Pictures of Nothing: Abstract Art since Pollock (A.W. Mellon Lectures in the Fine Arts)

Average customer rating:

overrated and wordy

They really need a Zero Star category for books like this one

Review by P Hutchings, Melbourne, Australia

Abstraction clarified

If You Could Have Only One Art Book...

Pictures of Nothing: Abstract Art since Pollock (A.W. Mellon Lectures in the Fine Arts)
Kirk Varnedoe
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 069112678X

Book Description

"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death.

With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.

Customer Reviews:

overrated and wordy.......2007-09-19

a disappointing book - pretentious and unenlightening - get hilton kramer's "the trium of modernism" instead!

They really need a Zero Star category for books like this one.......2007-07-24

I watched the excellent series on art on DVD called "Power of Art" by Simon Schama. The last episode of the series is on Mark Rothko, an abstract painter. It made me want to learn more about abstract art, so I bought this book. Annnt! Thanks for playing. This book is a dog. It didnt help me understand abstract art one bit . In fact, it goes on and on about pieces of "art," but does not explain them beyond being smears or smudges or works of technique. The basis of abstract art is not explained at all.

BTW, it appears from this book that these guys were often making paintings just as rude jabs at one another's work.

I found the book a total waste.

Review by P Hutchings, Melbourne, Australia.......2007-06-13

Kirk Varnedoe's Pictures of Nothing is a masterpiece of empirical art chronology/criticism. It is gritty and on the ground. This is a relief after Danto's warmed-over Hegel and Clement Greenberg's star-spangled marx with a small M. If one might venture any hypothesis about the artists about whom Varnedoe wrote it would have to face, square on, any counter-instances. No Zeitgeist, just Popperian falsifiablility. Good. It is of course a pity for those of us who were not in New York at the right time. But, that's life.

Patrick Hutchings
Department of Philopsophy
University of Melbourne
Australia

Abstraction clarified.......2007-02-07

A brilliant and thorough explication of contemporary abstract art. The lectures were not intended for
arts professionals but are a literate and enjoyable guide to the visual arts since Jackson Pollock.

If You Could Have Only One Art Book..........2007-01-14

I'm married to a librarian and between the two of us, we have at least 8,000 books (we both love books just about more than anything), but if I could only have one book - this would definitely be it. The late Kirk Varnedoe, former Chief Curator of MoMA, has so clearly, easily and deliciously put into one gorgeous volume the whole picture of what I've been studying my you-know-what off to understand over the past 7 years. I've been The Menil Collection's Twombly Guard during those 7 years, so you can believe that I am especially enthusiastic with Varnedoe's illuminating explanations on Cy Twombly's art! Buy this book and I guarantee you will not be disappointed. The reproductions are also first-class. Varnedoe gave these lectures knowing that he was dying of cancer; his last sentence is "And now I am done." Three months later he did die and was never able to see them published. This book may be the best book that has ever been written about abstract art.

Average customer rating:

Pollock, only Pollock, nothing else but Pollock
THIS BOOK OFFERS GREAT INSIGHT INTO POLLOCK'S ARTISTIC MIND
simply the best
Best Reproductions and Most Complete
Pollock Without the Boring Mythologizing

Jackson Pollock
Kirk Varnedoe , Pepe Karmel , and Jackson Pollock
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover

