Average customer rating:
- You've got to be kidding
- Never enough
|
Paintings of Paul Cezanne : A Catalogue Raisonne
John Rewald
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover
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ASIN: 0810940442 |
Customer Reviews:
You've got to be kidding.......2005-07-27
John Rewald,you should be ashamed.$400 for a lousy 50 color plates(I live in Australia,and it sells for $650).If you're going to put out a catalogue raisonne of an artist,you should have the majority of the works in color,no-one wants to look at b/w reproductions anymore.You just have to compare this with the magnificent catalogue raisonne's on Rothko,Gauguin and Sargent,to see how this work falls short.A major dissappointment.
Never enough.......2005-01-21
There's either never be the right info you're looking for or there's never enough!
Book Description
Ambroise Vollard (1867–1939) played a key role in the transformation of the art world in the late 19th century. A pioneering Parisian dealer, Vollard introduced many of the era’s leading artists to the public. This beautifully illustrated catalogue, accompanying the first comprehensive exhibition devoted to Vollard’s extraordinary achievement, presents 130 important paintings, sculpture, and works on paper that he promoted, exhibited, and sold.
Vollard’s groundbreaking exhibition in 1895 of Cézanne’s work definitively established the artist’s reputation, and Vollard subsequently organized major exhibitions of the Nabis, Gauguin, and Van Gogh; promoted the work of artists ranging from Degas to Rouault to the Fauves; and gave many young artists, including Picasso and Matisse, their first solo shows. In addition, Vollard published print albums and livres d’artiste that are among the most celebrated of the early 20th century. This important volume features twenty-two essays that examine Vollard’s career and expertise in the art market, his relationships with individual artists and collectors, and a wealth of previously unpublished material from the newly available archive of Vollard’s documents and from the archives of the artists he represented.
Customer Reviews:
Great Footnotes.......2007-05-13
Lot's of footnotes and academic prose.
Good if you want a bibliography item on your art history/museum paper.
Otherwise, an achievement in taking an interesting subject and turning it into a boring one. A reasonable number of color plates but unremarkable as they (mostly) have the same values--that is, tonally, they look too similar.
DS
The quintessential art dealer.......2007-04-02
A great exhibition, a great dealer and a great book. Very well documented, even though Vollard seems to have been very secretive. He certainly was at the right place, at the right time as the book very well shows . He no doubt was an opportunist, but with an eye and a love of art unmatched by his peers. He also invented the art market of his time and certainly deserved such a beautiful tribute.
A real keepsake!.......2007-01-15
My daughter was an Art History Minor and had expressed interest in this book. I bought it for her as a holiday gift and she treasures it. Amazon got it to me in time for me to enjoy leafing through it as well. It is extraordinary both in picture and text. It is truly a keepsake.
worth every penny.......2007-01-11
This book is jammed with fascinating information,gorgeous reproductions and is extremely well priced.Anyone interested in 20th cent.art will welcome this book!
At Last, a Tribute to an Art Dealer!.......2006-10-17
The Metropolitan Museum of Art has produced yet another fine curatorial statement with their exhibition 'Cezanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde' and fortunately the accompanying catalogue is as bold and beautiful as the exhibition itself. The concept of discussing artists of international stature from the stance of the man who gave their careers the jumpstart needed is unique and valuable and is a tribute to the work that art dealers around the world perform in assisting artists in their career paths.
Ambroise Vollard (1867-1939), a Parisian art dealer, played a significant role in molding the art movements of the late 19th and early 20th century. The stimulus, according to the curators and essayists of this lavishly illustrated book, was the 1895 exhibition of Cezanne's art, an exhibition which triggered the movements of modern art as followed by such artists as Gauguin, Van Gogh, Degas, Rouault, Matisse and Picasso. Some credit Vollard with the development of the Fauvist school simply by his intelligent, sensitive, provocative exhibitions of the right artists given space beside each other that created comparisons and links.
