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- DRAWING from the MODERN
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Drawing From The Modern
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Paul Cezanne ,
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Giorgio De Chirico ,
Robert Delaunay ,
Andre Derain ,
Arthur Dove ,
Alexandra Alexandrovna Exter ,
Arshile Gorky ,
Juan Gris ,
Gustav Klimt ,
Wilfredo Lam ,
Filippo Marinetti , and
Joan Miro
Manufacturer: The Museum of Modern Art, New York
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Experimental Drawing
ASIN: 0870706632
Release Date: 2004-11-02 |
Book Description
Many of the key achievements in art of the last 125 years have been worked out on paper. From pictorial investigations that expanded the possibilities of vision to the invention of entirely new kinds of media, drawing has been the perfect laboratory for avant-garde experimentation. Drawing from the Modern traces such groundbreaking innovation through the unparalleled holdings of the drawings collection of The Museum of Modern Art. Drawing has historically been understood as a mark or line on paper--the record of a bodily gesture, an inscription of the action of the hand, an expression of the mind. Since the 1880s, however, artists have sought to interrupt these seemingly unbreakable links between mark, hand, and imagination. Defying long-held definitions of drawing and rejecting traditional materials, modern artists invented a host of practices, altering not only the field of drawing but artmaking in general. Examining masterworks from the Museum's collection of nearly 7,000 works on paper in three chronological volumes beginning in the 1880s and continuing through today, Drawing from the Modern reconsider artists' repudiation of traditional drafting methods, assault on the use of the single sheet of paper, and introduction of new materials. Going to the heart of avant-garde innovation, all three volumes showcase new formal strategies, including collage, abstraction, chance, and the integration of text and image, as well as new subject matter, including the urban experience, the body, and identity. Volume I, presented here, spans the period from 1880 to 1940, and includes work by such artists as Jean Arp, Hans Bellmer, Paul Cazanne, Arshile Gorky, Georgia O'Keeffe, Odilon Redon, and Kurt Schwitters. Volume II, available in Spring 2005, will cover 1940 to 1975, and Volume III, available in Fall 2005, will bring us from 1975 to the present day.
Customer Reviews:
should have been better.......2007-09-13
I purchased book 1 & 2 from Amazon. The illustrations are far too small to be a professionally represented art book from MOMA I've decided to save my money rather than pay out for the 3rd edition. It sounds a good buy from its description but I don't consider this trilogy to be very satisfactory.
Don't waste your money!.......2007-08-09
This is not a good artbook. The images are way too small to be satisfying. This book could have been great, but falls way short of its potential. Don't buy it, you will be disappointed.
DRAWING from the MODERN.......2006-12-27
DRAWING from the MODERN is the first of a three part series published by MOMA as catalogue to accompany the chronologically arranged exhibitions of their drawing collection; in part, celebration of the seventy fifth anniversary of the founding of the Museum.
This first book looks at the late nineteenth century through the beginning of the twentieth. Care and preservation of these drawings dictate that they are displayed infrequently, paper being a delicate medium, subject to fading, discoloration and brittleness. The publication of this series then allows us to have at hand a history of drawings seldom seen, and a visual education demonstrating how problems of that era both evolved and worked themselves out.
The introduction by Jodi Hauptman is broad and well worth reading. Aside from her entertaining "end of art" stories, she addresses artists and process leading to the dissolution of prevalent notions: relationship of "mark" to "ground", took new form; spatial notions of an orderly page, questioned; the element of chance, explored as process; the ego relationship of an artist to work, dissolving. New imagery happened: collage, abstraction, grids, enhanced emotions, metaphors of feeling, the sublime re-imaged. New subjects explored brutalities of war, notions of "city", identity, the spiritual, and the abstract.
As perhaps with all process of art, the uncertainty of change brought forth much that is new. The 139 plates of drawings both demonstrate and give testimony by leading artists of the time to new era in process. Drawing as subject matter is fascinating. To be expected, the book is well printed. Of course, what is book one without book two and three?