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ASIN: 0810961938

Amazon.com

The almost mythic Jackson Pollock--a roughshod, ill-mannered, prodigiously ambitious, aggressive, alcoholic, tormented artist--is alive and unwell in this book. But Kirk Varnedoe and Pepe Karmel, the chief curator and adjunct assistant curator, respectively, of the Museum of Modern Art's Department of Painting and Sculpture, also go deeply into Pollock's art in eye-opening ways. This book is the catalog for the retrospective of Pollock's art-shattering oeuvre at the Museum of Modern Art in the fall of 1998 and includes many biographical pictures as well as color plates of Pollock's paintings, from the awkward but earnest early works to the late, great, famous canvasses. Varnedoe's essay, aptly titled "Comet: Jackson Pollock's Life and Work," deftly invites the reader into Pollock's world, starting with his country studio: "The structure, often called a barn, is in fact more like a glorified tool shed." Karmel's essay, "Pollock at Work: The Films and Photographs of Hans Namuth," is a truly groundbreaking exploration of Pollock's technique. Karmel has scrutinized every frame of every piece of film, still or moving, ever taken of Pollock painting. He arrives at absolutely original conclusions: Pollock's all-over swirls of dripped and flung paint often began as figurative works and clearly relate to such all-American stalwarts as Thomas Hart Benton. Karmel makes countless other sharp observations, noting the difference, for example, between fast-looking marks and the slow, deliberate movements with which they were made (and vice versa). His essay is a work of brilliant scholarship, written thrillingly, and it will forever change the way any serious viewer looks at Pollock's paintings. It makes this volume absolutely essential for understanding the work of this great, sad artist. --Peggy Moorman

Book Description

Jackson Pollock is widely considered the most challenging and influential American artist of the 20th century. In his revolutionary paintings of the late 1940s, he dripped paint into complex webs of interlacing lines, rhythmically punctuated by pools of color. With their allover composition, apparent abstraction, and spontaneous but controlled paint handling, these powerful works announced the emergence of Abstract Expressionism. This sumptuously illustrated book offers a fresh overview of his achievement, reinterpreted for a new generation and features a complete visual record of the artist's work, including over 200 color reproductions of paintings, drawings, and prints, enhanced by life-sized details, foldouts, and documentary photographs. An essay by Kirk Varnedoe explores Pollock's life, the mythology that so quickly grew up around him as the prototypical "action painter", and the different critical schools that have tried to lay claim to his legacy. Pepe Karmel offers new insight into Pollock's famous "drip" technique, as revealed by an intensive, computer-assisted study of photographs and films of Pollock at work. This volume was published to accompany the first major survey of the artist's career since 1967, held in 1998 at The Museum of Modern Art, New York.

Customer Reviews:

Pollock, only Pollock, nothing else but Pollock.......2007-04-16

This is the catalogue for the landmark Pollock exhibition held at the Moma and the Tate in 1998-1999. Considering the steep rise in the insurance value of Pollock's paintings, such a comprehensive retrospective is not likely to be repeated in the near future and we are therefore fortunate to have such a brilliant book to help us remember it. The late Kirk Varnedoe was one of the best interpreters of contemporary American art and his text, never anecdotical and always informative without being pedantic, does justice to the masterpieces without falling into any of the cliches that often pollute our view of this great artist.

Beautiful illustrations make this book an indispensable presence in any arts library.

THIS BOOK OFFERS GREAT INSIGHT INTO POLLOCK'S ARTISTIC MIND.......2004-03-12

________________________________________________________________________________________________

I purchased this book when it first came out and refer back to it often. A person could spend hours at a time pouring over the plates and fold-out pictures (pun intended). Not only does this particular book provide the best collection of absolutely superb quality Jackson Pollock reproductions that I'm aware of, but the narrative is extremely well written and essential to understanding many things regarding Pollock's thought process and artistic technique.

Pepe Karmel's chapter imparticular, in which he analyzes Hans Namuth's photographs, is nothing less than brilliant detective work. I found it fascinating to find that underlying the lacy layers of at least one of Pollock's drip paintings are figurative images which he made within a narrative context. Although the complete details of this "narrative" may never be fully known, Pepe speculates that Pollock may have been acting out the destruction of some of his inward demons by first physically acknowledging and creating them and then systematically covering them within the confines of the finished painting. I'll leave it to you to get the book and both read and see for yourself all of the findings which include the deciphering of some of the figures and their meanings. With this discovery, the creation of the painting involved (Number 27, 1950) becomes not only a very strenuous and at once both spontaneous and preplanned action - but a true "ritual." Was he destroying these figures or merely absorbing them into a larger and more complex environment? We'll probably never know all the details. I wonder if Pollock would have disclosed answers to these questions had he been confronted with them during his life? Perhaps this would have been too personal. But maybe he did confide the details of what he was doing to someone and another good researcher might come across a total revelation in a hidden diary someday. I'm sure this is just wishful thinking on my part, but how I love a good mystery!