The concept of art dealer as innovator is a fresh one and one handled with sufficient intelligent documentation by the various writers contributing to this catalogue to lend credibility to the premise. But over and above the curatorial concept is the pleasure of the exceptional illustrations of works by familiar artists not usually seen in books of this sort. The writing and design make this catalogue/book a collector's item that will enhance not only art school libraries but also the personal libraries of all art lovers. A very fine addition to the information about the artists included in this exhibition and catalogue. Grady Harp, October 06
Average customer rating:
- Excellent Book on Cezanne
- A Beautiful Journey
- Beautiful Book
|
Cezanne in Provence
Philip Conisbee , and
Denis Coutagne
Manufacturer: Yale University Press
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Cezanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (Metropolitan Museum of Art Publications)
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Fra Angelico (Metropolitan Museum of Art Series)
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Pioneering Modern Painting: Cezanne And Pissarro 1865 To 1885
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Dada: Zurich, Berlin, Hanover, Cologne, New York, Paris
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Vincent Van Gogh: The Drawings (Metropolitan Museum of Art Series)
ASIN: 0300113382 |
Book Description
Published on the centenary of the death of Paul Cézanne (1839–1906), this stunning book celebrates the artist’s depictions of his native Provence. While Cézanne is recognized as one of the fathers of the modern movement, this publication focuses on his own sense of achievement, especially as a painter exploring the landscape in and around his hometown of Aix-en- Provence. Although he spent time elsewhere in France, especially Paris, Cézanne repeatedly returned to Provence, where he lived nearly all of the last twenty years of his life.
In studios at the Jas de Bouffan and at Les Lauves, and on painting expeditions into the surrounding countryside, Cézanne created some of his most original and compelling works, not only landscapes but also portraits of local characters, friends, and family; still lifes, and imaginative figure paintings, such as the monumental bathers painted in the last decade of his life.
Beautifully illustrated with some 160 paintings and watercolors, Cézanne in Provence offers fascinating insights into a true genius in the history of art and his beloved native countryside.
Customer Reviews:
Excellent Book on Cezanne.......2007-02-12
Great prints and a number of well done articles on Cizanne's work.
A Beautiful Journey.......2006-03-09
This book is a lovely accompaniment to the Cezanne in Provence exhibit. The narration is beautifully written and describes the beautiful landscapes that Cezanne painted. It provides an interesting chronology of Cezanne's life and works.
Beautiful Book.......2006-03-01
This is one of the most beautifully done catalogues I have purchased recently. The color and clarity of the reproductions are excellent. The paper used has a dull mat finish which enhances the quality of the reproductions. If you love Cezanne's painting (which I do), then this is a must have addition to your library.
Average customer rating:
- should have been better
- Don't waste your money!
- DRAWING from the MODERN
|
Drawing From The Modern
Andre Breton ,
Paul Gauguin ,
Georges Bataille ,
Jodi Hauptman ,
Hans Bellmer ,
Constantin Brancusi ,
Paul Cezanne ,
Marc Chagall ,
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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Vitamin D: New Perspectives in Drawing (Themes)
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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
Customer Reviews:
Beautiful book.......2007-05-30
Rewald's biography of Cezanne is a very fine piece of work. It is beautifully written with substantial information about the artist & his work. As for all reputable art books, the paper quality is very good to render lovely reproductions of the paintings.
It is very nicely presented & a pleasure to read. . . or just look at the paintings.
Gorgeous Cezanne Biography.......2003-02-26
This is a wonderful book about Cezanne. Every artist who is studying art history and esp. the impressionists and post-impressionists should own this book.
