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In 1946, the painter Arshile Gorky spent the summer at Crooked Run Farm, a country estate in Lincoln, Virginia. In this time, he drew feverishly, producing almost 300 drawings. These drawings included a study for what is now considered one of his most remarkable paintings, 'The Limit' (1947), a work that he described as the outcome of being ""so lonely, exasperated, and how to paint such empty space?so empty it's the limit."" Also among Gorky's artistic yield from the summer of 1946 were a group of related pieces that came to be referred to as the Virginia Summer drawings. During a 2020 conservation treatment on 'The Limit,' conservators discovered that nested behind it was another workman expressively painted canvas immediately recognizable by its relationship to the Virginia Summer drawings. 'Beyond The Limit' reveals this newly discovered painting, referred to as 'Untitled (Virginia Summer),' and its place in Gorky's oeuvre. Essays by Parker Field, Managing Director of the Arshile Gorky Foundation, and Pepe Karmel, Associate Professor Of Art History at New York University, are complemented by an illustrated chronology that piece together the hidden story of 'Untitled (Virginia Summer)' and what it signified for Gorky during this time of incredible creative output. The book's design encourages readers to unwrap 'The Limit' to discover 'Untitled (Virginia Summer),' and a series of brushstroke details positions readers close to the canvases of both works. Together with a plate section that presents both paintings, select drawings from the Virginia Summer series, and reference works, readers will have their own experience of discovering Arshile Gorky. Exhibition: Hauser & Wirth Gallery, Zurich, Switzerland (03.02. - 19.03.2022).
This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme.
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."
Essay by Robert Storr. Foreword by Glenn D. Lowry.
A reexamination of the art of Arshile Gorky (1904-1948), and an exploration of his role in the development of modern abstraction in America.
Like music, art is a universal language. Although looking at works of art is a pleasurable enough experience, to appreciate them fully requires certain skills and knowledge." --Carol Strickland, from the introduction to The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern * This heavily illustrated crash course in art history is revised and updated. This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media. * Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible-even at a cursory reading. * From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.
British poet Stephen Spender (1909-95), through his life spanning the 20th century, befriended, collected or was otherwise connected to a pantheon of artists such as Arp, Auerbach, Bacon, Freud, Giacometti, Gorky, Guston, Hockney, Moore, Morandi, Picasso and others. Including examples of their work as well Spender's poems chosen by Auerbach, this publication is addressed to what Spender termed the "shared subject matter" of art and literature. Interweaving poetry, essay, artwork and generous archival photographs, The Worlds of Stephen Spender: I Think Continually of Those Who Were Truly Great takes for its inspiration themes that preoccupied Spender and which have taken on a renewed urgency: art's movement across borders; collaboration between artists and writers; solidarity against their censorship; and the moral responsibility of the creative individual in times of social crisis.