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Out of the Cage: The Art of Isabel Rawsthorne (Hardcover)
Loot Price: R796
Discovery Miles 7 960
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Out of the Cage: The Art of Isabel Rawsthorne (Hardcover)
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"I love this book! Brilliant biography of the...utterly fascinating
artist Isabel Rawsthorne" Jennifer Higgie "Every page is gripping,
fascinating, forcefully and excitingly written, and sad." Andrew
Motion "Isabel Rawsthorne's life reads like a ready-made
screenplay... - a poverty stricken upbringing, world wars,
espionage, affairs, addiction, politics ... all set to a series of
evocative cinematic backdrops. And that's before any mention of her
career as one of the most hidden but influential artists of the
20th century." Interiors and Home "Jacobi's bigger project here,
seems to be to reimagine what an artist biography... can be." The
Art Newspaper "Highlights how talented women have often missed out
on the recognition they deserved" Observer Isabel Rawsthorne's
painting career at the centre of the Parisian and London
avantgardes was eclipsed by the many occasions on which her friends
made her the subject of their art, notably Epstein, Derain,
Giacometti, Picasso and Bacon. This pioneering painter exhibited
from the early 1930s, was influential in the 1940s and well known
in the 1960s, but in her later years Giacometti's and Bacon's
blockbuster biographies made her famous as a muse. Rawsthorne's
work is now in major collections, and this beautifully illustrated
book re-writes the pre- and post-war art history of which she was a
part: it is traced through the upheavals of the 20th century and
her singular relationships with some of its most fascinating
figures. A decade of research into the period, Rawsthorne's art and
archives, and the memories of friends, has revealed for the first
time her role in a rebel group at Liverpool School of Art; success
and tragedy in the 1930s when she was studio assistant to Jacob
Epstein; her life-long collaborations with Alberto Giacometti; and,
after the war, with Francis Bacon and with African Modernism in the
1960s, as well as her exceptional late work. It also tells the full
story of her break from art during the second world war, when she
worked for the government in black propaganda.
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