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Max Weber studied under Matisse, associated with influential
figures including Apollinaire, Picasso, and Delaunay, and is
credited with bringing firsthand knowledge of the Parisian
avant-garde to Alfred Stieglitz s modernist circle in New York,
inspiring a generation of artists. While his works are in important
collections, they have not yet received the close study of the
artist s peers, such as Picasso, Braque, and Leger. William C.
Agee, a veteran museum curator and renowned scholar of
twentieth-century American art, and scholar Pamela N. Koob take up
the challenge in a lavishly illustrated volume, gathering together
a selection of Max Weber s best cubist works. Close readings of
Weber s paintings open the most complete survey to date of American
cubism, with entries on key cubist works by Marsden Hartley, Stuart
Davis, Hans Hofmann, Charles Sheeler, Morgan Russell, Stanton
Macdonald-Wright, Alice Trumbull Mason, and David Smith, among many
others. Filling in a missing piece of one of the twentieth century
s most influential movements, this critical reevaluation is long
overdue.
Modernism, referring to the period dating roughly from the late
19th century to 1970, is regarded as a crucial moment in the
history of American art. Although Modernist artists adopted a wide
range of styles, they were linked by a desire to interpret a
rapidly changing society and to cast aside the conventions of
representational art. Some, such as Stuart Davis and Joseph Stella,
responded to consumerism, urbanism and industrial technology;
others, such as Arthur Dove and Georgia O'Keeffe, found inspiration
in nature and the Native American culture of the Southwest. This
magnificent new book presents the works of the Vilcek Collection,
an unparalleled private collection of American Modernist paintings,
drawings and sculpture. Art historian Lewis Kachur explores almost
100 rarely seen works by 20 leading artists active during the first
half of the last century, while William C. Agee contributes an
incisive introduction. Lavishly illustrated throughout,
Masterpieces of American Modernism provides an outstanding overview
of the radical shift in art driven by this major aesthetic
movement.
A celebration of the work of the beloved American artist Wolf Kahn
(b. 1927), this volume focuses on the vivid colors of his luscious
landscapes made in the past ten years. A refugee from Nazi Germany,
Kahn immigrated to the U.S. in 1940, and after settling in New York
he studied with influential artist and teacher Hans Hofmann. His
radiant hues, tangy color contrasts, and pervasive sense of light
combine realism with the discipline of color-field painting and
place him at the forefront of American representational artists.
This book features a generous selection of paintings and pastels
that showcase his bold, freewheeling style and feature a unique
blend of realism and abstraction. During the past decade of his
long and accomplished career, Kahn has traded in the often-lyrical
palette of his earlier landscapes for an increasingly brash and
assertive chromatic vision evidenced in electric hues ranging from
acid yellow and hazard orange to saturated thalo blue. His most
recent large-scale oils, depicting his favored subjects of barns
and tree-lined fields and rivers, abound with visual energy. Art
historian Sasha Nicholas puts Kahn in context with other artists
and situates his recent work within his broader career. William C.
