Book Description

This anthology surveys five decades of critical response to Jackson Pollock, bringing together essential and hard-to-find texts from newspapers, journals, and catalogues. It includes all of Pollock's statements about his art as well as interviews with his wife, painter Lee Krasner, providing firsthand testimony about his goals and methods. Reviews of Pollock's early exhibitions reveal the intense interest his work aroused even before he arrived at his famous technique of "dripping" paint. Later articles trace the growth of Pollock's myth after his death in 1956 and document the continuing debate over psychological and mythological interpretations of Pollock's work.

Edited by Pepe Karmel. ... Read more

Reviews (3)

The Norton Critical Edition of Jackson Pollock
The intended and proper audience for this terrific book is the deeply engaged Pollock student (or acolyte). Further, the volume has no artwork or pictures at all; if you're looking for a good edition of his paintings, try the wonderful MOMA exhibition catalogue, edited by Kirk Varnedoe. What this volume offers is a rich and engaging range of Pollock statements, interviews, art reviews, criticism, analysis, and aesthetic speculation. Together with a good book of his paintings, this book would give you a sort of "Norton Critical Edition" of Pollock's work--you'd have the paintings and then this record of decades of analysis.
Now, in a few cases the lack of pictures does actually hinder one's ability to follow all of the comparisons and insights these essays offer. This is especially true in this book's generous reprint of William Rubin's seminal "Jackson Pollock and the Modern Tradition", originally serialized with copious illustrations. Nonetheless this book presents, chronologically, a tremendous overview of the 20th century's evolving reception and understanding of Pollock's art, from his own published or radio-broadcast commentary to Life magazine's ambiguous (but myth-making) "Is He the Greatest Living Painter in America?" to Clement Greenberg to psychoanalytical writings to Elizabeth Langhorne's allusive and speculative examination of a single painting, "The Moon Woman Cuts the Circle." It's a great book to just pick at, what with its variety and scope, and each page poses something for consideration or debate--to the person who really knows Pollock's work and its underpinnings well. I wish this book had included something from John Berger; what the book "Such Desperate Joy" includes from him is really provocative and efficient. But I suppose that's a petty criticism in light of what this book does assemble, making availiable in one place all of this critical investigation into one of the 20th century's great artists.

A Great Supplement
This book is the type of art book that is the exception to the picture rule.The fact that there are no pictures doesn't detract a bit from the abundant amount of information it contains.I suspect greatly that this is the type of book that only those initiated into the Pollock milieu (and his work) would want to read anyhow.A fantastic source of nostalgia and information that allows the informed reader the opportunity to fill in some blanks on his own.

Very disappointed!
Image, a book about a famous artist, will all kinds of information, but ZERO pictures of either him or his paintings. Other Pollock books are better.If you must have every book about this artist, ok, get it, but put it at the bottom of your wish list. ... Read more

Reviews (2)

Superb!
John Piper produced another top-notch work. This book is articulate, to the point, and easy to read. He clearly did a tremendous amount of scholarly work in writing this book. Very few works exist in Reformed circles wherein non-theologians can read and understand due to the concise nature of the writing. Piper did an excellent job describing how these men dealt with tremendous strife - and where the ability to do so originated. These men understood God's grace... and that is a point not lost, but rather promoted, by Piper. This is another book I can highly recommend.

Models for Perseverance in Ministry
In this third biographical study, Piper gives us three excellent sketches of men who persevered in ministry and righteousness in the face of incredible difficulty. John Newton, the converted slave-trader who penned Amazing Grace, is a model in "habitual tenderness" towards the hurting (most notably the manic-depressive poet William Cowpoer). Charles Simeon is lesser known, but proves to be a powerful demonstration of endurance in the face of almost unrelenting opposition and affliction. His endurance was rooted primarily in his high view of God and his low view of self (what a word for the self-esteem gurus filling America's pulpits today!!). Finally, William Wilberforce, the greatest instrument God used in the abolishment of slavery in Britain, is studied, along with the doctrine which gave him strength and moved him into action (the doctrine is justification by faith). This is a great book and very encouraging. Highly recommended. ... Read more

Book Description

Posters suitable for framing from the major periods of an artist known for his luminous colors, nymphlike forms, and the romance, flamboyance, and sensuality of his work. 24 posters in full color. ... Read more

Reviews (2)

how i can see it detail before i buy it?
how i can see it detail before i buy it?