Nancy Gutrich
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Arshile Gorky
Rizzoli
Manufacturer: Rizzoli
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Binding: Hardcover
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ASIN: 0847818756
Release Date: 1995-04-15 |
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Arshile Gorky
Manufacturer: Abrams
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ASIN: B000GP6IP0 |
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Surrealism Usa
Scott Rothkopf ,
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Peter Blume ,
Arshile Gorky ,
Andre Masson ,
Kay Sage ,
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Yves Tanguy , and
Max Ernst
Manufacturer: Hatje Cantz Publishers
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ASIN: 377571524X
Release Date: 2005-03-15 |
Book Description
While Surrealism became unfashionable in Europe in the 1930s, it enjoyed increasing popularity across the Atlantic at the same time. Surrealism USa, the catalogue to the exhibition at the National Academy of Design, Surrealism USA, traces the history of this movement in the United States from the 1930s to the 1950s by examining its manifestations throughout the country--from Social Surrealism and California Post-Surrealism to Magic Realism and the beginning of Abstract Expressionism. It chronicles the wide influence of Dal' on American art, the Surrealists' response to war and fascism, and the relationship between Surrealism and abstract art. With over 100 paintings, sculptures, prints, and drawings, this definitive survey brings together the work of American artists like Joseph Cornell, Peter Blume, Kay Sage, Isamu Noguchi, Arshile Gorky, and Jackson Pollock--with that of Europeans in exile during World War II, including Salvador Dal', Yves Tanguy, Andra Masson, and Max Ernst.
Customer Reviews:
Museum Quality.......2005-09-05
I was fortunate enough to see the Surrealism USA exhibit on tour in Phoenix in July. The collection was astounding. I found this book in the Phoenix Art Museum Store, however, $50 seemed like a lot to spend on a book while on a weekend vacation. I was thrilled to find it on Amazon for much less. The book is beautiful, the photographs are museum print quality and oversized, mostly one or two on each page. The book contains a thorough history of the surrealism movement in the United States during the last century. I would not hesitate to purchase it again.
Book Description
From the Author of Frida, the Moving and Heroic Story of One of the Central Painters of the Twentieth Century
Born in Turkey around 1900, Vosdanik Adoian escaped the massacres of Armenians in 1915 only to watch his mother die of starvation and his family scatter in their flight from the Turks. Arriving in America in 1920, Adoian invented the pseudonym Arshile Gorky—and obliterated his past. Claiming to be a distant cousin of the novelist Maxim Gorky, he found work as an art teacher and undertook a program of rigorous study, schooling himself in the modern painters he most admired, especially Cézanne and Picasso. By the early forties, Gorky had entered his most fruitful period and developed the style that is seen as the link between European modernism and American abstract expressionism. His masterpieces influenced the great generation of American painters in the late forties, even as Gorky faced a series of personal catastrophes: a studio fire, cancer, and a car accident that temporarily paralyzed his painting arm. Further demoralized by the dissolution of his seven-year marriage, Gorky hanged himself in 1948.
A sympathetic, sensitive account of artistic and personal triumph as well as tragedy, Hayden Herrera’s biography is the first to interpret Gorky’s work in depth. The result of more than three decades of scholarship—and a lifelong engagement with Gorky’s paintings—Arshile Gorky traces the progress from apprentice to master of the man André Breton called “the most important painter in American history.”
Customer Reviews:
Gorky comes alive.......2003-11-18
I became interested in Arshil Gorky after watching, "Ararat," Atom Egoyan's masterful film about the Armenian holocaust. I knew nothing about his art or his place in the annals of art history. Hayden Herrera does a wonderful job giving us a portrait of a troubled eccentric who is also a genius. In particular, she does a terrific job showing his complicated relationship with his homeland. His wife didn't learn until after Gorky was dead that he was Armenian. He told her he was Russian. Herrera also does a good job of interpreting his art, helping the reader make sense of his semi-abstractions. The book includes more than one hundred prints of his artwork and that helps show his artistic journey.
The book is less successful in providing a look at the milieu of New York City art world. There is much discussion in a summary way about the conflicted role Gorky held in relationship to the surrealists but I didn't get a good sense of who the surrealists were and how they interacted with Gorky. Nor are we sure of how Gorky interacted with the abstract expressionists. Some of this failing maybe intentional as Herrera focuses on Gorky's marriage in the nineteen forties and quotes extensively from his wife's letters. Herrera may feel that her job is to help us understand the man through the most significant relationship in his life rather than by focusing his relationship with his peers.
Despite these failings, I think this biography provides an extremely vivid portrait of Gorky the man and the artist. Although his life was often hard and he died relatively young (at age 48), Gorky emerges from these pages a glorious artist who created art that was both self-consciously derivative and highly original. Go figure!
