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Titre : Philip Pearlstein Since 1983.
Éditeur : Harry N. Abrams, New York, NY
Date d'édition : 2002
Reliure : Hardcover
Etat de la jaquette : Dust Jacket Included
Edition : 1st Edition
First Edition ; First Printing indicated. Very Good+ in Very Good DJ: Both book and DJ show indications of very light use. Book shows just a touch of dampstaing to the lower extremtiies; very tiny, superficial bump at the bottom edge of the rear panel; binding shows the slightest lean, but remains perfectly secure; text clean. DJ shows only minor wear to the extremities; mild rubbing; dampstains apparent at the inside corners of the front and rear flaps; price unclipped; mylar-protected. Overall, remains a handsome volume with some minor defects. NOT a Remainder, Book-Club, or Ex-Library. Oblong 4to. 128pp. 70 illustrations, including 60 colour plates. Hardback with DJ. Long acknowledged as a master of contemporary realism, Philip Pearlstein (b. 1924) has been painting his famed monumental nudes since the 1960s. The larger-than-life men and women who occupy his canvases veer out of the frame at surprising angles, posed sitting or reclining passively, disinterestedly, under stark, even light. Since the early 1980s, Pearlstein has introduced folk art, sculpture, and other objects into his paintings, making complex compositions that create visual tension between human and inanimate forms. This striking volume—the only book now in print on this grand master of contemporary figurative painting—includes a fascinating interview with the artist and a thoughtful essay by curator, scholar, and art critic Robert Storr. First Edition ; First Printing indicated. N° de réf. du libraire 37931
Synopsis : Long acknowledged as a master of contemporary realism, Philip Pearlstein has remained true to his pursuit of painting monumental nudes since the 1960s. Like Alex Katz, Alice Neel, and others, Pearlstein eschewed the minimalism, conceptualism, and later expressionism practiced by his many of his contemporaries and followed a course of realist figurative painting that has proven to be very influential to a younger generation of artists. The larger-than-life men and women that occupy his canvases, often veering out of the frame at surprising angles, are posed on furniture or against colorful rugs, and rendered cool and motionless under stark, even light. Over the years, Pearlstein's compositions have become more complex with the introduction of folk art, sculpture, and other objects that serve as formal counterpoints to the nudes. The book includes a fascinating interview with the artist and a thoughtful essay by Robert Storr.
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