simply the best.......2003-08-08

This breathtaking catalogue is simply the best single volume available on Jackson Pollock, and this is primarily--but not only--because of the number and quality of the reproductions it offers. Almost every one of the dozen or so Pollock books in my library contains a painting not available in the others, but this book collects and beautifully photographs the greatest number and variety of his canvases--outside of a catalogue raisonee.

As the other reviewers state, there are many generously-sized fold-out pages here, and the crispness and resolution of these big reprints and of the more modest pages are simply amazing. To take two essential examples, this book's reprints of "One: Number 31, 1950" and "Blue Poles: Number 11, 1952" are astoundingly clear, better than any of the many other versions I've seen in art books, even in Ellen Landau's large-format survey, a book which also includes gatefolds.

(Another reviewer, by the by, states that "Lucifer" is not available in any other book, which is not true. Among other places, it appears in Landau, in Elizabeth's Frank's concise volume, and as the sole color reproduction in the book for the 1965 MOMA retrospective. Anyway, it gets terrific treatment here.)

Another invaluable inclusion in this book is a great number of full-sized detail photos of the canvases. For example, on a page adjacent to "Lucifer" and "Autumn Rhythm" and "Full Fathom Five," we see another photo of just one small section of that same painting but in 1-to-1 scale; these details reveal much of the dynamic, kinetic, urgent quality of these works, their encrustations of sand, glass, pennies, paint caps--traits which even this book could otherwise never offer a livingroom Pollock-viewer.

Further, having seen the exhibit in January of 1999, I can attest to the generally excellent fidelity of the color-balance. (Curiously, no one seems to be able to capture "Autumn Rhythm"'s grey-teal passages in a book, but if you were at this show or have viewed the painting at the Met you've seen them.)

The accompanying articles are excellent. Kirk Varnedoe overviews of Pollock's life, artistic aims, his accomplishments, all illustrated with family and archival photographs and drawing on Pollock quotations. Pepe Karmel uses the extensive photographic and film record of Pollock painting to analyze Pollock's physical movements. Most wonderful are Karmel's computer reconstructions of early states of the painting "Autumn Rythm," based on Hans Namuth's photos of Pollock at work.

In sum, this book gives the finest, fullest offering of both Pollock's life and art.

Best Reproductions and Most Complete.......2001-05-31

I picked this book up at the MOMA Pollock retrospective a couple years ago and have used it extensively. Having seen many of the paintings in this book firsthand, I can say that these are some of the best reproductions offerred in book form on Pollock's work. Another plus is that several paintings are printed on fold-out pages, so that the work doesn't cross the book's seam. So many of his paintings are extremely wide that this makes a lot of sense (otherwise, there would be hardly any resolution in the height dimension).

If you're interested in Pollock and need to refer to the reproductions, I absolutely recommend this book above all others out there.

Pollock Without the Boring Mythologizing.......2000-06-05

Excellent companion piece to the MOMA show (which traveled to London's Tate) goes beyond all other Pollock explorations. A "must" for students of modern American art as well as those just wanting to get a better understanding of what Pollock was REALLY DOING.

Large format features fold-out reproductions of breathtakingly high quality. Among these, incredibly, are paintings not found in any other published sources. (The incomparable Lucifer (1947) is one such work).

The text is scholarly but readable, and although there is a considerable amount of it, each open page of writing offers at least a couple relevant and highly interesting photos or other illustrations. The many large color plates would certainly make a gorgeous and impressive coffee table book for anyone who doesn't choose to read it.

