Karen Wilkin

Edward Gorey is famed for his pen-and-ink drawings and dark humor, and this overview provides examples of his art, insights into his work by an artist and longtime friend, and critical analysis by an art reviewer.

"Stuart Davis (1892-1964), once described as "the ace of America's Modernists," regarded drawing as central to his art. He believed that all his works were drawings, and developed his images as carefully adjusted black-and-white "configurations" which he translated to "color-space compositions" only at the last stage of his painting procedure. He even retranslated some of his most ambitious and best-known paintings back into large-scale black-and-white drawings on canvas, apparently as a final version of the image." "This volume examines, for the first time, the full range of Davis's activity as a draftsman, from his early naturalistic drawings in the manner of the Ashcan School to the economical near-abstractions of his maturity. A broad interpretation of the notion of drawing, in keeping with Davis's own understanding of the term, allows the inclusion of works on paper in a variety of mediums, including watercolors, gouaches, and some late black-and-white drawings on canvas." "Included as well are selections from Davis's extensive writings, which contain innumerable references to drawing: attempts to define what constitutes a good drawing, and discussions of the role of drawing in his work and in the formulation of his complex theories of composition. Just as important, Davis's notebooks contain many images, ranging from diagrams that illustrate theory to fully developed, self-sufficient drawings." "Karen Wilkin and Lewis C. Kachur, both eminent Davis scholars, draw heavily on his unpublished writings and less well-known images to deepen our understanding of Davis and of American modernism in its formative years."--BOOK JACKET.

Having realized quite early that he had to be an artist, Smith made his way to New York and the Art Students League. There he experimented with variations on the revealing styles of Cubism and Surrealism, and slowly discovered his own technique, particularly the use of industrial methods such as welding to construct his sculptures. The results — though responsive to such varied influences as Picasso and pin-up girls — were imaginative, and often strikingly beautiful. Smith's art has inspired generations of followers, but his position as one of the masters of 20th-century sculpture remains unchallenged.

"This account of Bruno Fonseca's life, unorthodox training, and startlingly diverse paintings, drawings, and sculpture illuminates his own remarkable work and at the same time invites us to consider what it means to be and to become an artist." "Told from three very different perspectives, the book's narratives offer welcome glimpses into the mysteries of how and why an artist creates."--BOOK JACKET.

This illustrated monograph explores the career of one of the most original and influential sculptors now working in the modernist tradition. His early work, as part of London's "New Generation," used unexpected materials in sculptures that married form and color in unprecedented ways. They are distinguished by their inventive polychromy and sleek industrial materials (fiberglass, plexiglass, glass, and aluminum tubing along with wood) as well as by their repetitive, curvilinear profiles and bold thrusts into space. Once in the U.S., Witkin continued to explore abstract volume and color in steel. His generously scaled constructions, equally notable for their structural audacity and emotional range, established him as a legitimate heir to the tradition of David Smith. In the early 1980s Witkin shifted to working in bronze, inventing a method of constructing with directly poured elements. This most recent work allows him to combine the sensuality of once-molten metal, the expressiveness of organic forms, the richness of bronze patina, and the immediacy of constructed sculpture. Author Karen Wilkin relates the story of the artist's career to date, discussing the evolution of his work in the context of the modernist tradition as well as the work of Witkin's contemporaries.

Describes the life and work of the French Post-Impressionist artist, who tried new ideas in painting to express his love of nature.

"This illustrated book accompanies an exhibition at The Phillips Collection in Washington, D.C., and presents nearly sixty key Impressionist and modernist paintings, sculptures, and works on paper from Tannahill's collection at The Detroit Institute of Arts alongside their counterparts from Duncan Phillips's collection. The artists represented include Cezanne, Degas, Gauguin, Van Gogh, Graves, Hartley, Ingres, Klee, Manet, Marc, Marin, Matisse, Modigliani, Moore, Picasso, Renoir, Rivera, Rouault, Seurat, and Toulouse-Lautrec."--BOOK JACKET.

De Italiaanse kunstenaar Giorgio Morandi (1890-1964) is de grootmeester van de twintigste eeuwse stillevenkunst. Met zijn subtiel geschilderde vazen, potjes en flessen groeide hij - ondanks die schijnbaar eenvoudige thematiek - uit tot een ikoon. De tijdloosheid en verstilling in Morandi's schilderijen, spreken ook veel collega-kunstenaars aan. Niet voor niets wordt hij een painter's painter genoemd, een inspiratiebron voor andere schilders. Morandi leefde een teruggetrokken bestaan in zijn geboorteplaats Bologna. Hij verliet de stad zelden en was voornamelijk in de beslotenheid van zijn sobere atelier te vinden. Daar vond hij ook zijn 'modellen', de kruikjes en potten die vereeuwigd werden in steeds wisselende samenstellingen. In dit boek wordt een ruime selectie van zijn stillevens getoond: schilderijen, tekeningen en enkele grafische werken. Ingeleid door Alessia Masi, directeur van het Museo Morandi in Bologna. Daarnaast is er aandacht voor de stad Bologna. Kunstenares Ada Duker fotografeerde architectuurfragmenten en auteur Jan Brokken schreef over zijn ervaringen met Bologna en het werk van Morandi. Dat zorgt voor een verrassende en vernieuwende kennismaking met het werk van deze unieke Italiaanse kunstenaar. Exhibition: Museum Belvédère, Heerenveen-Oranjewoud, the Netherlands (24.02.-10.06.2018).

Accompanying DVD contains: The Mirror Eye, a film by J.R. Hughto; Greenberg's lecture given on April 1, 1991, at the Canastota Public Library in Central New York; three stories from the exhibited artists on meeting Greenberg for the first time; trailer.