With more than 100 illustrations -- approximately 48 in full color -- this innovative series offers a fresh look at the most creative and influential artists of the postwar era. Modern Masters form a perfect reference set for home, school, or library. Each handsomely designed volume presents:
- A thorough survey of the artist's life and work
- Statements by the artist
- An illustrated chapter on technique
- Lists of exhibitions and public collections
- Annotated bibliography
"synopsis" may belong to another edition of this title.
The youngest of the brash upstarts (soon to be labeled Pop artists) who stole the spotlight from the Abstract Expressionists in the late 1950s and early 1960s, Jim Dine has been a restlessly creative force ever since. He has refused to limit himself to any one way of making art, though he has been surprisingly faithful to certain subjects, including his famous hearts, tools, bathrobes, and Venuses.From Publishers Weekly:
Best known for his paintings, drawings and prints of hearts, tools, scissors, gates, robes, hair and skulls, Dine elevates ordinary objects into recurring multifaceted symbols. Yet his range is considerably broader, as this adventurous monograph reveals with the aid of 55 color plates and 70 black-and-whites. Cincinnati-born Dine burst on the New York art scene in 1959 as an environmental sculptor. Car Crash (1960), a performance piece, created a potent metaphor for danger and the omnipresent specter of death. Straw Heart (1966), a delicate, resonating sculpture, preceded his famous series of heart paintings. Dine's tree pictures of the early 1980s, reflecting his move to Vermont, evoke sensuous, spidery forms exuding an eerie allure. His recent mystical oils are crammed with a multitude of images, ranging from flowers to a bodhisattva (enlightened being). Feinberg, a curator at the Cincinnati Museum of Art, skillfully charts the twists and turns of Dine's career.
Copyright 1995 Reed Business Information, Inc.
"About this title" may belong to another edition of this title.
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