The finest book about Rubens
Scribner's fantastic book about Rubens is a must-read for any art student or art lover. ... Read more

Book Description

"I do not photograph nature, I photograph my fantasy," Man Ray proclaimed, and he found in the camera's eye and in light's magical chemistry the mechanisms for dreaming. Schooled as a painter and designer in New York, Man Ray turned to photography after discovering the 291 Gallery and its charismatic founder, Alfred Stieglitz. As a young expatriate in Paris during the twenties and thirties, Man Ray embraced surrealism and dadaism, creeds that emphasized chance effects, disjunction, and surprise. Tireless experimentation with technique led him to employ solarization, grain enlargement, mixed media, and cameraless prints (photograms)-- which he called "Rayographs"-- made by placing objects directly on photographic paper and exposing them to light. These successful manipulations, for which he was dubbed "the poet of the darkroom" by fellow surrealist Jean Cocteau, were a major contribution to twentieth-century photography.

Man Ray was no less adept at commercial and portrait photography, and he earned a good living both in Paris and later in Hollywood. His portraits of Joyce, Eliot, Matisse, Artaud, Hemingway, and Brancusi, among others, testify to his compelling insight. Renowned for his exotic wit and elegance, Man Ray was one of the most popular figures of his time and his work continues to hold wide appeal.

Man Ray presents forty-three of the greatest images from throughout the artist's career. The essay by Jed Perl describes the influences behind Man Ray's abundant career and his enduring contribution to photography.
... Read more

Reviews (7)

Good, but not an introduction for beginners
This small book is part of a vague series called Icons by Taschen. They are a dim reflection on some of their larger works.

This book is definitely not for beginners, not meant to be an introduction to Man Ray. However, it has some value for people familiar with Man Ray, Andre Breton and/or Dada. Think of it as material for art history or food for thought about the time.

Do yourself a favor and don't try to learn about Man Ray from this book or any of the enthusiastic or overblown "reviews" of it. Start with something more comprehensive.

If and when you already know about Man Ray and where he fits, get this book and carry it around when you want to feed your head a little. It is nicely done and fills that need very well.

For those unfamiliar with Man Ray, he is not primarily known as a photographer and never intended to be. It is probably the ease of publishing his photographs that has distracted people to thinking of him this way. Don't miss the rest of his work, especially his writing. Read his autobiography and use his photographs as a "program" to identify the players, perhaps.

The original is still the master.
Man Ray used photography as painterly art, not photojournalism. Time spent with each plate provides a vista to questions, epiphanies, riddles, personality or beauty. His nudes are utterly refreshing in a time when women are photographed as blank "hey baby, what's your number" objects. (Ruth Bernhard also recommended.)

Add this book to your collection for the plates alone, but the accompanying essays are terrific. Better yet, visit the mind-expanding collection at the Getty in Los Angeles.

kind of disappointing
I bought this book expecting it to be a basic guide on Man Ray's work. The problem is it happens to be a little too basic. You can't find Man Ray's most expressive work, except for "Tears" (only on the cover), "Le Violin d'Ingres", "Mask of Woman", "Le Priere" and a few Rayographs. It seems to be a biographic record instead of an art book, although it doesn't blur the genius of Man Ray's photographs.

Stunning Stylized Images of a Most Innovative Artist
Although many people think of Man Ray only as a photographer, his artistic work began with training in drawing. His approach to photography was always that of a painter, seeing photography as a way to create images with light as well as with the hand. He made two major innovations in technique, being the first to learn to expose images on photographic paper to capture their outline (rayographs) and to control the solarization process (where a partial reversal of values occurs in a photograph, accompanied by a characteristic edge) to create a consistent halo appearance. He also developed many ways to affect the surface appearance of the objects he photographed to make them more abstract. Deeply interested in Dadaism and Surrealism (although never formally joining either movement), Man Ray also captured witty titles and everyday objects in his photography to give additional depth to the message of his work. You will find many of his well-known portraits of famous artists in this volume.