Kirk Varnedoe writes definitively about Pollock's mercurial life & career. Varnedoe's nearly 75 pages of biographical analysis are a welcome alternative to the kind of misguided mythologizing about Pollock that has for a long time colored the artist as an overrated art "star."

Pepe Karmel's contribution to this book is an amazing analysis of Pollock's painting process through an exhaustive examination of the famous films and photographs of Pollock at work. This was a fascinating, ground-breaking part of the exhibition, and is equally wonderful in the book.

Book Description

Previous studies of Picasso's involvement with the classical have tended to concentrate on the period immediately following the First World War, and to attribute that involvement to both the rise of political conservatism in France and the domesticating influence of the artist's marriage to Olga Koklova. Focusing instead on the later, classicizing prints of the 1930s, this book offers a radically different view of Picasso and the "classical" -- a view that aligns his work much more closely with Surrealist, and specifically Bataillean, revisions of antiquity.

The book's argument is built around detailed analyses of several separate print series: Picasso's illustrations for Ovid's Metamorphoses, the etchings of the Vollard Suite, and The Minotauromachy. Common to all of them, the book shows, is a strong engagement not only with the classical, but with the viewer. In the latter, Picasso's prints are clearly at odds with the understanding of the relationship between classical art and its audience that prevailed throughout most of the nineteenth and twentieth centuries -- an understanding that held the work's purported autonomy to mirror the viewer's own. By exposing that autonomy as a fantasy, Picasso opens the "classical" work and its viewer alike to the entanglements of desire and the dissolution of boundaries it inevitably brings.

Much of the argument turns on close readings of key Surrealist texts by Georges Bataille, Michel Leiris, and Roger Caillois. Even more important, however, are the prints' numerous references, heretofore unnoticed, to specific works by, among others, Rubens, Rembrandt, and Goya. These references effectively create an alternative "classical" tradition out of which Picasso's etchings can be seen to have emerged.

Customer Reviews:

Excellent academic text on Picasso's Prints of 1930s.......2007-03-24

Academic but laid out so well that it is a pleasant and informative read for non-academics. Well researched and illustrated, in easy-to-follow chapters. The notes and references are excellent too, but it is the layout that is exceptional.

Cy Twombly: Fifty Years Of Works On Paper

Average customer rating:

Beautiful

Cy Twombly: Fifty Years Of Works On Paper
Roland Barthes , Simon Schama , and Cy Twombly
Manufacturer: D.A.P./Schirmer/Mosel
ProductGroup: Book
Binding: Hardcover

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ASIN: 1933045175
Release Date: 2005-02-15

Amazon.com

When the Hermitage in St. Petersburg celebrated the city's 300th anniversary in 2003, they assembled a selection of 50 years of Cy Twombly's works on paper, coinciding with the artist's seventy-fifth birthday. At first look, even the most savvy and well-heeled art lover is apt to think "my kid could do that," and there is a (very surface) bit of truth to this. Twombly, an American who moved to Rome in the 1950s, was obviously influenced by Jean Dubuffet's idea of art brut, as well as the work of Paul Klee, and of children. But it doesn't take long to see Twombly's genius. He created something very new with the pure gestures of abstract expressionism, and in this survey it's a joy to see the ways his work constantly changed, from adopting some of the formal strictures of minimalism in the 1970s to embracing vivid colors in the 1980s. Like the graffiti scratches (ancient and modern) that are perhaps Twombly's greatest influence, it's very playful, often rather dirty work. Unlike graffiti, it's exceptionally labored over. Once you can decipher his scratchy line, you notice that the subtle interplay of words and images is matched by very few others, though the work of Raymond Pettibon and Nancy Spero do spring to mind. Assembled for the St. Petersburg's show's arrival at the Whitney Museum in New York City, this book is a joy. Simon Schalma's essay is ribald, terse and excellent, while Roland Barthes' writing is, unsurprisingly, worth the price of the book alone. In a review for the New York Times of the show at the Whitney that this book accompanies, Holland Coter wrote that Twombly's early highly referential works are "as if Western cultural history was unfolding on the walls of a toilet stall." It's hard to think of higher praise. --Mike McGonigal

