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Portret van David Hare

Schilderijen van David Hare: De top 2 bekendste, gerangschikt

Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van David Hare in onze catalogus

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Het beroemdste schilderij van David Hare is Cloud and Rain (1950). Van de 2 werken van David Hare in onze catalogus zijn dit de 2 bekendste, gerangschikt met elk hun jaartal en museum, zodat u het schilderij kunt kiezen om te bestellen.

1917 – 1992, New York City

Top 10 schilderijen van David Hare, gerangschikt

David Hare per jaar: de beste schilderijen

Alle gedateerde schilderijen van David Hare op deze pagina zijn uit 1950 en staan hier op volgorde van rang vermeld.

Werken per jaar

Selecteer een jaar om de bijbehorende schilderijen te bekijken.

Schilderijen van David Hare: veelgestelde vragen

Wat is het beroemdste schilderij van David Hare?Antwoord tonen

Cloud and Rain (1950) staat op de eerste plaats.

Hoe oud was David Hare toen Cloud and Rain werd geschilderd?Antwoord tonen

David Hare was 33 jaar oud: Cloud and Rain dateert uit 1950, en David Hare werd geboren in 1917.

Hoeveel werken van David Hare staan er in uw lijst?Antwoord tonen

2 werken van David Hare staan in onze catalogus.

Welke periode bracht de beroemdste schilderijen van David Hare voort?Antwoord tonen

In 1950: 2 van de 2 hier gerangschikte schilderijen stammen uit die tijd, waaronder Cloud and Rain.

Over de kunstenaar: David Hare

The Sculptural Reality of David Hare

To look at the work of David Hare is to confront a deliberate fragmentation of reality. He was an American sculptor who did not merely represent dreams but reconstructed them through heavy, tangible materials. While his contemporaries often drifted into pure abstraction, Hare anchored his explorations in the weight of steel and bronze. His practice was defined by a refusal to let the image remain purely symbolic; instead, he forced it into a physical, biomorphic presence that demands attention through its very mass.

His development was shaped by an unusual proximity to the exiled French Surrealists during World War II. This connection provided him with a technical vocabulary of subversion. He utilized heatage, or brulage, in his photography—a process of melting photographic negatives to distort the subject. In works like his Untitled piece from the VVV portfolio, the technique strips away anatomical certainty, leaving only the contour of a female body amidst black and white masses that suggest burnt flesh. This was not an aesthetic choice made for decoration; it was a method to negate the photographic ability to reproduce an objective truth.

Materiality and Form

Hare’s transition toward metalwork allowed him to bridge the gap between Surrealist philosophy and the emerging energy of Abstract Expressionism. He moved away from the ephemeral nature of paper and film toward the permanence of bronze and steel. His sculptures often feature organic, biomorphic shapes that feel as though they possess an independent life. These forms do not rely on recognizable figures but instead use abstract compositions to trigger instinctive emotional responses.

The structural logic of his work can be seen in specific series and pieces:

  • Sunrise: A series from the 1950s utilizing steel rods, rock, and gilt bronze solder to create a sun-like form.
  • Magician's Game: A 1946 bronze cast that incorporates an egg-shaped object and comb-shaped elements.
  • The Swan's Dream of Leda: A sculpture composed of irregular bronze sheets mounted on a stone base, drawing from Greek mythology.

A Legacy of Disruption

Hare’s significance lies in his ability to use the tools of chance and intuition—such as automatic drawing and collage—to challenge the stability of the visual field. He did not seek to create a window into another world, but rather to break apart the existing one and reassemble it into something more complex. His work remains relevant because it avoids the trap of easy recognition. By manipulating negatives and melting surfaces, he mirrored the instability of a world undergoing profound political and physical transformation.

He remained a figure who straddled two distinct movements without being swallowed by either. His commitment to exploring human desire, death, and love through the lens of Surrealist technique persisted even when such themes lost their mainstream momentum. He proved that art could be both deeply psychological and physically undeniable.