ISBN 10: 1846381347 / ISBN 13: 9781846381348
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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Throughout his career, Philip Guston's work metamorphosed from figural to abstractand back to figural. In the 1950s, Guston (1913--1980) produced a body of shimmering abstractpaintings that made him -- along with Willem de Kooning, Jackson Pollock, and Franz Kline -- aninfluential abstract expressionist of the "gestural" tendency. In the late 1960s, withworks like T he Studio came his most radical shift. Drawing from the imagery ofhis early murals and from elements in his later drawings, ignoring the prevailing"coolness" of Minimalism and antiform abstraction, Guston invented for these late works acast of cartoon-like characters to articulate a vision that was at once comic, crude, and complex.In The Studio , Guston offers a darkly comic portrait of the artist as a hooded KuKlux Klansman, painting a self-portrait. In this concise and generouslyillustrated book, Craig Burnett examines The Studio in detail. He describes thehistorical and personal motivations for Guston's return to figuration and the (mostly negative)critical reaction to the work from Hilton Kramer and others. He looks closely at the structure of The Studio , and at the influence of Piero della Francesca, Manet, and Krazy Kat,among others; and he considers the importance of the column of smoke in the painting -- as acompositional device and as a ghost of abstraction and metaphysics. The Studio signals not only Guston's own artistic evolution but a broader shift, from the medium-centric andteleological claim of modernism to the discursive, carnivalesque, and mucky world of postmodernism. Buchnummer des Verkäufers

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Throughout his career, Philip Guston's work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913--1980) produced a body of shimmering abstract paintings that made him -- along with Willem de Kooning, Jackson Pollock, and Franz Kline -- an influential abstract expressionist of the "gestural" tendency. In the late 1960s, with works like T he Studio came his most radical shift. Drawing from the imagery of his early murals and from elements in his later drawings, ignoring the prevailing "coolness" of Minimalism and antiform abstraction, Guston invented for these late works a cast of cartoon-like characters to articulate a vision that was at once comic, crude, and complex. In The Studio, Guston offers a darkly comic portrait of the artist as a hooded Ku Klux Klansman, painting a self-portrait.

In this concise and generously illustrated book, Craig Burnett examines The Studio in detail. He describes the historical and personal motivations for Guston's return to figuration and the (mostly negative) critical reaction to the work from Hilton Kramer and others. He looks closely at the structure of The Studio, and at the influence of Piero della Francesca, Manet, and Krazy Kat, among others; and he considers the importance of the column of smoke in the painting -- as a compositional device and as a ghost of abstraction and metaphysics. The Studio signals not only Guston's own artistic evolution but a broader shift, from the medium-centric and teleological claim of modernism to the discursive, carnivalesque, and mucky world of postmodernism.

Über den Autor: Craig Burnett is a writer and curator and the author of Jeff Wall. His writing has appeared in Art Review, Sight & Sound, frieze, Time Out, The Art Quarterly, The Times Literary Supplement, and the Globe & Mail.

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