Alison Watt's monumental canvases reveal a deep fascination with the suggestive power of white fabric, often painted closely cropped as folds and gathers. She established her reputation as a skilful painter of nudes in light-filled interiors. However in the late 1990s, Watt's work unexpectedly took a new direction and the impression of the absent model's body on the sheet on which she had been lying became the inspiration for a remarkable corpus of work. As the National Gallery's seventh Associate Artist, Watt has been working in a studio in the Gallery in close proximity to paintings she has admired since first visiting the collection as a small child. The result is a series of powerful, large-scale paintings, derived from the tradition of drapery in western art. These paintings are built up using a selective palette of white, grey, burnt sienna, cadmium red and yellow. Alison Watt was born in Greenock in 1965 and studied at the Glasgow School of Art. In 2000 she became the youngest artist to be given a solo exhibition at the Scottish National Gallery of Modern Art. In 2003 she was shortlisted for the Jerwood Painting Prize with works that were rendered with a sensual quality, evocative of the human presence and form. In this book, Colin Wiggins reviews Watt's career to date, and examines how the National Gallery collection and traditional representations of drapery in art are manifested in her paintings. The celebrated poet Don Paterson has written his response to these new works. The book is published to accompany the exhibition Alison Watt: Phantom at the National Gallery, London, 13 March - 22 June 2008.
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Don Paterson is a renowned Scottish poet, writer and musician. His collections have been received with widespread acclaim, including Landing Light, which won both the T.S. Eliot Prize and the Whitbread Poetry Award (2003). Don Paterson is poetry editor for Picador and regularly reviews for numerous national newspapers. Colin Wiggins is Deputy Head of Education at the National Gallery, London. His previous publications include Tom Hunter: Living in Hell and other Stories, John Virtue: London Paintings (both 2005), and Ron Mueck (2003).
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Vendeur : WorldofBooks, Goring-By-Sea, WS, Royaume-Uni
Paperback. Etat : Very Good. British artist Alison Watt (b. 1965) creates monumental paintings depicting richly draped fabric. These canvases show closely cropped folds, gathers, tucks, and creasesall sensuously developed from a selective palette of white, grey, burnt sienna, cadmium red, and yellow.The National Gallerys seventh Associate Artist, Watt has been working in a studio near the permanent collection. This proximity to masterpieces she has long admired has concentrated her focus on the tradition of drapery in western art and inspired her dramatically abstracted reinterpretations. This beautifully designed and illustrated book presents her most recent series of powerful, large-scale paintings. In an essay featuring photographs of Watt at work in the gallery studio, Colin Wiggins reviews the artists creative process. Also included is a new piece written by celebrated Scottish poet Don Paterson that responds to these works. Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:National Gallery, London (March 13 June 22, 2008). The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. N° de réf. du vendeur GOR003295929
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Vendeur : Karen Jakobsen (Member of the PBFA), Sturminster Newton, Royaume-Uni
Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. Pale grey-white hardcover with title in black on spine. Condition: Very good, binding sound, no inscriptions. Dustjacket condition: Very good, with light shelfwear. 72pp. Many colour (grey-toned) plates). This catalogue was produced to accompany the exhibition "Alison Watt: Phantom" held at the National Gallery, London from 12 March to 22 June 2008. The monumental canvases of the Scottish artist Alison Watt (b.1965) reveal a deep fascination with the suggestive power of white fabric, creating sensual works evocative of the human form. The exhibition Phantom marked the end of her two year period at the National Gallery and comprised six large-scale works which were inspired by works from the National Gallery's permanent collection. A poem by Don Paterson, published for the first time in this catalogue, complements the epic and mysterious qualities of Watt's paintings. N° de réf. du vendeur 008389
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