Well-Worth The Hefty Price.......2000-12-10
I have read many books on Cezanne over the past 10 years and in my opinion this is the best. For a combination of well-written text and excellent reproductions of the paintings this book cannot be beat. The text is jargon free. Mr. Rewald was a wonderful writer and he gives you a warm and sympathetic biography of a great artist and complex and difficult man. Cezanne was very neurotic. He had a fear of women and would not use nude models. His famous bather series was worked up from photographs and plaster casts, etc. He could be very anti-social: he sometimes would cross the street to avoid meeting someone he knew. He was very emotional and struggled to keep his emotions under control. This was reflected in his work. His early work was full of violence and shadows and you feel as though he barely was able to keep himself in check as he coated the canvas in a thick impasto. The later, carefully controlled and beautifully harmonized works are the more familiar to the general public. The cover gives you some indication of the beautiful reproductions which are inside this book. This is a great addition and in my opinion a must have for anyone's art library.
Bravo! Bravo!.......2000-05-09
I really enjoyed this wonderful book about a wonderfully delightful artist. I would recommend reading it if you are a Cezanne admirer, absolutely a wonderful book!
Customer Reviews:
It's Real.......2007-05-28
I had an original copy of this book 30 years ago, when it first came out (I think it was in 1977 or 1978) - at the time, I was living in Berkley, California and read about 1/3 of the book and put it down.
I liked it then but lost interest.
However, I decided, for my own reasons, to read it again, and bought a copy less than a month ago and am almost done and I have to say that I believe this book is really a channelled view of what Paul Cezanne thought about while he painted.
I think it's fair to say that Cezanne, himself, might not have talked nearly as much about his work as what's in the book - but the book is not Cezanne talking - it's his World View of paintings - and Jane Roberts, though some curious circumstance - happened to channel that World View.
I myself, as an artist who knows a lot about Paul Cezanne - am struck by the subtle insights that could not possibly have come from Jane Roberts.
But did it come from Paul Cezanne? In a sense, Yes. We can't really evaluate a book like this in the normal way - you have to pick it up and make sense of it yourself.
I for one, do recommend this book to artists interested in what Cezanne was actually thinking while he painted.
I'll be in Aix in a couple of days and will visit Paul Cezanne's studio and hopefully, what I read in this book will complement my trip.
[...]
"Rambunctious Creativity".......1998-05-05
This remarkable little book was written in 1976, before Jane's physical challenges fully manifested. It shows a life lived to the fullest, and raises questions about what creativity is, where inspiration comes from, and what we leave behind when our "earth lives" are finished. The "Cezanne" material, "dictated" to Jane, is must reading for visual artists and for anyone interested in painting. It's especially significant as Jane had absolutely no background in art, although she was married to a painter. Where did this material come from? Did Jane make it all up? How could she? What is creativity? Is she "channeling" the "real" Cezanne? What does that mean? Really, quite an extraordinary read.
Customer Reviews:
Interesting analysis.......2006-12-02
Many of Cézanne's paintings are essentially composed of flat, homogenous planes. He has no interest in textures and takes great freedom in choosing colours and distributing them patchwise. He also disregards proportions and perspective, making receding objects such as roads, mountains and hills stand up straight, so to speak, to the picture plane. Thus each plane in the painting "remains comparatively flat and parallel to the picture plane", but still the painting has a definite feeling of depth because of "the three-dimensional effect that a sequence of the same planes creates through overlapping" (plate XIII). "Cézanne's genius in organizing three-dimensional space is the basic foundation of his composition" and doing so by the plane colour patch approach agrees with the principle that a painting "must remain faithful to its own structure, to its fundamental two dimensions" (section XV). The organisation of space is achieved by the "tension" or "movement" created where planes overlap, and this is Loran's main framework for analysing Cézanne's paintings. With some imagination and many useful geometrical diagrams we can sum up the effects of the overlaps to a general movement; usually some sort of circular movement, always staying within the picture frame. Loran is very faithful to this point of view, even blaming Cézanne when it doesn't apply. In his analysis of a Sainte Victoire painting (plate X) he finds such a circular movement and concludes: "It is this circular movement that gives the painting it ultimate 'closed' effect. Actually, this canvas has many elements of open form ... personally, I find these latter elements insufficiently resolved and somewhat disturbing." Besides this analytic framework, Loran also makes more traditional analyses in terms of balance, dynamics, etc., and he also spends far too much time nagging about two pet topics: Cézanne's famous colour modulations are in fact of incidental importance and Cézanne anticipated Picasso and Braque.
