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Howard Hodgkin is one of the foremost British painters and his vivid, abstract works have been exhibited internationally. This work gathers together the responses of a selection of leading novelists, critics, poets, travel writers and journalists to his paintings, and provides insights into his work.
An extraordinary collection of essays on the great masters of nineteenth- and twentieth-century art—from the Booker Prize-winning, bestselling author of The Sense of an Ending. “An engaging and empathetic volume.” —The New York Times Book Review As Julian Barnes notes: “Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting … But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.” This is the exact dynamic that informs his new book. In his 1989 novel A History of the World in 10½ Chapters, Barnes had a chapter on Géricault’s The Raft of the Medusa, and since then he has written about many great masters of art, including Delacroix, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Lucian Freud and Howard Hodgkin. The seventeen essays gathered here help trace the arc from Romanticism to Realism and into Modernism; they are adroit, insightful and, above all, a true pleasure to read.
Hodgkin's art can be seen as providing memorials for people, many of whom are friends, whose absence is countered by th e corresponding physical presence of particular paintings. Descriptive elements visible in his earlier portraits from the 1950s are subsumed within paintings that have, over the course of more than fifty years, become more psychologically charged, but no l ess connected with evoking specific individuals in particular situations. This book, like the exhibition it accompanies, surveys the development of Hodgkin's portraiture from its beginnings in 1949 to the present, including new paintings. Comprising key works from a range of international public and private collections, it traces the evolution of the artist's visual language and his engagement with a range of friends and others within the artist's circle. Exhibition curator Paul Moorhouse provides a compe lling introduction to Hodgkin's portraits, his subjects, working methods, the role of memory, and his distinctive approach to representing people. Peter Blake, Stephen Buckley, Patrick Caulfield, David Hockney, Philip King, R . B . Kitaj and Richard Smith are among the many leading artists portrayed, so that the British art world emerges as the wider subject of Hodgkin's art. The book also contains a fully illustrated chronology and commentaries on individual work
Howard Hodgkin’s prints represent a parallel and very different achievement from his paintings. They have been internationally celebrated and passionately collected, but never brought together, until now. As a painter, Hodgkin has mostly preferred to create small works using oils and working on wood. As a printmaker, he has challenged the format, techniques and expressive potential of the medium, and has now made over 140 works on paper. Far from seeing them as poor relations to his paintings, he has consistently explored the print medium for its own sake, making astonishingly varied, emotive and persuasive works that are paradoxically unique as well as multiples.
In this text, Bruce Chatwin writes of his father, of his friend Howard Hodgkin, and of his talks with Andre Malraux and Nadezhda Mandelstram. He also follows unholy grails on his travels, such as the rumour of a "wolf-boy" in India, or the idea of looking for a Yeti.
The first volume of David Plante's extraordinary diaries of a life lived among the artistic elite, both a deeply personal memoir and a hugely significant document of cultural history
What do we mean when we say that we are bored? Or when we find a subject boring? Contributors to On Boredom: Essays in art and writing, which include artists, art historians, psychoanalysts and a novelist, examine boredom in its manifold and uncertain reality. Each part of the book takes up a crucial moment in the history of boredom and presents it in a new light, taking the reader from the trials of the consulting room to the experience of hysteria in the nineteenth century. The book pays particular attention to boredom’s relationship with the sudden and rapid advances in technology that have occurred in recent decades, specifically technologies of communication, surveillance and automation. On Boredom is idiosyncratic for its combination of image and text, and the artworks included in its pages – by Mathew Hale, Martin Creed and Susan Morris – help turn this volume into a material expression of boredom itself. With other contributions from Josh Cohen, Briony Fer, Anouchka Grose, Rye Dag Holmboe, Margaret Iversen, Tom McCarthy and Michael Newman, the book will appeal to readers in the fields of art history, literature, cultural studies and visual culture, from undergraduate students to professional artists working in new media.
"Painting is a Supreme Fiction presents the writings of artist and poet Jesse Murry (1948-1993), an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience"--
Published to accompany an exhibition on view at the Yale Center for British Art, New Haven, Conn., Sept. 16-Jan. 2, 2010.