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I Paint What I Want to See [Minkštas viršelis]

4.11/5 (1076 ratings by Goodreads)
  • Formatas: Paperback / softback, 288 pages, aukštis x plotis x storis: 181x110x21 mm, weight: 198 g
  • Serija: Penguin Modern Classics
  • Išleidimo metai: 28-Apr-2022
  • Leidėjas: Penguin Classics
  • ISBN-10: 0241525713
  • ISBN-13: 9780241525715
Kitos knygos pagal šią temą:
I Paint What I Want to SeeDidesnis paveikslėlis
  • Formatas: Paperback / softback, 288 pages, aukštis x plotis x storis: 181x110x21 mm, weight: 198 g
  • Serija: Penguin Modern Classics
  • Išleidimo metai: 28-Apr-2022
  • Leidėjas: Penguin Classics
  • ISBN-10: 0241525713
  • ISBN-13: 9780241525715
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780241525715.html
Raktažodžiai:
'Thank God for yellow ochre, cadmium red medium, and permanent green light'

How does a painter see the world   Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candor and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks, and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.

'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' —Jerry Saltz, New York Magazine

'Thank God for yellow ochre, cadmium red medium, and permanent green light'

How does a painter see the world? Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candour and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.

'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' Jerry Saltz, New York Magazine

Recenzijos

Philip Guston's work gathers strength with the passing of time. During his lifetime he seemed an outsider, but now the world of painting seems to have regrouped around him. This book captures the breadth and depth of his thinking, and also captures the feeling of an intensely lively era when artists like Cage, Feldman and Guston felt that making art was a branch of philosophy. I think everybody interested in the evolution of culture should read this thought-provoking and timely book -- Brian Eno Vital in grasping Guston's contribution to post-war American art and his abiding significance to contemporary painters -- Ben Luke * The Art Newspaper * An appealing little book ... A pocketsized portfolio of Philip Guston's writings, talks and interviews ... It includes a joyous appreciation of the Renaissance master Piero della Francesca ... advice to art students ... [ and] insights into what makes a great artist tick -- Stephen Smith * The Times * This expertly curated selection of Guston's writings, talks and interviews draws together the artist's most incisive reflections on iconography and abstraction, metaphysics and mysticism, and the nature of painting and drawing... If you've never heard of him, this is a great introduction; if you have, this book will deepen your knowledge and understanding * Creative Boom *

Interview with David Sylvester
1(20)
Piero della Francesca: The Impossibility of Painting
21(4)
Faith, Hope, and Impossibility
25(8)
On Morton Feldman
33(10)
On Piero della Francesca
43(34)
Talk at Yale Summer School of Music and Art
77(34)
Conversation with Clark Coolidge
111(60)
Ten Drawings
171(4)
On Drawing
175(44)
Conversation with Harold Rosenberg
219(22)
Studio Notes (1970--78)
241(28)
Acknowledgements 269
Philip Guston was born in Montreal, Quebec in 1913, the seventh child of Russian immigrants. Raised in Los Angeles and largely self-taught, he found inspiration for his early murals in the masters of the Italian Renaissance. Early acclaim as a figurative painter and years spent teaching in the mid-West were followed by a Prix de Rome in 1948-49, after which he moved permanently to New York and turned to abstraction, joining contemporaries Pollock, De Kooning, Kline and Rothko. In the mid-1960s, Guston withdrew from the New York art scene to work on his late figurative paintings in Woodstock until his death in 1980, weeks after the opening of a major retrospective. His work and writings continue to exert a powerful influence over contemporary artists, and he is widely acknowledged as one of the most important American painters of the past century.