A Fitting Successor.......2003-07-23
This book is a fitting successor to Frida. Both books tell the story of tragic lives made triumphant through art. Both brilliantly evoke their respective art worlds in the first half of the last century. They also evoke the tumultuous political, economic, and social world of the times. The writing is graceful and clear. Herrera talks about paintings, realistic and abstract, with believablity and intelligence. The great empathy she shows for her subjects also illumines the aesthetic discussions. This is an heroic story of an artist overwhelmed by circumstance. Herrera's understanding of how experience molds character, how character lies at the foundation of art, her restraint and eye for significance, her effortless prose, make this as fine a biography as Frida. Both artists are lucky to have found such a biographer!
A Fitting Successor.......2003-07-23
This book is a fitting successor to Frida. Both books tell the story of tragic lives made triumphant through art. Both brilliantly evoke their respective art worlds in the first half of the last century. They also evoke the tumultuous political, economic, and social world of the times. The writing is graceful and clear. Herrera talks about paintings, realistic and abstract, with believablity and intelligence. The great empathy she shows for her subjects also illumines the aesthetic discussions. This is an heroic story of an artist overwhelmed by circumstance. Herrera's understanding of how experience molds character, how character lies at the foundation of art, her restraint and eye for significance, her effortless prose, make this as fine a biography as Frida. Both artists are lucky to have found such a biographer!
Book Description
The first full-scale new biography of Arshile Gorky, the charismatic, controversial genius of 20th Century art.
Arshile Gorky is one of the most mysterious of major twentieth-century artists. Born Armenian, he adopted the cover of a famous Russian name, and paradoxically helped to change the course of American art. The art critic Robert Hughes wrote in The Shock of the New, "Gorky's life as a mature artist formed a kind of Bridge of Sighs between Surrealism and America; he was the last major painter Breton claimed for Surrealism and the first Abstract Expressionist as well." In this first full-scale biography, Nouritza Matossian charts Gorky's tumultuous life from his childhood to his evolution into a key figure on the New York art scene of the 30s and 40s to his tragic last years.
Handsome and deeply intense about art, he cut a dramatic figure among the Abstract Expressionists, influencing a generation of painters including de Kooning, Rothko, and Pollack. This powerfully revealing biography sheds crucial new light on Gorky's passionate life and monumental legacy.
"A profoundly moving, illuminating biography leaves us with the image of a man of monumental will and spirit, who embraced life with every fibre, and whose sufferings never undermined his integrity either as a man or as an artist."--The Independent
Customer Reviews:
Worthy of a great artist.......2001-06-25
Allow me to add an "amen" to the previous reviews. Matossian's background in Armenian culture is a great advantage in exploring Gorky's childhood, and her obvious patience in organizing material from the many first-hand interviews of Gorky's survivors pays off in a vivid, scrupulously detailed account of his rise and cataclysmic final years. As an arist I brought a huge respect and admiration for Gorky's work to the book, and wasn't disappointed to find that the Gorky the author describes matches the intensity and dazzle and complexity of the works. So vivid was her writing that the ending left me moved almost to tears. This is our American Van Gogh, a giant arguably greater than Pollock, and his story is one of the great tragic--and ultimately triumphant--dramas in all of biography.
Life changing book.......2001-02-28
I read this book during a recent illness and I am glad of it because I was able to concentrate fully and stay within the world which the author so skilfully evokes. I have rarely found a biography of an artist, especially a modern one, so lovingly and painstakingly portrayed with brushstrokes just like a painter to produce image after image and make the man come alive in such an engaging way. I learned about the history of the ARMENIANS but through his eyes and yet the scholarship and objectivity shone through. So many insights and beautiful stories, such a strong sense of place, whether in long-lost Armenia or Boston of the 20s or New YOrk of the 30s and 4os , the characters who weave through this incredible tapestry, no a carpet. This writer belongs to the tradition of Armenian troubadours who were storytellers and sang their songs in verse in many languages. I felt the narrative had a poetic lilt and yet she kept back her obvious involvement in the subject. In her introduction which is worthy of attention Nouritza Matossian tells of her own family and their wanderings because of the Genocide, her desire to keep an even balance and not to succumb to the despair of her foretfathers. This book is a vindication of a culture which has been hammered and a Genocide which needs to be acknowledged. It tells of the courage of exiles and immigrants who brought such skills and moral values to this country which did not accept them very often. The accounts of Gorky's pursuit of excellence in art, his love for his mother and her inspiration are universal themes. I saw him as a quixotic, temperamental and charming character whom I would have loved to know. She brought him alive and I cared for him so much that I could hardly bear to finish the book, knowing that he would die. I received a great gift in understanding how it is possible for someone who has lived at traumatic life to transcend his suffering and 'give something to the world' as he said to Leger, something good. His paintings are incredibly beautiful and I see l know that he paid an even greater price than the loss of his childhood for those canvases, he paid for them with his health and security. Gorky's suicide has always puzzled me and I understand it for the first time after reading Matossian's book twice. The discussion of art and ideas, her ability to interpret him and even to depict the work is accurate and vivid. I saw from her website www.arshile-gorky.com that she performs a one-woman show in which she tells his story with slides and music as his mother, sister, sweetheart and wife. Those four characters are in the book and she pays tribute to them. It must be wonderful to hear this author tell her extraordinary story in her own words because this is a book which rings with her love and commitment for her subject and that is a rare and generous gift. All I could wish is that this book were even longer because I hated putting it down at the end. It changed my attitude to many things in my own life. This book deserves to win prizes.
