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Written by the art dealer and friend who was among the first to
recognise Rousseau's importance, these Recollections present a
movingly personal portrait of the artist known as Le Douanier (the
Customs Officer).
Henri Rousseau was the first naive artist in the history of Western
art to be recognized for his true worth. His paintings have now
entered popular consciousness to such an extent that it is
difficult to imagine how strongly they were resisted at the time.
Much of the credit for his transformation is due to the author of
these Recollections, dealer and art historian Wilhelm Uhde. It was
Uhde who mounted the first exhibition of Rousseau's work, and the
catalog he wrote for the occasion is the basis of the
Recollections. In it, he painted a picture of a man of naivete,
humor, and total commitment to an art of whose importance he was
utterly convinced.
The Barnes Foundation s holdings of works by the renowned
Post-Impressionist Paul Cezanne (1839 1906) sixty-one oils on
canvas and eight works on paper are among the most significant in
the world. The Barnes Foundation was established in 1922 by
scientist, entrepreneur, and educator Dr. Albert C. Barnes, a
passionate supporter of European modernism. His virtually
unrivalled collection, which can only be viewed at the Barnes
Foundation, also includes exceptional paintings by Pierre-Auguste
Renoir, Henri Matisse, Pablo Picasso, and many others. Beginning in
1912, Barnes acquired works by Cezanne from major Paris dealers
such as Paul Durand-Ruel and soon ranked among the artist s most
prominent collectors. At the time, this expressed a pioneering
taste that Barnes shared with only a small group of enthusiasts,
even though Cezanne had been posthumously hailed as a father of
modern art at the turn of the twentieth century. The foundation s
impressive holdings of Cezannes never before published in a single
study in their entirety span every period of the artist s career
and include his largest rendition of The Card Players and one of
the three versions of The Large Bathers, one of his signal
testaments. This lavishly illustrated landmark volume is both a
work on Cezanne and his time, and an impetus for further study of
an artist whose oeuvre is at once luminous, austere, challenging,
and deeply confounding.
A reassessment of self-taught artist William Edmondson, exploring
the enduring relevance of his work This richly illustrated volume
reintroduces readers to American sculptor William Edmondson
(1874–1951) more than 80 years after his historic solo exhibition
at the Museum of Modern Art. Edmondson began carving at the onset
of the Depression in Tennessee. Initially creating tombstones for
his community, over time he expanded his practice to include
biblical subjects, the natural world, and recognizable figures
including nurses and preachers. This book features new essays that
explore Edmondson’s life in the South and his reception on the
East Coast in the 1930s. Reading the artist through lenses of
African American experience, the authors draw parallels between
then and now, highlighting the complex relationship between Black
cultural production and the American museum. Countering existing
narratives that have viewed Edmondson as a passive actor in an
unfolding drama—a self-taught sculptor “discovered” by White
patrons and institutions—this book considers how the artist’s
identity and position within history influenced his life and work.
Distributed for the Barnes Foundation Exhibition Schedule:
The Barnes Foundation, Philadelphia (June 25–September 10, 2023)
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Modigliani Up Close (Hardcover)
Barbara Buckley, Simonetta Fraquelli, Nancy Ireson, Annette King
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R1,343
Discovery Miles 13 430
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Ships in 12 - 17 working days
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An in-depth exploration of how the iconic artist created his works
over the course of his full career Among the most celebrated
figures of modern art, Amedeo Modigliani (1884-1920) has been the
subject of many exhibitions and publications, but none until now
has examined in depth how the artist created his paintings and
sculptures. Drawing on research using the latest scientific
techniques, the authors explore the artist's reuse of materials in
his early years; his pivot from artistic trends such as Cubism to
engage with a stylized form of figuration; the timeline of his
evocative sculptures; and the evolution of his approach from
heavily worked canvases to more ethereal paintings. The richly
illustrated book also looks at the role of Albert C. Barnes, an
early collector of Modigliani's work, in shaping the Italian
artist's critical reception in the United States. The Barnes
Foundation today owns one of the most important groups of
Modigliani works in the world. These, together with some forty
other paintings and sculptures from public and private collections
worldwide, are interpreted through the lens of new studies carried
out by leading international museums. Distributed for the Barnes
Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia
(October 16, 2022-January 29, 2023)
This engaging volume describes the creation and restoration of the
extraordinary large-scale drawing The Temptation of Saint Anthony-a
work by late 19th-century Belgian artist James Ensor (1860-1949)-on
the occasion of its first public showing in more than 60 years. The
piece is composed of 51 separate sheets of paper collaged into a
hallucinatory social critique and artist's manifesto. Each sheet of
the nearly six-foot-high work is reproduced at actual size,
revealing Ensor's remarkable technique and fertile imagination.
Here, Saint Anthony is surrounded not with nature, as customary,
but with the moral decay of society. Replete with tiny scenes
depicting both sexual temptation and spiritual piety, Ensor splices
potent imagery from travelogues, popular science, and technology
magazines into a Symbolist masterpiece. Susan M. Canning, Patrick
Florizoeone, and Nancy Ireson analyze the drawing's meaning; Herwig
Todts details its origins and early history; and Kimberly J.
Nichols recounts the work's restoration. Distributed for the Art
Institute of Chicago Exhibition Schedule: The J. Paul Getty Museum
(06/10/14-08/31/14) The Art Institute of Chicago
(11/23/14-01/25/15)
Elijah Pierce (1892-1984) was born the youngest son of a former
slave on a Mississippi farm. He began carving at an early age when
his father gave him his first pocketknife. Pierce became known for
his wood carvings nationally and then internationally for the first
time in the 1970s. Accompanying a major exhibition at the Barnes
Foundation, Philadelphia, this publication seeks to revisit the art
of Elijah Pierce and see it in its own right, not simply as
'naive'. Elijah Pierce made his living as a barber; he was also a
qualified preacher. Just as his barber shop was a place for gossip
and meeting, so his art reflects his own and his community's
concerns, but also universal themes. Through his carvings Pierce
told his own life story and chronicled the African-American
experience. His subjects ranged from politics to religious stories
but he seldom distinguished the race of his figures - he thought of
them as everyman. His secular carvings show his love of baseball,
boxing, comics and the movies, and also reflect his appreciation
for American heroes who fought for justice and liberty. In 1932,
Pierce completed 'the Book of Wood', which he considered his best
work. Originally carved as individual scenes, the completed 'Book'
tells the story of Jesus carved in bas-relief. He and his wife
Cornelia held "sacred art demonstrations" to explain the meaning of
the Book of Wood. Pierce's work was first appreciated in the art
world thanks to a fellow sculptor, Boris Gruenwald, who saw the
expressive power of his work. As a later critic wrote, "There are
500 woodcarvers working today in the United States who are
technically as proficient as Pierce, but none can equal the power
of Pierce's personal vision". Pierce became known primarily in
circles promoting 'naive' art, winning first prize at the
International Meeting of Naive Art in Zagreb, Yugoslavia, in 1973.
The vast majority of his work is now held in Columbus, Ohio, which
had become his home town. This book revisits Pierce's art seeking
to see it in its own right, and not simply as 'naive'. Another
critic wrote: "He reduces what he wants to say to the simplest
forms and compositions. They are decorative, direct, bold and
amusing. He uses glitter and all kinds of devices to make his
message clear. It gives his work an immediacy that's very
appealing" - an appeal arising from a sophisticated art with its
own particular voice.
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Modigliani (Hardcover)
Nancy Ireson, Simonetta Fraquelli
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R1,417
R1,083
Discovery Miles 10 830
Save R334 (24%)
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Ships in 15 - 20 working days
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