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“帕克剧院（后来的埃尔金影院，后来的乔伊斯影院）的设计，纽约州纽约市。”-Winold Reiss

Designs for the Puck Theater (later Elgin Movie Theater, then Joyce Movie Theater), New York, NY.] [Exterior perspective study--Winold Reiss (美国, 1886-1953)

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“帕克剧院（后来的埃尔金影院，后来的乔伊斯影院）的设计，纽约州纽约市。”-Winold Reiss

Designs for the Puck Theater (later Elgin Movie Theater, then Joyce Movie Theater), New York, NY.] [Exterior perspective study--Winold Reiss (美国, 1886-1953)

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“纽约州纽约市普克剧院（后来的埃尔金电影院，后来的乔伊斯电影院）的设计。”-Winold Reiss

Designs for the Puck Theater (later Elgin Movie Theater, then Joyce Movie Theater), New York, NY.] [Exterior perspective study..--Winold Reiss (美国, 1886-1953)

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“纽约州纽约市的帕克剧院（后来的埃尔金电影院，后来的乔伊斯电影院）的设计。”-Winold Reiss

Designs for the Puck Theater (later Elgin Movie Theater, then Joyce Movie Theater), New York, NY.] [Exterior perspective study.--Winold Reiss (美国, 1886-1953)

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32 1/4 x 40 1/8 (81.9 x 101.9 cm)

Edward Hopper. New York Movie. 1939

爱德华·霍珀。纽约电影。1939-

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电影，8威尔·R·巴恩斯-Will R. Barnes

Movie, 8--Will R. Barnes (美国, ?-1939)

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33 1/4 x 67 (84.5 x 170.2 cm)

Dinh Q. Lê. Untitled (movie grid). (2003)

没有Dinh Q。无标题（电影网格）。(2003)

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“晚餐、电影和匿名者关于艾滋病的演讲怎么样？”-Anonymous

How about dinner, a movie, and a talk about AIDS--Anonymous

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“患者活动”由美国国家卫生研究院主办的电影明星电影节-National Institutes of Health

Patient Activities presents Great movie stars film festival--National Institutes of Health (美国, 1887-)

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胡安·乌塞尔 电影

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阿尔曼（阿尔曼·皮埃尔）-

Arman *(Armand Pierre - Zeitgenössische Kunst II-

(Nice 1928–2005 New York)
Hommage à Nadar, 1986, signed and numbered 14/95, sliced 波兰ed and black patina bronze cast of movie camera, 31 x 23 x 50 cm

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Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

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