Before saying more about this outstanding volume, let me caution you (as the cover art surely must) that Man Ray often created images of nude women. If such things offend you, this volume will not be appropriate for you.

The essays in this volume as reproduced in English, German, and French. I found them very helpful for providing technical background on the influences on and methods used in Man Ray's work. His approach was very Edison-like in its many unsuccessful experiments and accidents that led to important breakthroughs. A random mouse helped him learn how to do solarization.

It is not surprising that Marcel Duchamp and he became instant friends. Their perspectives on art have many points in common.

Born as Emmanuel Radnitzky in Philadelphia in 1890, he had moved to New York by age 7, and became exposed there to many important artistic influences. These included the Stieglitz gallery, the Armory Show in 1913, and leading artists in New York. He started as a photographer in 1914 just before meeting Marcel Duchamp. His primary years of productivity were spent in Paris, from which he was driven by the Nazi invasion in 1940. His return to the United States was less than a total joy, and he resided again in Paris after 1951.

I believe that this volume is as much a delight for the mind as it is for the eye. Subtle differences in processing of similar images create enormously changed reactions in the viewer. You then move forward to study the reason for your changed perspective and find it in a small detail . . . like a slightly lifted eyebrow. Miror images in positive and negative reproduced side by side on facing pages create a similar reaction.

Here are my favorites from these outstanding reproductions of Man Ray's best work:

Integration of Shadows 1919

Untitled 1922

La violin d'Ingres 1924

Retour a la raison 1923

Meret Oppenheim 1932

"Beauty in ultra violet" c. 1931

Erotique voilee [Meret Oppenheim] 1933

Le Priere c. 1930

Anatomia 1929

Nusch and Sonia 1935

Untitled 1931

Untitled [hair] 1931

Lee Miller c. 1930

Objet mathematique 1934-36

Les Arums 1039

Untitled [Dancer] c. 1935

Enough Rope 1944

Rayograph 1925

Rayograph 1930

Champs delicieux 1922

Marcel Duchamp 1916

Constantin Brancusi 1933

Max Ernst c. 1934

Andre Breton c. 1930

Marcel Duchamp 1921

Joan Miro c. 1930

Pablo Picasso 1932

If you enjoy the the ultimate in photographic creativity, this is the book for you!

After you finish this work, I suggest that you take these insights and begin to create some art of your own. Consider creating composite images by including your own collages with natural objects and photographing them, for example. You can even include your own poems as adjoining commentaries.

Expand your mind and your grasp by taking advantage of all the resources at your disposal!

The guy of art
Have you ever seen a photo of eye with sting eyeblows? His photos are nothing but an art...Massimo! Man Ray is famous for his so-called Rayograph, which is to make pictures without using camera. This book contains many works of him and some photos are of Surrealists. ... Read more

Book Description

A celebration of a renowned artist and political activist.

Diego Rivera, in a career that spanned sixty years, produced some of the most distinctive and socially powerful works in modern art. Rivera was very much a twentieth-century renaissance man. He was a painter, printmaker, sculptor, book illustrator, one of the first collectors of pre-Columbian art, as well as a political activist. In both the United States and Mexico, Rivera's monumental frescos gave life to revolutionary themes, often offending the critics as well as the public. In New York's Rockefeller Center, for instance, his murals were destroyed because of public outrage over their strongly pro-communist content. This volume illustrates Rivera's life and work from his early years at the Mexican Academy of San Carlos and studies in Spain; his subsequent eleven-year sojourn in Paris in the first part of this century; to his efforts to establish a truly national Mexican style in the murals for which he is most famous. Accompanying Rivera's work are essays by noted scholars reevaluating his place in the history of modern art. 200 color plates, 325 black-and-white illustrations. ... Read more

Reviews (1)

Diego
Long out of print, this book has never been surpassed as "the complete Rivera." This volume illustrates Diego Rivera's life and work, from his early years at the Mexican Academy of San Carlos and studies in Spain; his subsequent eleven-year sojourn in Paris in the first part of this century; to his efforts to establish a truly national Mexican style in the murals for which he is most famous. Illustrations of Rivera's work are accompanied by essays by noted scholars who reevaluate his place in the history of modern art. ... Read more