Troubled Youth.......2000-04-25
For anyone convinced that crucial or shocking events during childhood have a major impact on psyche, this book is a must read to understand Gorky's art and his impact on American art. It is also an enlighting read to better understand the rituals, culture, and methods used by Gorky's (Adoian's) Armenian kin to survive (or not survive!) opression at the hands of the Ottoman Turks. Matossian points to the ancient Armenian architecture, illuminated manuscripts, stone crosses, among other objects which Gorky saw and experienced as a child and which left a powerful imprint on his future art. Once some of these objects are seen, it is easier to understand the origin of Gorky's shapes, colors, and titles of his masterpieces.
Besides the extensive research that took Matossian to Gorky's Armenia, her knowledge of the Armenian language gives powerful insight into the letters written by Gorky in his native tongue to his family. Fantastic book which is part history, biography, art history, psychology, criticism and reads like a compeling historical novel!
Customer Reviews:
valuable book on Gorky.......2006-12-01
Lader has done an excellent job of delineating Gorky's work. The color reproductions are fair.They are not top of the line but,then very few books on Gorky have good repros. I find the back sections on Gorky's theory and his techniques interesting. Gorky states his case that he is a classical artist. His interest in the old masters backs this up..such as Ucello.an index and these special sections help to look things up when you want to review his ideas and ambitions for art.The paperback edition will serve you well. It is light enough to put in your kit bag and carry it with you something that Gorky deserves.
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Arshile Gorky: A Retrospective of Drawings
Janie C. Lee , and
Melvin P. Lader
Manufacturer: Whitney Museum
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Arshile Gorky (Modern Masters Series, Vol. 8)
ASIN: 0874271355 |
Book Description
Arshile Gorky (1904-1948) was a seminal figure in the Abstract Expressionist movement. His drawings are beautiful, complex, and sensual creations, the products of a technical mastery that bespoke a new power of abstraction within modern art. They are also pivotal to the understanding of his art and play a major part in the development and realization of his paintings. This handsome volume, and the exhibition it accompanies-the first retrospective ever assembled of this influential artist's drawings-focus on how Gorky's drawings function both in relation to his paintings and as individual works of art.
Gorky's changing styles and precise approach to drawing are discussed in detail, and contrasted with the spontaneous and direct execution generally associated with Abstract Expressionism. The works range from small, intimate drawings to major, large-scale pieces; all are reproduced in superb full color. These rich and evocative drawings are an inspiration to new generations of artists and art lovers alike.
Book Description
Arshile Gorky, one of the most intriguing figures in modern art, was at the center of the New York art world in the twenties, thirties, and forties. Yet he was never fully recognized as an important painter in his lifetime, and it was only after his death that his reputation soared. In this deeply felt and penetrating biography, Matthew Spender--himself a sculptor and the husband of Gorky's elder daughter--writes with extraordinary sympathy and perception, and he gets to the heart of his elusive subject.
Born in Khorkom, a small Armenian village in eastern Turkey, Arshile Gorky grew up haunted by memories of his alternately idyllic and terrifying childhood: the scars of the 1896 Turkish massacres of his people; then the mass slaughter of 1915 from which his own family fled; the desertion of his father; the dominance of his headstrong and loving mother, who died of starvation after they found shelter in the Caucasus.