Agee and Kahn discuss his process and most recent paintings
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Torn Signs (Hardcover)
Rick Kinsel; Text written by William C Agee, John Crawford, Emily Schuchardt Navratil
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R1,282
R1,074
Discovery Miles 10 740
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Early in his career, Ralston Crawford (1906-1978) earned acclaimed
for his Precisionist paintings of architectural subjects associated
with a forward-looking, industrialized America, most famously his
Overseas Highway of 1939. But Crawford was a multifaceted artist
with an adventurous spirit and a curiosity for the world beyond the
United States, one whose work in various media and painting styles
continued to evolve throughout his life, with his later, more
abstract painting having a remarkable emotional dimension. This new
book, published to accompany an exhibition at the Vilcek Foundation
in New York focuses on two series of works - 'Torn Signs' and
'Semana Santa' - that Crawford developed mostly over the course of
the last 20 or so years of his life (although his first 'Torn
Signs' photographs date from the late 1930s, thus making this
Crawford's most enduring theme or motif). Rick Kinsel, President of
the Vilcek Foundation, begins by considering how and why his
travels to Europe, especially to Andalusia in Spain, were so
inspiring to Crawford. Semana Santa, or Holy Week, the last week of
Lent, is observed in Seville with public processions of penitential
confraternities through the streets. Witnessing this event proved
to be a moving experience for Crawford, and he revisited the
subject of the penitents, with their distinctive conical hats,
multiple times across a number of years. The art historian William
C. Agee provides a biographical essay on Crawford's peripatetic
life, examining in particular the relation between the 'Torn Signs'
and 'Semana Santa' bodies of work and the artist's later decades,
after the Second World War, when Crawford was interested less in
the life-affirming view of modernity associated with Precisionism,
and more in giving expression to disillusion and decay. Crawford's
son John writes about the complex interrelationship of the two
series, with emphasis on the way in which Crawford's photography
relates to his painting and printmaking. Individual works in both
series are then explored in depth in the main part of the book by
Emily Schuchardt Navratil, Curator of the Vilcek Foundation.
Reproductions of the pages of sketchbooks from 1971 (the year he
was diagnosed with leukaemia) illuminate Crawford's approach to
remembering colour through writing and his incredible visual
memory; here, drawings of torn signs, Semana Santa and the streets
of Seville are interspersed with the artist's thoughts on colour,
the connection between drawing and writing, and his own life and
death.
This innovative and long-awaited catalogue raisonne brings
together, for the first time, all the known paintings on canvas and
panel of California-born abstract expressionist Sam Francis
(1923-1994) and offers a comprehensive chronicle of his artistic
journey. One of the twentieth century's leading interpreters of
light and color, Francis maintained studios not only in New York
and Los Angeles, but also in Paris, Bern, and Tokyo, making his
reach truly international. Elegantly boxed, "The Sam Francis
catalogue raisonne" includes a richly illustrated book with
informative texts and two DVDs with authoritative entries for the
canvas and panel paintings in an easily browsable, groundbreaking
format. It offers the ultimate reference on this artist and a vital
research tool. This title features color images and documentation
for all 1,850-plus paintings on canvas and panel by Francis
(hundreds reproduced for the first time) on two DVDs. This is a
lavish book with an extended essay by Francis scholar William C.
Agee and a biographical timeline by catalogue raisonne editor Debra
Burchett-Lere. This title includes: a rare footage of Francis at
work, writings by the artist, and descriptions of his studios and
techniques; access to electronic updates as they become available;
and, easily searchable information in a groundbreaking,
twenty-first-century format.
The highly anticipated, definitive reference on Stuart Davis's
paintings, watercolors, drawings, and published illustrations
Stuart Davis (1892-1964) made a mark on the art world early in his
career, first with his Ashcan works and then with his highly
personal version of Cubism, which firmly established American
modernism as a force that could rival its European counterpart.
Over the course of six decades, Davis produced artworks that drew
inspiration from the European modernists but were deeply rooted in
the popular culture of the United States. Jazz music and hipster
talk, vaudeville stages, city streetscapes, New England fishing
villages, gasoline stations, store fronts, and commercial packaging
and advertising images were among the sources that infused his art
with energy, bringing crisp edges, radiant color, and syncopated
rhythms to a vast body of paintings, watercolors, and drawings.
Documenting the life's work of this prolific and highly influential
artist-who affected almost every development in American art from
second-generation Ashcan realism around 1912 to color field and
geometric painting in the 1960s-is a monumental achievement. In
these three volumes, the editors have catalogued 1,749 artworks by
the artist-including more than 600 works never previously
illustrated-providing extensive documentation and information about
each one. A detailed chronology of Davis's life, as well as an
enlightening discussion of the compositional relationship between
certain works spanning his oeuvre, rounds out this study.
Exquisitely designed and produced, Stuart Davis: A Catalogue
Raisonne will be the definitive reference on the artist's work for
many years to come. Published in association with the Yale
University Art Gallery
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