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Featuring 19 color plates and 65 b&w illustrations, this text critically examines the imagery, process, and pictorial structure of works by American painter Edwin Dickinson (1891-1978). Drawing upon 56 years of the artist's journals and several thousand pages of his letters, Ward makes connections b
This work surveys Edwin Dickinson's life and career, both of which revolved around Cape Cod, Buffalo, and New York's Finger Lakes region. It covers the artist's influential career as a teacher, and analyzes Dickinson's self-portraits and major symbolic paintings.
In a profound new analysis of Dickinson's life and work, Judith Farr explores the desire, suffering, exultation, spiritual rapture, and intense dedication to art that characterize Dickinson's poems, deciphering their many complex and witty references to texts and paintings of the day.
The best of Edwin Arlington Robinson's poetry rings with a lyrical and emotional purity and singularity that should assure his place as one of the treasured poets of his generation ... Scott Donaldson's book should help to revive appreciation for this solitary figure and the unique resonance of his work. --W.S. Merwin.
Poetry by American Poet Emily Dickinson. This book contains 3 poems, the first and second poems are about the power of words and books and the final poem is about the journey of raindrops.
Deborah Solomon’s definitive biography of Joseph Cornell, one of America’s most moving and unusual twentieth-century artists, now reissued twenty years later with updated and extensively revised text Few artists ever led a stranger life than Joseph Cornell, the self-taught American genius prized for his enigmatic shadow boxes, who stands at the intersection of Surrealism, Abstract Expressionism, and Pop Art. Legends about Cornell abound—the shy hermit, the devoted family caretaker, the artistic innocent—but never before has he been presented for what he was: a brilliant, relentlessly serious artist whose stature has now reached monumental proportions.
- A new take on perception and preconceptions about the unclothed body and how, through art, the naked becomes the nudeWhile the art world was turning its eyes towards abstract art and action painting, Cunningham's interest in figurative art and the human form never waned. This is the underlying reason for his lukewarm reception, keeping him out of the limelight, although this is not to say his art was second rate. In a sense, this marginal status was a blessing in disguise, enabling Cunningham to broaden and develop his thinking on his personal artistic sensibility and thus on the central role played by 'colour-spot' painting, the technique borrowed from his master Edwin Dickinson, and on the importance of teaching, of which he had personal experience at the New Brooklyn School of Life, Painting, Drawing, and Sculpture and at the New York Academy of Art. These last two aspects, which were of fundamental importance in his life, are brought to the forefront in the very title of the book: Learning How to See. The book chronicles Cunningham's development from his earliest, small, and mostly abstract canvases characterized by large color fields suggesting landscapes, to his later figurative work, in which the study of anatomy takes over, only to give way, as if coming full circle, to paintings containing large empty spaces and a drastically reduced number of elements. Most of Cunningham's paintings are large and depict nude subjects, sometimes portrayed alone and sometimes in triptychs. A feature of his works from this 'second period' is what might be called their 'vertical' nature, which contrasts strongly with his very last, mostly still life paintings, which stand out for their horizontal orientation. The human figure has virtually disappeared and Cunningham seems almost to have returned to the preoccupations of his youth. The artist's many facets are explored in essays by art historians and art critics, including Christopher Knight, Edward Lifson, John Walsh, and Valentina De Pasca, as well through the reminiscences of his favorite model, Regina Hawkins-Balducci.
The Museum of Modern Art is known for its prescient focus on the avant-garde art of Europe, but in the first half of the twentieth century it was also acquiring work by Stuart Davis, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and other, less well-known American artists whose work sometimes fits awkwardly under the avant garde umbrella. American Modern presents a fresh look at MoMA’s holdings of American art from that period. The still lifes, portraits, and urban, rural, and industrial landscapes vary in style, approach, and medium: melancholy images by Edward Hopper and Andrew Wyeth bump against the eccentric landscapes of Charles Burchfield and the Jazz Age sculpture of Elie Nadelman. Yet a distinct sensibility emerges, revealing a side of the Museum that may surprise a good part of its audience and throwing light on the cultural preoccupations of the rapidly changing American society of the day.