An Extraordinary Book!.......2006-08-30
When I first read this book, over twenty-five years ago, I thought it was the most remarkable book ever written on how an artist composes and organizes his or her creative process. Over the years, I've returned to it many times. Having recently re-read the book I find I am still thrilled by Loran's ability to illuminate the special qualities within Cézanne's canvases. As an artist and art educator, Loran was in a unique position to comprehend how this artist balanced the formal, intuitive, and experiential aspects of composition. All of this comes through admirably and clearly. Although I imagine some people might find the graphic diagrams cold and remote from the vitality of Cézanne's painting, I think a close reading of the book demonstrates that an illustrative graphic can help us reach a deeper understanding of the artist at work, in this case Cézanne. If you are a fan of Cézanne, definitely read this book! If you are interested in understanding the artistic mind, definitely read this book.
Brilliant explanation of space & planes........2004-09-23
Pages 17 to 24 are a so called "Illustrated Glossary" and are worth buying the book for. The classic rules of space and depth and planes are explained in most of their complexity. Then he discusses many many examples of Cezanne's work and how they use the principles of space, planes, and depth. A masterpiece and extensive in its scope. If you really want this type of abstract picture understanding you will not be disappointed. Very highly recommended.
great analysis of the master of masters.......2002-05-18
The book is trully great.... very well written and thoroughly analized...My only problem with it was the lack of colour plates (understanding that the study of his technique is concentrated on the orchestration of planes and volumes). I believe the study of this master requires colours... in order to fully appreciate his methods but also becuse of the pleasure of merely being a spectator and enjoying his art for what it really is...a ballet of fantasy and life!
Appart from that I do believe it is a must for any lover of art.
Top Ten Books on Composition.......2002-05-04
This book is a must read not only for students of Cezanne and Cubism, but for anyone who would like to understand how a composition is put together. By comparing photographs of subjects painted by Cezanne, to the paintings created, one can see what interested the master in his own work. Cezanne's classic remark about Monet ("He is only an eye. But what an eye!")is clearly relevant here: Cezanne is not only an eye function, but a meditation on the process of visual construction per se. A stimulating and important book.
Book Description
1927. Fry, English art critic and painter and champion of modern French schools of art introduced Cezanne and the postimpressionists to England. From 1905 to 1910 he was curator of paintings at the Metropolitan Museum of Art. In 1933 he was made Slade Professor of Fine Arts at Cambridge. Interested in all eras, he consistently stressed the importance of analyzing the formal qualities within a work of art. His biography was written by Virginia Woolf in 1940. This volume contains his influential work on Cezanne, who today is regarded as one of the great forerunners of modern painting, both for the way he evolved of putting down on canvas exactly what his eye saw in nature and for the qualities of pictorial form that he achieved through a unique treatment of space, mass, and color.
Customer Reviews:
Fry's modernist classic.......2000-04-10
When Virginia Woolf wrote Roger Fry's biography in 1940, she singled out his monograph on Cézanne as his most successful book, saying that it stood out "like Mont St.Victoire" from his other work. In this case at least, it's hard to disagree with Woolf's judgment. Despite the fact that it was published in 1927, before the artist's work had even been systematically catalogued, 'Cézanne : A Study of His Development' still has a remarkable freshness to its prose, and Fry succeeds in giving the viewer a sense of the excitement he himself felt while looking at the artist's works. ('Critical distance' is an obvious problem for Fry: he had been publicly identified with the artist since including his canvases in the notorious Post-Impressionist exhibitions of 1910-11 and 1912-13.)
