Piet Mondrian behind his easel, Igor Stravinsky at his piano, Max Ernst sitting smoking on his throne-like chair: Arnold Newman's photographs are classics of portraiture. His subtle arrangements constituted the foundations of ""environmental portraiture."" His photographs integrate the respective artist's characteristic equipment and surroundings, thus indicating his or her field of activity. The enormous fame of Newman's portraits can be ascribed to their daring compositions and sometimes astounding spatial structures. The photographer's beginnings, on the other hand, were none too promising. During the Great Depression Newman had to abandon his art studies for financial reasons. Between 1938 and 1942 he concentrated on socio-documentary photography in the ghettos of West Palm Beach, Philadelphia, and Baltimore. One might think that being forced to earn his living in a photography studio would have stifled his artistic potential: Newman portrayed up to 70 clients a day. Yet he still succeeded in developing a very personal touch and establishing himself in the New York art scene of the early 1940s. His subjects included Max Ernst, Marcel Duchamp, Marc Chagall, Jackson Pollock, Willem de Kooning and Alexander Calder. With his unmistakable style, Newman became the star photographer of artists, writers and musicians.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
There's a famous photograph of Picasso in his 70s that probably would make you think "genius" and "visionary" even if you had no idea he was a great artist. One hand pushes up against his forehead, carving a few extra wrinkles and hooding one eye; the other eye stares out with implacable intensity. This is the work of Arnold Newman, one of the great contemporary American portrait photographers, whose images--frequently made on assignment in Europe--appeared in Harper's Bazaar, Fortune, Life, Look, and other major magazines. Trained as a painter, he believes (as he writes in a short, passionate essay prefacing his selection of 60 years of his work) that "we do not take pictures with our cameras, but with our hearts and minds." He has always been fascinated by the kind of people--scientists, musicians, actors, politicians, writers, and artists--with whom he could have "long conversations until late at night."
Arnold Newman, probably the most extensive of the many samplings of the photographer's work, amply displays his vaunted skill at portraying mostly well-known sitters in their native habitats, whether these happen to be lonely-looking palaces (Haile Selassie, Generalissimo Franco), book-lined offices (Golda Meier, Stephen Jay Gould), a shabby road veiled in darkness (Shelagh Delaney), a bed (Woody Allen, scribbling on a legal pad), or mysterious precincts that capture the willful individuality of artists and architects. With 240 black-and-white and color plates, this beautifully produced book (marred only by the awkward way the elegant black silhouette of a grand piano lid in the Igor Stravinsky portrait bleeds across two pages) accompanies an exhibition at the Corcoran Gallery of Art in Washington, D.C. (March 18-May 21, 2000). --Cathy CurtisFrom the Publisher :
This new edition, which includes recent work and an updated biography, provides a sweeping overview of Newman’s illustrious career.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Description du livre Taschen, 2000. Hardcover. État : New. N° de réf. du libraire P113822871931
Description du livre Taschen. Hardcover. État : New. 3822871931 New Condition. N° de réf. du libraire NEW6.0901773
Description du livre Taschen, 2000. Hardcover. État : New. book. N° de réf. du libraire 3822871931