A Balthus Notebook

Judith Thurman, Guy Davenport

ISBN 10: 1644230321 / ISBN 13: 9781644230329

Edité par David Zwirner, US, 2020

A propos de cet article

In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality and nudity in art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer. Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art.

N° de réf. du vendeur LU-9781644230329

Détails bibliographiques

• Titre: A Balthus Notebook
• Éditeur: David Zwirner, US
• Date de parution: 2020
• Langue: anglais
• ISBN à 10 chiffres: 1644230321
• ISBN à 13 chiffres: 9781644230329
• Reliure: Paperback
• État de l'article: New
• Poids: 100 grammes

A propos de ce titre

Synopsis

In his 1989 book on Balthus―the storied and controversial artist who worked in Paris throughout the twentieth century―Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality and nudity in art in the past thirty years.

Written over several years in his notebooks, Davenport’s distinct reflections on Balthus’s paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer.

Arguing that Balthus’s figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, “The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin’s naked Polynesian girls, brown and remote, escape the scandal of Balthus’s, although a Martian observer would not see the distinction.” Davenport’s critique helps us understand Balthus in our times―something we need more than ever as we crucially confront sexual politics in visual art.

À propos des auteurs

Guy Davenport (1927-2005) was born in Anderson, South Carolina, and educated at Duke, Harvard, and Merton College, Oxford. He won the Morton Dauwen Zabel Award from the American Academy of Arts and Letters, was a finalist for the National Book Critics Circle Award, and a MacArthur Fellow. The author of over thirty books of fiction, essay, poetry, and translations, he was also a visual artist who frequently illustrated his own work. A selection of work from the American original polymath can be found in The Guy Davenport Reader (2013).

Lucas Zwirner is Head of Content at David Zwirner where he oversees all aspects of gallery publishing through books, web, film, and podcasts. In addition to spearheading the ekphrasis series, short texts on visual culture by artists and writers rarely available in English, and the award-winning podcast Dialogues, Lucas also helps lead select digital initiatives, including Platform, a standalone company founded in 2021. He is also a writer and translator, whose work has appeared in The Drift, The Paris Review, and An Elias Canetti Reader, edited by Josh Cohen and published by Farrar, Straus and Giroux. He is a graduate of Yale University where he studied Comparative Literature and Philosophy.