Part of the pleasure of reading Fry's book is the way he describes Cézanne's development as if--to borrow another of Woolf's phrases--it were a "double story." In order to explain the radical difference between Cézanne's early works and his mature ones (respectively, before and after his turn to Impressionism), Fry imagines a psychologically troubled artist, who can only find peace by looking outside of himself: that is, away from invented imagery and towards nature. This split, for Fry, corresponds with the difference between the 'Romantic' and the 'Classic' sides of Cézanne's personality; but the schism is never absolute, and even in the artist's maturity, there is always the possibility that the repressed 'Romantic' will return. This, indeed, is how Fry explains Cézanne's continued interest in painting pictures of Bathers and other quasi-erotic subjects.
Such a blend of art criticism and novelistic story-telling makes for a fascinating and provocative read. Certainly that is how D.H. Lawrence seems to have found the book, and his 'An Introduction to These Paintings' is an attempt to wrest Cézanne from the grips of Fry's compelling account.
Average customer rating:
- Pizzaro & Cezanne together again!
- A Fine Catalogue of an Important Exhibition: Dialogues of Cezanne and Pissarro
|
Pioneering Modern Painting: Cezanne And Pissarro 1865 To 1885
Camille Pissarro ,
Joachim Pissarro , and
Paul Cezanne
Manufacturer: The Museum of Modern Art, New York
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Cezanne in Provence
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ASIN: 0870701843
Release Date: 2005-06-15 |
Book Description
From the mid-1860s to the mid-1880s two artistic legends, Paul Cazanne and Camille Pissarro, executed numerous paintings side by side as they worked in Pontoise and Auvers. This book accompanies an exhibition of 74 paintings and 8 drawings that embody the core of the two artists' collaboration and explores their artistic relationship in detail. Their dynamic interaction began with their first meeting at the Academie Suisse, Paris, circa 1861, and continued through much of their careers. To examine the techniques that Cazanne and Pissarro adopted in response to each other's work, the exhibition and book juxtapose related works by both artists, reuniting many of them for the first time since they were created. The friendship between Cazanne and Pissarro was of considerable importance within the development of early modernism. An essay by Joachim Pissarro discusses this fascinating interchange and offers new insights into both the shared and the distinctive elements of the two artists' aesthetic sensibility.
Customer Reviews:
Pizzaro & Cezanne together again!.......2006-03-17
Wow! This is a book not to be missed for those who love Impressionism and the contrast between two of the greats in a way scarecely ever shown. They were friends - mentor and student - and drew inspiration from each other over the years until the student (Cezanne) finally departed South and became his own (and more famous) man. But oh the beauty of Pizarro's work!
David Fox-Brenton
A Fine Catalogue of an Important Exhibition: Dialogues of Cezanne and Pissarro.......2005-10-02
Though this book is a catalogue for an important exhibition traveling to the West Coast after its origin in the Museum of Modern Art in New York, it is so finely produced and contains such important information along with generous examples of the works of two significant artists that it is sure to become a major contribution to the history of art libraries around the world. It is beautiful to peruse, intelligently written and opens a window into one of the more interesting and productive friendships in art history.
Meeting in art school in the 1860's Paul Cézanne (1839-1906) and Camille Pissarro (1830-1903) continued a mutually beneficial camaraderie for twenty years, during which time they produced not only beautiful paintings but also defined an important transitional period in art. While many view Pissarro as the echt-Impressionist, and Cézanne as the pioneering Post-Impressionist, essayist Joachim Pissarro's text questions the significance of these preconceived art history monikers in codifying each artist's stance in the overall view of art history. The true significance in the development of their friendship and dialogues about art, as captured in their painting together in Pontoise and Auvers, France, lead to the development of Modernism in painting.
Wisely and elegantly designed, this book places works by each artist side by side, illuminating the interplay of the two master painters and allowing the viewer to absorb the similarities as well as the disparities that created such a powerful dialogue and relationship and explores how each artist sought new ways to express the visualized scene before him. This is a very fine monograph, vividly encouraging all art lovers to seek attendance at the exhibition wherever possible. Grady Harp, October 05
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