Making his way to the United States, the young Gorky determined against all odds to become a painter. He buried his past by assuming a new name and identity, and brazened his way into the art world. At once charming and peremptory, seemingly an extrovert but secretive at heart, he could both dazzle and alienate his art students (Rothko was one of his earliest), his fellow painters, and his young loves, as well as potential dealers and patrons.
In telling Gorky's story, Matthew Spender gives us the most illuminating picture of the New York art scene that has yet been written--from the affluent twenties, when the Ash Can school was emerging, to the depressed thirties, which marked the high point of Gorky's career, when he painted a huge abstract mural for Newark Airport. During the explosive postwar years, Gorky withdrew into a world of increasing solitude, even as Andre Breton, the founder of surrealism, was championing him, along with other artist friends like Willem de Kooning, Roberto Matta, and Isamu Noguchi. His last years, dogged by tragedy and illness, threatened even the haven of his marriage and family, until finally, in 1948, he took his own life.
With his artist's eye, Matthew Spender helps us to see what lies behind the paintings--to recognize in the abstraction, for instance, the onion with feathers that hung from a cross above the fire pit in Gorky's childhood home in Khorkom. Above all, Spender understands the enormity of Gorky's sense of isolation in an America he did not fully understand, and that his need to invent the imaginary artist was what sustained his paintings. It is the perfect conjunction of writer and subject that makes this biography so rich in insight and so compelling as a human document.
Customer Reviews:
Gorky's son in law.......2006-10-10
Matthew Spender has something to offer for someone really curious about this artists work. I have been compairing the three biographies. Herrara's book has been much acclained. But, when it comes to getting into the nitty -gritty of an artist's work, Spender is better. Particularly when he writes of his work in the fields of Virginia.None of the other writers have really tackled this important part of Gorky's art. As a sculpture Spender must have wondered would Gorky like me and my work.The Armenian backgound has been covered by quite a few books. None can surpass some of Spenders insight into Gorky's creative process.A shortcomihg of this biography is the lack of color reproductions of the paintings.His choice of photos of the family of Gorky ,give us a glimpse of his background. The paper back (a catalogue ) "the breakthrough years /Arshile Gorky" would be a good companion book of this bio as it has ample repros and an essay by Spender among others ;Aupling for one.
Armenian Modern.......2006-08-23
Matthew Spender, son of poet Stephen, is a good writer who does a deft job of weaving his research into a lively story. But being the husband of Gorky's oldest daughter limits his interests to the "family" side of the artist's life: to hear Spender tell it, Gorky lived through three decades of New York's modern art revolution dreaming of butterchurns back in Armenia. He never really explains what drove Gorky to become an artist, let alone an abstract modern artist, in the face of family pressures, the trials of being an immigrant, and the burden he carried as a survivor of the Armenian genocide.
Gorky's idyllic memories of childhood clearly played a major role in his life and art, but so did Picasso and Cezanne, whose style he copied until the breakthrough near the end of his life. Spender plays down the endless hours Gorky spent in front of the canvas trying to insert himself into the history of Western art, preferring to read the artist's somewhat restricted interests (he steered clear of the tumultuous politics of Thirties New York, avoided bohemia, and refused to theorize about the inner sources of his art) as a gauge of how deeply Armenia held him. Maybe. But more attention to the exciting world his work unfolded in would have helped to explain Gorky's achievement a little more clearly. Hayden Herrera's more recent "Arshile Gorky: His Life and Work" may have replaced this biography and is probably the better place to turn for learning more about his life.
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- praise from a top Abstract Expressionist enthusiast
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Arshile Gorky: The Main, the Time, the Idea
Harold Rosenberg
Manufacturer: Sheep Meadow
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Binding: Paperback
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ASIN: 0935296204 |
Customer Reviews:
praise from a top Abstract Expressionist enthusiast.......2006-11-22
Take a tip from Gorky, he always carried a small book or reproductions of favorite painters in his pocket. This is a good book to start this habit with the Grove series on modern artists.There is a Guston ,a Dubuffet an Arp in this series as well. Rosenberg knew most of the A.E. painters and Dekooning intimately so what he has to say about Gorky comes from a good source the Dekoonings (Bill and Elaine.)I re-read this book the other night and believe that it inspired me to keep painting.Harold brings out Arshiles absolute devotion to painting.His self-eduction in libraries was as intense as it was in museums.I have added some postcards and repros from magazines to my copy.If you love Gorky , you are lucky to get a copy of this book
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