Book Description

Aggressively elegant, viscerally beautiful, Cy Twombly's work is, in the words of exhibition curator and contributing writer Julie Sylvester, "fundamentally subjective, truthful, and uncompromising." His work finds its most personal expression in his intimately sized drawings and paintings on paper. Finding inspiration as much in the forces of nature as in ancient epics and legends, and using the simplest of media--pencils, ballpoint pens, crayons, wall paint--he creates poetic and archaic worlds, usually in series and often as collages. The 84 drawings in this retrospective, organized by the State Hermitage Museum, St. Petersburg, in 2003 to mark Twombly's 75th birthday, were collected from the artist's studio, and many had not been previously exhibited. Dating between 1953 and 2002, the works embrace the entire career of one of the most important American artists alive today, from the early monotypes to the major mythological cycles of later years, revealing the many nuances of his aesthetic approach. This revised and expanded edition of the catalogue, created on the occasion of the presentation of Cy Twombly: Fifty Years of Works on Paper at the Whitney Museum of American Art, New York, includes an essay by Simon Schama, as well as a new text by curator Julie Sylvester. Roland Barthes's classic 1976 essay Non Multa Sed Multum: and a foreword by the Whitney's director, Adam D. Weinberg. Comprehensive biographical notes and a selected exhibition history and bibliography have also been added to this edition. Julie Sylvester is Associate Curator of Contemporary Art of the State Hermitage Museum, St. Petersburg, and is the Hermitage's first non-Russian curator. She is the author of John Chamberlain A Catalogue Raisonne of the Sculpture. Cy Twombly at the Hermitage was the second major contemporary exhibition in the history of the State Hermitage Museum. British historian Simon Schama has written numerous award-winning books on the cultural histories of countries including Holland and France, and is the author of the three-volume History of Britain. He is currently a professor at Columbia University, New York.

Customer Reviews:

Beautiful.......2005-08-13

I was pleased with the quality of the reproductions. The introduction and details of Cy Twombly's life and work was informative and gave a clear picture of the man and his art. I would reccommend this book to anyone interested in the free thinking and essence of comtempory art.

American Abstract Expressionism of the 1950s: An Illustrated Survey With Artists' Statements, Artwork, and Biographies

Average customer rating:

2005 Writers Notes Book Award Notable
American Abstract Expressionism of the 1950s/
Illuminating View Through a Very Special Window

American Abstract Expressionism of the 1950s: An Illustrated Survey With Artists' Statements, Artwork, and Biographies

Manufacturer: New York School Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0967799414

Customer Reviews:

2005 Writers Notes Book Award Notable.......2005-04-20

Herskovic overviews American ab-stract expressionism with this hefty volume of plates. Beyond the names you'll immediately recognize (Pollack, DeKooning, Gorky, etc.) this alphabetically arranged set takes a fair and complete look, including commentary from the artists that helps to illuminate an often moody and pensive style. We like Kline's ideas on size and space and also when DeKooning says, "spiritually I am wherever my spirit allows me to be." American Abstract should be a fixture in libraries and the homes of the lovers of the form.

American Abstract Expressionism of the 1950s/.......2003-12-23

American Abstract Expressionism of the 1950s:
An Illustrated Survey.

OUTSTANDING ACADEMIC TITLE ~CHOICE, 2003
"This excellent publication builds on the earlier publication. It has broadened the scope to include artists from throughout the US, rectified...omission of African American artists...and concentrated on 88 artists...Excellent layout and superb photographs. Highly recommended." ~CHOICE August, 2003.

