2015, ISBN: 9780375403781

Taschenbuch, Gebundene Ausgabe

New Haven, CT: Yale University Press, 2015. x, 282 pages, [8] leaves of plates, illustrations (some colour), map; 22 cm. Tight, clean copy. First thus. "Mark Rothko was not only one … Mehr…

New Haven, CT: Yale University Press, 2015. x, 282 pages, [8] leaves of plates, illustrations (some colour), map; 22 cm. Tight, clean copy. First thus. "Mark Rothko was not only one of the most influential American painters of the twentieth century; he was a scholar, an educator, and a deeply spiritual human being. Born Marcus Yakovlevich Rotkovitch, he emigrated from the Russian Empire to the United States at age ten, already well educated in the Talmud and carrying with him bitter memories of the pogroms and persecutions visited upon the Jews of Latvia. Few artists have achieved success as quickly, and by the mid-twentieth century, Rothko's artwork was being displayed in major museums throughout the world. In May 2012 his painting Orange, Red, Yellow was auctioned for nearly $87 million, setting a new Christie's record. Author Annie Cohen-Solal gained access to archival materials no previous biographer had seen. As a result, her book is an extraordinarily detailed portrait of Rothko the man and the artist, an uncommonly successful painter who was never comfortable with the idea of his art as a commodity" - Publisher. CONTENTS: The charismatic Yacov Rotkovich: a Jew of the empire, 1903-1913; A diligent student in Portland, Oregon: 1913-1921; The years of chaos: 1921-1928; The metamorphosis of Marcus Rothkowitz: 1928-1940; In search of a new Golden Age: 1940-1944; Between Surrealism and Abstraction: 1944-1947; Toward absolute Abstraction: 1947-1949; With the rebel painters, a pioneer: 1949-1953; The avant-garde Jewish painter and his journey of dispersion: 1954-1958; From a luxury skyscraper to a medieval chapel: the first anchoring in Britain, 1958-1960; Years of experimentation, recognition, and torment: the second anchoring in Britain: 1960-1964; The long-awaited chapel: the expiatory sacrifice, 1964-1970.. 1st. Paperback. Fine. 8vo., Yale University Press, 2015, 5, New York: Da Capo Press, Inc., 1977. BD3 - A first edition (no additional printings) hardcover book SIGNED Joseph Solman and inscribed to previous owner on the front free endpaper in very good condition in good dust jacket that is mylar protected. Dust jacket has less than 4" tear on the front bottom left, open tear on the back bottom right corner, some wrinkling, chipping, crease, some tears and moderate tears on the edges and corners, light tanning and shelf wear. Book has some bumped corners, light tanning and shelf wear. Introduction by Una E. Johnson curator emeritus, The Brooklyn Museum with technical notes by the artist on the making of the prints. 8.5"x11.25". Satisfaction Guaranteed. Joseph Solman was an American painter, a founder of The Ten, a group of New York City Expressionist painters in the 1930s. His best known works include his "Subway Gouaches" depicting travelers on the New York City Subway. Born in Vitebsk, Russian Empire, he was brought to America from the Russian Empire as a child in 1912, Solman was a prodigious draftsman and knew, in his earliest teens, that he would be an artist. He went straight from high school to the National Academy of Design, though he says he learned more by sketching in the subway on the way back from school late at night: people "pose perfectly when they're asleep." In 1929, Solman saw the inaugural show at the Museum of Modern Art featuring Seurat, Gauguin, Van Gogh, and Cézanne. In 1934, Solman had his first one-man show, much influenced by the French modern artist Georges Rouault. One critic was impressed by "the mystery that lurks in deserted streets in the late twilight." Another noted that Solman's color had "an astonishingly rich quality that burns outward beneath the surface." Joseph Solman was, with Mark Rothko, the unofficial co-leader of The Ten, a group of expressionist painters including Louis Schanker, Adolph Gottlieb and Ilya Bolotowsky, who exhibited as the "Whitney Dissenters" at the Mercury Galleries in New York City in 1938. A champion of modernism, Solman was elected an editor of Art Front Magazine when its other editors, art historian Meyer Schapiro and critic Harold Rosenberg, were still partial to Social Realism. But Solman never believed in abstraction for abstraction's sake. "I have long discovered for myself," Solman has said, "that what we call the subject yields more pattern, more poetry, more drama, greater abstract design and tension than any shapes we may invent." In writing about a purchase of a typical 1930s Solman street scene for the Wichita Museum, director Howard Wooden put it this way: "Solman has produced the equivalent of an abstract expressionist painting a full decade before the abstract expressionist movement came to dominate the American art scene, but without abandoning identifiable forms." In 1964, The Times, discussing his well-known subway gouaches (done while commuting to his some-time job as a racetrack pari-mutuel clerk), called him a "Pari-Mutuel Picasso." In 1985, on the occasion of a 50-year retrospective, The Washington Post wrote: "It appears to have dawned, at last, on many collectors that this is art that has already stood the acid test of time." . Signed by Author. First Edition. Hardcover. Very Good/Good. 8vo - over 7¾" - 9¾" tall., Da Capo Press, Inc., 1977, 2.75, New York : Knopf : Distributed By Random House, 1999. First Edition. Hardcover. Arshile Gorky, one of the most intriguing figures in modern art, was at the center of the New York art world in the twenties, thirties, and forties. Yet he was never fully recognized as an important painter in his lifetime, and it was only after his death that his reputation soared. In this deeply felt and penetrating biography, Matthew Spender--himself a sculptor and the husband of Gorky's elder daughter--writes with extraordinary sympathy and perception, and he gets to the heart of his elusive subject. Born in Khorkom, a small Armenian village in eastern Turkey, Arshile Gorky grew up haunted by memories of his alternately idyllic and terrifying childhood: the scars of the 1896 Turkish massacres of his people; then the mass slaughter of 1915 from which his own family fled; the desertion of his father; the dominance of his headstrong and loving mother, who died of starvation after they found shelter in the Caucasus. Making his way to the United States, the young Gorky determined against all odds to become a painter. He buried his past by assuming a new name and identity, and brazened his way into the art world. At once charming and peremptory, seemingly an extrovert but secretive at heart, he could both dazzle and alienate his art students (Rothko was one of his earliest) , his fellow painters, and his young loves, as well as potential dealers and patrons. In telling Gorky's story, Matthew Spender gives us the most illuminating picture of the New York art scene that has yet been written--from the affluent twenties, when the Ash Can school was emerging, to the depressed thirties, which marked the high point of Gorky's career, when he painted a huge abstract mural for Newark Airport. During the explosive postwar years, Gorky withdrew into a world of increasing solitude, even as Andre Breton, the founder of surrealism, was championing him, along with other artist friends like Willem de Kooning, Roberto Matta, and Isamu Noguchi. His last years, dogged by tragedy and illness, threatened even the haven of his marriage and family, until finally, in 1948, he took his own life. With his artist's eye, Matthew Spender helps us to see what lies behind the paintings--to recognize in the abstraction, for instance, the onion with feathers that hung from a cross above the fire pit in Gorky's childhood home in Khorkom. Above all, Spender understands the enormity of Gorky's sense of isolation in an America he did not fully understand, and that his need to invent the imaginary artist was what sustained his paintings. It is the perfect conjunction of writer and subject that makes this biography so rich in insight and so compelling as a human document. An exceptional copy; fine in an equally fine dw, now mylar-sleeved. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new ; 417 pages; Description: xxiii, 417 p. : ill. , map, ; 25 cm. ""Published simultaneously in Canada by Random House of Canada Limited, Toronto"" Includes bibliographical references (p. 377-400) and index. Subjects: Gorky, Arshile (1904-1948) --Artists --United States --Biography, New York : Knopf : Distributed By Random House, 1999, 0<

