __ Pictured: Lyonel Feininger (18711956) | (Stillleben auf blauem Tisch I) (Still Life on Blue Table I), 1911 | Oil on canvas | 21 11/16 x 30 5/16 in. (55 x 77 cm) | Moeller 071 #stilllife #bluetable #moellerfineart #moellerart #modernart #arthistory #nycgallery #artist #curator #artadvisor #artcurator #virtualvisit #museumfromhome #achimmoeller

Highlighting excellence at Moeller Fine Art: Amedeo Modigliani, Portrait of Béatrice Hastings, 1916, Oil on canvas. One of our many notable sales from more than 50 years in business dealing in modern and contemporary masters Béatrice Hastings, an English writer involved in the suffragette movement and social reform, was described by Alfred Werner as a very intellectual female who left the artist after recognizing it was beyond her power to check his wild excesses. Modiglian...i and Hastings ended their two year relationship in 1916, the year this portrait was painted. Rendered in three quarter profile, with sharp, angular features, the image contrasts remarkably with Modigliani’s earlier portraits, where Hastings’ curved, even delicate forms appear far more lyrical. __ Pictured: Amedeo Modigliani (1884-1920), Portrait of Béatrice Hastings, 1916, Oil on canvas, 25 9/16 x 18 1/8 in. (65 x 46 cm), The Whitehead Collection #AmedeoModigliani #moellerfineart #moellerart #notablesales #modernart #arthistory #nycgallery #art #painting #artist #curator #artadvisor #artcurator #virtualvisit #museumfromhome #achimmoeller

Dear Friends, I invite you to visit our curated selection of wooducts and preparatory drawings for woodcuts by Lyonel Feininger hosted exclusively online by IFPDA at this link: https://www.ifpdaviewingrooms.org//lyonel-feininger%3A-the Wishing you and your loved ones Happy Holidays and continued good health, ... Achim Moeller Please note that Moeller Fine Art will be closed for the holidays from December 24, 2020 to January 3, 2021. #moellerfineart #moellerart #modernart #arthistory #nycgallery #artist #curator #artadvisor #artcurator #virtualvisit #museumfromhome #achimmoeller #LyonelFeininger #woodcuts #drawings #IFPDA #viewingroom #onlineviewingroom #art