"Researchers will seek out this well designed selection.
Recommended for American art museum, academic, art school and large public libraries." ~Library Journal August 2003.

Ed. by Marika Herskovic, ISBN: 0967799414 New York School Press, 2003. Hardcover, 9 x 12 inches. 372 pages, index. 176 full-page color illustrations.

Illuminating View Through a Very Special Window.......2003-09-15

The window is the eye of a devoted scholar who rips through the red-tape and pitfalls of dealing with artist's estates, galleries and the art world in general! It takes guts and grit to create a second book of the underknown Abstract Expressionists. This volume centers on the Abstract Expressionists of the 1950's, throughout the USA. It adds 80+ artists to the first tour d'force titled, New York School Abstract Expressionists: Artists Choice by Artists. Fortunately, many of the superb African American painters are represented. Ms. Herskovic mentions in her introduction that there were NO painters of African descent in the 9th Street show or any of the artist's annuals. This shocking revelation shows just how NEW integration really is. Norman Lewis, Hale Woodruff, Alma Thomas, Charles Alston, and Edward Clark are a fine quintet whose work shines through the pages of this fantastically researched volume of exceptional quality. As far as I am concerned, they are American Abstract Expressionists who just happen to be of color. Underknown Abstract Expressionist artists in the 1950's had a tough time getting known. After all, there were the meteors with names like Pollock, Rothko, Still, and de Kooning, to easily overshadow you. Not necessarily in quality, but in fame. Painters of African descent naturally had a very difficult time. America might have been avant-garde about this new art but was backward regarding equality of its people.

The West Coast is also represented by some fine painters. Elmer Bischoff, Budd Dixon, Hans Burkhardt, Richard Diebenkorn, Ernest Briggs, Hassel Smith, Richards Ruben, John Saccaro, and Robert McChesney are just a few from the West Coast!

Curators take note: This, the 2nd volume concerning the Abstract Expressionists in America, is a must have. Both volumes have to be included in your museum's library. These volumes are a researcher's dream! Plus, what great exhibitions are possible!

The size and quality of the reproductions are excellent. The book has the same 12 1/2 x 9 1/2" format as the first volume. This time, the dust jacket is gold, in nice contrast to the first volume's silver cover. There are 88 artists represented, and each has an artist's statement which is so important. The statements back-up their precious works. Listed opposite the artist's two large examples, are biographies, where the artist studied or taught, Solo Exhibitions as well as Group shows. A nice touch are the quasi-tributes to two important Fathers of Modern Art and Abstract Expressionism; There are writings by Kandinsky which are very "today", and there is an homage to Arshile Gorky, possibly the most revered American artist before Pollock(according to painters of the NY School).

Book Description

Get ready for a one-of-a-kind exploration in creative coloring perfect for any age. These unique abstract images were created free hand by artist Kendall Bohn. Suitable for crayons, pastels, markers, pencils or paints, it brings out the artist in everyone!

Customer Reviews:

Love this ABstract Coloring page !!!.......2007-03-12

I Love this abstract coloring book !! This is a wounderful product and i would recomend this to anybody who loves to color abstract coloring pages.

Great Book!!!.......2007-01-25

This is one that I have already started on,..with colored pencils,...,..I really enjoyed what little that I have started on,.last night,..Arcystal

We love your coloring books! Thank you!.......2006-06-08

Thank you for bringing these wonderful coloring books to Amazon.com! Year after year, at Minneapolis's Art a Whirl I look forward to finding Kendall Bohn's art studio because of the colorful and intellectual art he produces. Kendall is an artist who has not forgotten our children (and the children at heart) and their need for abstract, creative and fun art. Each coloring book is a flawless masterpiece which makes them a fantastic gift for cultivating imagination. At any age, anyone can color one of these beautiful pages to match any room and frame them for all to admire. I look forward to your continued releases!