Book Description

These richly illustrated art books cover several centuries of great artists and their masterworks. From Arcimboldo to Schiele, each artist's life and times, influences, legacy, and style are explored in depth. Each book analyzes a particular painting with regard to the history surrounding it, the techniques used to create it, and the hidden details that make up the whole, providing a thorough look at each artist's career. Included is a bibliography, a chronological reading of principal works, a brief life history, and listings of public collections featuring each artist. ... Read more

Reviews (1)

An interesting turn from his paintings of flowers
I must say I thought the "figure" was charming. But what interested me most was the rich use of color and texture and the details. The text helps the reader understand what (s)he is seeing. I had hoped for more paintings and accompanying text in the book (a larger book). ... Read more

Book Description

Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings. ... Read more

Reviews (1)

A Grand Catalogue of Revolutionary Thoughts and Works
The husband-and-wife team of Alexandr Rodchenko/Varvara Stepanova are the most well known graphic designers of the era. The Museum of Modern Art in New York had an exhibition in 1998 devoted to their works; the catalogue, 'Aleksandr Rodchenko', is a well presented overview that is ideal for those wanting to learn about the art and politics of post-revolutionary Russia. ... Read more

Book Description

Robert Rauschenberg, one of the most prolific and influential artists of the postwar period, has created an astonishing variety of works during a career spanning more than fifty years. To illuminate the meaning of Rauschenberg's art and the reasons behind his artistic choices, Robert Mattison in this book focuses closely on a small selection of the artist's projects. Mattison offers an interpretation of Rauschenberg's output that is both original and uniquely insightful, based on extensive research and first-hand observation of the artist at work in his studio.Like Rauschenberg's own work, the book ranges across a variety of disciplines. Mattison relates the artist's output to the visual arts, politics, technology, dance, urban theory, and other intriguing contemporary issues. The book examines Rauschenberg's working process, the effect of his dyslexia on his art, his seminal Combine paintings of the 1950s, fascination with the "space race," and collaboration with well-known choreographer Trisha Brown. A final chapter explores the art Rauschenberg exhibited in Chile during the dangerous and repressive rule of dictator Augusto Pinochet. ... Read more

Reviews (1)

patchwork collage of the mind
Reflections of an artist mind unleashed, Rauschenberg's images of political and social issues are portayed through scattered images and expressive paint strokes. His use of mixed media portrays an intensity between his paintings and the connection expressed in his life and his surroundings. ... Read more

Book Description

Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his Atlas. Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.

Edited by Hans-Ulrich Obrist.
Essay by Peter Andre Bloch.

Hardcover, 4.5 x 6 in., 88 pages, 55 color Illustrations ... Read more

Reviews (1)

Inspiring for amateur artists
Throughout his career, Picasso used classic paintings as inspiration for his own work. Typically, the earlier paintings did not inspire just a single work, but a sequence of paintings, sometimes dozens of them.

This book follows the in-depth process behind the creation of some of these sequences, including those inspired by Manet's "Le déjeuner sur l'herbe" and Velasquez's "Las Meninas". Many of the paintings in each sequence are illustrated, and the commentary, though somewhat academic in tone, is quite useful.

I am not an art historian, but I found this book inspiring, especially for amateur artists like me.

First, it shows that, for Picasso, art was a process, rather than a goal. As the sequences develop, we can see him continuously reinterpreting the original, changing directions, as a way of exploring the original and his reactions to it. Many of the steps are incomplete, or inadequate in some way. I personally found this reassuring! So often, we only see the major works, and they are treated as if they had been perfectly formed, rather than the conclusion of a series of experiments. (David Hockney has mentioned that owning Picasso's catalogue raisonné made him understand Picasso in a whole new way).

Second, the whole premise of the book is that is OK to be derivative (in the best sense). Our art culture places an extreme value on originality. The idea of copying great art, and being inspired by it to develop your own variations on a theme, is currently underappreciated, even though this technique has always been used by great artists. (In art, Van Gogh comes to mind. And in music, Bach, Mozart, and of course, all jazz musicians). This book shows that this approach can indeed be useful and productive, and if Picasso used it, maybe it can get some respect!

In other words, if you are an artist, feeling pressure to create perfect, original works, relax! Don't be afraid to experiment. ... Read more