Items related to Anthony Quinn's Eye: A Lifetime Of Creating And...
Synopsis
This oversize book (11.5x14.25") pays homage to the artistic passions of the actor Anthony Quinn. The volume contains photos, many of them full page, of the sculpture, paintings, and drawings created by Quinn, as well as the works in his art collection. The text includes thoughts on Quinn as an actor by Tom Roberts (cultural history, Rhode Island School of Design) and a short essay on his life and lifetime interest in art by art critic Donald Kuspit (State U. of New York, Stony Brook). Photos are included of Quinn's home and studio in Bristol, Rhode Island. Not indexed. Annotation 2004 Book News, Inc., Portland, OR (booknews.com)
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About the Author
Donald Kuspit is a professor at the State University of New York at Stony Brook. He lives in New York City. Jay Parini, a poet and novelist, lives in Weybridge, Vermont and is a professor at Middlebury College. Tom Roberts teaches cultural history at the Rhode Island School of Design and lives in Cranston, Rhode Island.
From Publishers Weekly
As a successful actor, Anthony Quinn could easily have lived a life of mindless pleasure. This lavish record of his artistic endeavors shows he did just the opposite. Compiled largely by his second wife, Katherine, who wrote the foreword and some of the photo captions, the book shows the extensive collections Quinn built up over the years and gives an excellent overview of his own artwork. He had carvings from South Asia, a large collection of painted and carved eggs, and assorted "found" items such as giant old oxen yokes and interesting rocks or branches. Quinn was also a tireless painter and sculptor, constantly sketching while on sets or at home. Though Katherine was only with him toward the end of his career, she is clearly a knowledgeable guide to Quinn’s world, and her insights into how he saw things are revealing. She explains, for example, why he shifted toward abstract sculpture while filming Lion of the Desert (in Libya, local law banned images of women in art). Her reminiscences are written in a conversational manner and give readers a sense of the actor’s personality and interests, but unfortunately, few photographs receive more than a short caption. The other essays by Parini and Kuspit, which attempt to put Quinn’s art in a broader theoretical framework, provide less insight into the man and are overly academic; most people will be much more drawn to the lovely photographs. Quinn was often typecast in Hollywood, and for many people he will always be Zorba the Greek, but this book demonstrates that he took advantage of his movies’ successes to bring even more art into the world.
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