It's grrrrrreat!- My coloring book of the year!.......2005-12-27

The book allows creative influence to be shown without as many boundaries as in the usual coloring book. The images give an immediate interest to anyone who likes to color, and who wants to be able to show themselves creatively. Its great from front to back!

Wild Images!.......2004-06-29

These are fun images to color! Great for adults as well as kids.
You can tell they are drawn by an artist, I have never seen anything like these. Had a great time coloring them and even framed a few!

Average customer rating:

The quintessential Ab Ex painter
excellent book

Franz Kline (1910-1962)

Manufacturer: Skira
ProductGroup: Book
Binding: Hardcover

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ASIN: 8876241418
Release Date: 2004-12-28

Book Description

This landmark exhibition catalog surveys the entire career of one of the last great painters of high modernism, Franz Kline. It features over 70 major works, including paintings, drawings, sketches, and documentary material. The works included have been selected from collections from around the world with the intent of showing all of Kline's achievements, from the early figurative oil paintings of the late 1930s and 1940s to his breakthroughs in Abstract Expressionism seen in a selection of his large-scale black-and-white works. This volume traces Kline's art from its beginnings to his last painting in 1961, just a few months before the artist's death.
Kline, along with Pollock and Motherwell, was at the center of Abstract Expressionism and "action painting" in the America. This volume demonstrates in the monumental canvases, as well as in his many small-scale sketches made on paper, newspaper, and even telephone book pages, how Kline embraces gesture, experience, and emotion with direct and raw energy.

Customer Reviews:

The quintessential Ab Ex painter.......2007-04-06

A thoroughly documented catalogue with beautiful reproductions that manage to give a fair idea of the power of Kline's paintings. The size effect is lacking of course, but you do get to see a lot of nuances in the different types of blacks; you even get to distinguish the brushstrokes (rare through mere reproductions). A book worth the investment.

excellent book.......2005-10-17

Franz Kline is a painting master and this book is a definitive and complete representation. Like many abstract painters, Kline's process and spirit is as fascinating as his final works. This book shows many wonderful aspects to Kline's creative approach and (as expected) many images of his fine work. The book is thorough and inspring. I highly recommend it.

Average customer rating:

Spirit of Nature translated into the Art of the Abstract
This is not the spirit of nature!
Awesome
Fabulous Teacher, Fabulous Art
A perennial favorite in my reference library

Painting the Spirit of Nature
Maxine Masterfield
Manufacturer: Watson-Guptill Pubns
ProductGroup: Book
Binding: Hardcover

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ASIN: 0823038610

Customer Reviews:

Spirit of Nature translated into the Art of the Abstract.......2004-10-27

If you are looking for a watercolor tutorial in botanical painting, wildlife or landscape, walk away. This isn't the focus of "Painting the Spirit of Nature." Author Maxine Masterfield is, instead, taking the artist on a tour of an interior landscape, using the metaphors, symbols and shapes and colors of nature to create abstract or abstracted imagery. Look at the cover picture; the painting could represent boulders or broken rock face, but is in fact an abstract. This is the lesson of "Painting in the Spirit of Nature."

There is a lot about texture, unconventional techniques using things like salt and other methods, how to find imagery in everyday scenes and objects and how to compose a painting. The real value, however, in this book, is in the selection of paintings. You may or may not like them, but if you have been trying to find an "abstract voice"--I'd say this book would be great for you. If you liked "Watercolor Bold and Free", this is along the same vein.

This is not the spirit of nature!.......2002-08-23

I bought this book since the reviews were quite enthusiastic about it. I have more than 50 watercolor books as well as many other art books, and this is just and justly the worst of them all.

It is about experimental painting, that is true, but it is not about "the spirit of nature". Experimental or abstract painting is simply no excuse. The abstract patterns made through various techniques aren't exciting or beautiful and the techniques themselves can be found in various books where they belong - as a small sidenote. The techniques shown aren't useful at all for a watercolor artist wanting to capture nature.

