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Bois's essay is filled with remarkable insights into Kelly's drawings and working methods during his sojourn in post-World War II France. Bois has an artist's mind: he refers to "the painter's attention to visual noise, to the 'insignificant' leftovers in the visual realm." And he explains what a rare, almost impossible luxury this "estrangement" from the world would have been for ordinary French citizens during reconstruction.
Brilliant and nourishing though Bois's essay is, however, it is appropriately upstaged by the impeccably reproduced drawings, collages, and paintings on paper, which leave the reader breathless. These studies are like fireworks: they explode in dozens of directions, putting the viewer in mind of artists as disparate as Barnett Newman, Howard Hodgkin, Henri Matisse, David Hockney, Richard Diebenkorn, Mark Rothko, and Brice Marden. The book opens with the typical young artist's drawing of his work table, then quickly shifts to the most extraordinary seaweed drawing, with a second one in gouache, giving pause to any reader who thought Kelly's much later leaf drawings fell from nowhere. There are, of course, the colored grids (Spectrum Colors Arranged by Chance), the cut-up grids such as the sketch for Cite, a study for Yellow on Yellow, and nearly 200 other color plates, all reproduced with the kind of accuracy that allows you to imagine you've held them in your hands.
This is a book that even before it's opened looks as if it might be essential, especially for artists. Hundreds of pages later, that first impression is amply confirmed. --Peggy Moorman
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