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Books > Arts & Architecture > History of art / art & design styles > From 1900
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The Mystery of the Real - Letters of the Canadian Artist Alex Colville and Biographer Jeffrey Meyers (Paperback)
Loot Price: R997
Discovery Miles 9 970
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The Mystery of the Real - Letters of the Canadian Artist Alex Colville and Biographer Jeffrey Meyers (Paperback)
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The work of Alex Colville, O.C. (1920-2013), one of the great
modern realist painters, combines the Flemish detail of Andrew
Wyeth, the eerie foreboding of George Tooker and the anguished
confrontations of Lucian Freud. Behind the North Americans stands
their common master, Edward Hopper. Colville's works are in many
museums in Canada and Germany. He has affinities with Max Beckmann
and appeals to the German "secondary virtues": cleanliness,
punctuality, love of order. In a long life he resolutely opposed
the fashionable currents of abstract and expressionistic art. In
contrast to Jackson Pollock's wild action painting, Colville
created paintings of contemplation and reflection. As Jeffrey
Meyers writes: I spent several days with Colville on each of three
visits from California to Wolfville. I received seventy letters
from him between August 1998 and April 2010, and kept thirty-six of
my letters to him. He sent me photographs and slides of his work
and, in his eighties, discussed the progress and meaning of the
paintings he completed during the last decade of his life. His
handwritten letters, precisely explaining his thoughts and
feelings, provide a rare and enlightening opportunity to compare my
insights and interpretations with his own intentions and ideas. He
also discussed his family, health, sexuality, politics, reading,
travels, literary interests, our mutual friend Iris Murdoch,
response to my writing, his work, exhibitions, sales of his
pictures and of course the meaning of his art. His letters reveal
the challenges he faced during aging and illness, and his
determination to keep painting as health difficulties mounted. He
stopped writing to me when he became seriously ill two years before
his death. In this context the late paintings, presented in colour
in this book, take on a new poignancy.
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