The enthusiastic reviews gave me a diametrically opposite view of this book than what it was. As a "nature" book it belongs in the trashcan.

What I thought about was some loose techniques for creating texture for nature paintings, but that was not the case, it is all about totally abstractism which was not what I was after.
If you are looking for ways of creating abstact patterns, okey buy it, otherwise don't!

Awesome.......2002-04-22

If you are looking for ideas and techniques this is a wonderful book. Very well done.

Fabulous Teacher, Fabulous Art.......2001-05-06

I was lucky enough to have this artist-author as a teacher almost 2 decades ago. I no longer work in this style or medium but when I was working in it, her methods were the most marvelously freeing ones. If you feel constricted with your present results in water color, as if you must "break free" from such rigid control, Maxine is the teacher for you. The art works are totally glorious as well. Many are hers and she uses other artists' work as well. The book has art work on virtually every page. Back when I took her course, I know that her work was also selling for a lot of money to big commercial clients to put in their buildings and to some private homes as well. Thus, she had cracked the commercial barrier too. I applied her techniques in later years to acyrlics and liquid dyes as well and they worked fine there too.

A perennial favorite in my reference library.......2000-04-05

I also frequently recommend this book to other artists, beginning or advanced. I've had this book for years, and am awed everytime I open it up. It's perfect for jumpstarting the creative juices because almost every page contains an inspiring thought, image or technique. Her photos of natural elements, together with paintings by herself and other artists shows everyone how to use nature as a springboard for creativity. You will LOVE this book!

New Britain Museum of American Art: Highlights of the Collection (Prestel Art)

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New Britain Museum of American Art: Highlights of the Collection (Prestel Art)
Laurene Buckley
Manufacturer: Prestel Publishing
ProductGroup: Book
Binding: Hardcover

General | History & Criticism | Arts & Photography | Subjects | Books

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seminal period of an American master
The best of the best.
de Kooning paintings 1960-1980

Willem De Kooning: Paintings 1960-1980
Ralph Ubl , Klaus Kertess , and Willem de Kooning
Manufacturer: Hatje Cantz Publishers
ProductGroup: Book
Binding: Hardcover

General | Artists, A-Z | Arts & Photography | Subjects | Books

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ASIN: 3775716297
Release Date: 2005-11-15

Book Description

Willem de Kooning is celebrated in the United States as one of the most significant artists of the 20th century and a leading Abstract Expressionist. In Europe, however, the artist has yet to be fully recognized, particularly with regards to his work of the 1960s and 1970s, when he retreated from urban life to live and work on Long Island. This segment of de Kooning's oeuvre bears the imprint of a fundamental experience of the landscape, for it was in these Long Island works that he developed a new style of figuration, characterized by a transformed sense of color and energetic gesture. This period of vigorous, pioneering creativity is illuminated for the first time in this volume, which features a concentrated selection of large-format paintings. In images and essays by Klaus Kertess, Harold Rosenberg, and others, the book illustrates how de Kooning's paintings--although recognizable as landscapes--grew abstract under the influence of his intense experience of nature.

Customer Reviews:

seminal period of an American master.......2007-02-26

This book contains numerous illustrations of many rarely seen works from what is perhaps the seminal period of this masters work. There are numerous essays by leading scholars of de Koonings art. The design is a little heavy handed, for example the ideosyncratic typeface, but it does not get in the way of viewing the plates. The uncoated paper is a nice touch. Many other books reproduce de Koonings paintings with oversaturated colors; this one does not.

The best of the best........2007-01-15

Great book showing the best paintings from the greatest modern painter from his greatest artistic period, the sixties and seventies. Wish I had visited the exhibition. This book is a must have for every de Kooning lover.

de Kooning paintings 1960-1980.......2006-03-10

Book is in English and German.Good photographs with some works I had not seen before.Also a couple pictures of de Koonings studio inside and out.Includes an interview by Harold Rosenberg.Loved it, of course I am De Koonings biggest fan!

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