My Favorite Paintings at Anderson Collection at Stanford University

Anderson Collection at Stanford University was built to showcase an Anderson family's modern art collection.

I found Theophrastus' Garden (1982) by Terry Winters very enchanting. This ethereal garden, in pleasing shades of burnt umber and blended and mingled with white tint, was at the same time earthy, solid, airy, and unreal. The strange, insect-looking flora, in shades of steely blue, scattered around into the depth, like the dispersing dandelion seeds, animated this fenced in paradise.


Theophrastus' Garden, 1982, Terry Winters

Another favorite of mine was a monochromatic, semi-abstract parting by Susan Rothenberg, Wishbone (1979). In the center of the motley black canvas, "stood" an elongated blue black wishbone, a forked bone (the furcula) between the neck and breast of a bird, often chicken from our tables. To its right, a lean horse, in charcoal black shade, occupied the right one-third of the canvas. The shape of the horse, viewed absolutely frontal, seen only it's head, triangle-shaped torso, and two legs, echoed that of the wishbone, or could be its filled-out shadow. The meaning of this painting was quite opaque. Perhaps, the swift horse, might be the agent to accomplish one's wish? Though employed almost only one color, Rothenberg managed to created a world full of shifting changes of shades and moods, and charged with vigor and emotion.


Wishbone, 1979, Susan Rothenberg

My Favorite Museum Collection Series
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Anderson Collection at Stanford University

A trove of modern art was gifted to Stanford University recently by Harry W. and Mary Margaret Anderson and Mary Patricia Anderson Pence, the Bay Area family who built the collection over the last 50 years, and Stanford built a new facility, next to the Cantor Museum of Art at Stanford, to host this outstanding collection, Anderson Collection at Stanford University.

I will not attempt to describe these extraordinary art works; rather I will present them in clusters as curated by the museum, mostly grouped together according the the similar styles of the artworks or artists.  Below are the majority of those on display, which either captivated or intrigued me when I visited the museum in December last year:


Untitled Standing Figure, 1982, Manuel Neri, in front of Four Women, 1959, David Park


Girl on the Beach, 1957, Richard Diebenkorn


Berkeley #26, 1954, Richard Diebenkorn & Figure by Window, 1962, Paul Wonner


Reclining Nude, 1958, Nathan Oliveira


Four Women, 1959, David Park


Nude in Environment I, 1962, Nathan Oliveira


1946, 1992, Christopher Brown


Wine Glass and Postcard (Zurbarán), 1968, Paul Wonner & Stage #2 with Bed, 1967, Nathan Oliveira


Just to Mention a Few (after Bosch), 1994, William T. Wiley




Summer Image (For My Mother), 1983, Jay DeFeo


Mouse Cup, 1981-1982, Elizabeth Murray & Theophrastus' Garden, 1982, Terry Winters


Zeltweg, 1982, Frank Stella


Zeltweg, 1982, Frank Stella & Yosemite Falls (Homages to Watkins), 1993, Mark Tansey




Fountain Figure #4, 1986-87, Robert Graham


Dumb Luck, 1990, Martin Puryear & Wishbone, 1979, Susan Rothenberg


Lever (#4), 1989, Martin Puryear


Factory Fire, August 8, 1985, 1985, Donad Sultan


Wend, 1987, Loren Madsen


Red Ascending, 1990, Sean Scully






Fall Euphony, 1959, Hans Hofmann


Guy in the Dunes, 1979, & Denial, 1983-1986, Bill Jensen


Sky Garden by Nevelson, Window by Mark Tobey, and Wall Painting No. IV by Robert Motherwell


Sky Garden, 1959-1964, Louise Nevelson & Window, 1953, Mark Tobey


1957-J No. 1 (PH-142), 1957, Clyfford Still


Lucifer, 1947, Jackson Pollock


Serpentine, 1961, William Baziotes


Figure 8, 1952, Franz Kline & Italian Summer, 1963, Robert Motherwell


Woman Standing--Pink, 1954-55, Willem De Kooning & Ocean Park #60, 1973, Richard Diebenkorn


Wall Painting No. IV, 1954, Robert Motherwell


Untitled (Black on Gray), 1969, Mark Rothko


Pink and White over Red, 1957, Mark Rothko


The Coat II, 1977, Philip Guston


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