Armin Landeck, an American realist whose graphic career spanned more than half of the twentieth century, was trained as an architect but devoted his life to etching, creating his first print in 1927.
A brief period of study under Stanley William Hayter at Atelier 17 in New York City introduced Landeck to copper engraving, establishing his subsequent fascination with the burin and all it can do. For the rest of the l940s Landeck often used both drypoint and engraving on the same plate, but after 1950 he produced only copper engravings with the exception of three wood engravings in 1958.
This revised edition of a book first published in 1977 has been completely rewritten and expanded to include prints not known when the first edition was publishedplus the prints made by the artist from 1977 till his death in 1984. The first edition contained 127 prints and states; 164 prints and states are now pictured and described.
An important addition to this book outlines Landeck s participation in many national print exhibitions such as those at the Library of Congress and the Society of American Etchers. Reflecting the growing appreciation of Landeck s work, the list of public institutions that have Landeck prints in their permanent collections has grown from the first edition s thirty-one to this edition s ninety-six. A new section entitled "Notes on the Prints" gives in-depth information on many Landeck prints. An extensive bibliography is another feature of this second edition."
Selecting the finest specimens by Durer, Beardsley, Kent, and others, the former editor of "American Artist" offers 761 miniature works of art representing 500 years of the bookplate from the first known example ca. 1450 to a wide range of fascinating 20th-century designs. Most comprehensive collection available. Introduction.
Man Ray (1890-1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work--significant not only for comprehending Man Ray's future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of the evolution of modernism.The book, and the exhibition for which this work will serve as the catalog, concentrate on Man Ray's production from 1907 to 1917. Conversion to Modernism will be the first comprehensive, fully illustrated work to examine this artist's seminal years. The show and the catalog begin with Man Ray's high school years in Brooklyn, his studies at the Art Students League and the American Academy in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center From 1913 to 1915, Man Ray lived in a small artists' colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that Man Ray began to become the artist we know today. The last section of the show and of the book include recently discovered photographs and other works that are influenced by a knowledge of the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921. This exhibit will first be on display at the Montclair Art Museum from January 26 through March 2003. It will then travel to museums in Athens, Georgia, Philadelphia, and Chicago.
In the eighties, Cuban art centered on ideology, exoticism, shamanism, and a Beuysian conceptual legacy prevalent among students at the Instituto Superior de Artes, a power-house for young artists. Many of the artists from this generation left the island for Mexico and the United States. In the nineties many artists have chosen, almost strategically, to stay in Cuba. Their narratives deal with race, sexuality, camouflage, tourism, and the "hybrid" as the reigning cultural metaphor for the endless contradictions of contemporary Cuban life. This book includes work by Pedro Alvarez, Saidel Brito, Carmen Cabrera, Henry Erik, Luis Gomez, Douglas Perez, and Jose Vincench among others.
Of all the paintings by the Impressionist master Edouard Manet, nearly one-fifth are still lifes, a genre the artist himself considered "the touchstone of painting". This sumptuous volume, published to accompany a landmark exhibition at the Walters Art Gallery in Baltimore and at the Musee d'Orsay in Paris, is the first major book to focus on this crucial aspect of Manet's work.
Throughout his career, and especially later in his life, Manet devoted considerable energy to still lifes, producing oils, watercolors, and prints that unite exuberant personal expression with a flawless mastery of light and detail. With informative text, including an enlightening essay by Henri Loyrette, director of the Musee d'Orsay, Manet: The Still-Life Paintings features lush, full-page colorplates as well as full-bleed details of what some critics consider the finest examples of still-life painting ever executed.
The exhibition this book accompanies has been organized by the American Federation of Arts and the Reunion des Musees Nationaux/Musee d'Orsay, Paris.
Mary Cassatt (1844-1926) was one of the few women artists to have succeeded professionally in her era, and the only American invited to exhibit with the French Impressionists. Extensively illustrated with paintings, prints and pastels spanning Cassatt's whole career, this volume, published to accompany a travelling exhibition in the USA, contains essays which trace the artist's development from her early influences to her critical role in bringing Old Master and Impressionist art to the United States.
A Portrait of the Artist, 1525-1825 reveals how artists depicted themselves and their profession from the sixteenth to the nineteenth centuries. This richly illustrated book presents more than eighty engravings, etchings, woodcuts, mezzotints, and lithographs from the collection of the Sarah Campbell Blaffer Foundation. It provides an in-depth examination of works by Rembrandt van Rijn, Claude Lorrain, Adriaen van Ostade, Salvator Rosa, William Hogarth, Francisco Goya, and many other European masters. A Portrait of the Artist, 1525-1825 accompanies an exhibition organized by the Museum of Fine Arts, Houston, and the Sarah Campbell Blaffer Foundation.
The prints in this book are organized into four themes: "Icon," "Work," "Genius," and "Market." Together the themes present a comprehensive look at how artists used art to define individual and group identities. From the late Middle Ages onward, artists struggled to improve their social status. This quest affected the ways in which they represented themselves, other artists, and subjects relating to their profession. The prints featured in this book focus on artists' lives and work and on the roles that both artists and the arts held in society. Many of the examples are self-portraits, whereas others depict artists at work, interacting with clients, or in training.