1999, ISBN: 9780375403781

Gebundene Ausgabe

Random House Publishing Group, 1978. Mass Market Paperback. Acceptable. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.Dust jac… Mehr…

Random House Publishing Group, 1978. Mass Market Paperback. Acceptable. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed., Random House Publishing Group, 1978, 2.5, New York : Knopf : Distributed By Random House, 1999. First Edition. Hardcover. Arshile Gorky, one of the most intriguing figures in modern art, was at the center of the New York art world in the twenties, thirties, and forties. Yet he was never fully recognized as an important painter in his lifetime, and it was only after his death that his reputation soared. In this deeply felt and penetrating biography, Matthew Spender--himself a sculptor and the husband of Gorky's elder daughter--writes with extraordinary sympathy and perception, and he gets to the heart of his elusive subject. Born in Khorkom, a small Armenian village in eastern Turkey, Arshile Gorky grew up haunted by memories of his alternately idyllic and terrifying childhood: the scars of the 1896 Turkish massacres of his people; then the mass slaughter of 1915 from which his own family fled; the desertion of his father; the dominance of his headstrong and loving mother, who died of starvation after they found shelter in the Caucasus. Making his way to the United States, the young Gorky determined against all odds to become a painter. He buried his past by assuming a new name and identity, and brazened his way into the art world. At once charming and peremptory, seemingly an extrovert but secretive at heart, he could both dazzle and alienate his art students (Rothko was one of his earliest) , his fellow painters, and his young loves, as well as potential dealers and patrons. In telling Gorky's story, Matthew Spender gives us the most illuminating picture of the New York art scene that has yet been written--from the affluent twenties, when the Ash Can school was emerging, to the depressed thirties, which marked the high point of Gorky's career, when he painted a huge abstract mural for Newark Airport. During the explosive postwar years, Gorky withdrew into a world of increasing solitude, even as Andre Breton, the founder of surrealism, was championing him, along with other artist friends like Willem de Kooning, Roberto Matta, and Isamu Noguchi. His last years, dogged by tragedy and illness, threatened even the haven of his marriage and family, until finally, in 1948, he took his own life. With his artist's eye, Matthew Spender helps us to see what lies behind the paintings--to recognize in the abstraction, for instance, the onion with feathers that hung from a cross above the fire pit in Gorky's childhood home in Khorkom. Above all, Spender understands the enormity of Gorky's sense of isolation in an America he did not fully understand, and that his need to invent the imaginary artist was what sustained his paintings. It is the perfect conjunction of writer and subject that makes this biography so rich in insight and so compelling as a human document. An exceptional copy; fine in an equally fine dw, now mylar-sleeved. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new ; 417 pages; Description: xxiii, 417 p. : ill. , map, ; 25 cm. ""Published simultaneously in Canada by Random House of Canada Limited, Toronto"" Includes bibliographical references (p. 377-400) and index. Subjects: Gorky, Arshile (1904-1948) --Artists --United States --Biography, New York : Knopf : Distributed By Random House, 1999, 0<