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Book Description
These richly illustrated art books cover several centuries of great artists and their masterworks. From Rubens to Dali, each artist's life and times, influences, legacy, and style are explored in depth. Each book analyzes a particular painting with regard to the history surrounding it, the techniques used to create it, and the hidden details that make up the whole, providing a thorough look at each artist's career. Included is a bibliography, a chronological reading of principle works, a brief life history, and listings of public collections featuring each artist.
--This text refers to an out of print or unavailable edition of this title.
About the Author
Federico Zeri, an eminent art historian and critic, was vice president of the National Council for Cultural and Environmental Treasures and was decorated with the Legion of Honor by the French Government. He passed away in 1998.
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6 of 6 people found the following review helpful
Pack Your Suitcase ...
5 Nov 2010
Format:Paperback|Amazon Verified Purchase
... and get ready to travel if you aspire to 'know' the paintings of Edvard Munch (1863-1944). Looking over the reproductions in this small-format Taschen edition, you'll quickly notice that the large majority of them are in the museums of Oslo and Bergen, in the artist's native Norway. Yes, there are some very fine Munchs in Berlin, Lübeck, and Stuttgart, and a sampling in America. Few painters of the enormous stature of Edvard Munch, however, are so 'concentrated' in their homelands. But it's not inappropriate for Munch; it's as hard to comprehend Munch's vision without Norway as it is to comprehend modern Norway without Ibsen and Munch.
On the other hand, as you'll read in the text of this Taschen book, by Ulrich Bischoff, Edvard Much is generally perceived among art historians as the most significant "bridge" between the French post-impressionists and the German expressionists. That's the sort of insight one can draw from the plates in this book, some of which seem remarkably close to Cezanne and Monet while others leap forward over van Gogh to Kokoschka and Beckmann. Yet Munch is one of the most 'recognizable' of painters; it's rare to see a painting of his for the first time, across a gallery, without instantly identifying the artist. Chiefly that's because of his unique combination of the most formal vertical/horizontal axis compositions with the most informal, improvisational brushwork and his thin washes of color.
The utility of a book like this is limited, I think, to being an "aide to memory". If you've never seen at least a sample of Munch's paintings, you can't possibly imagine their impact from these little shiny pages. Munch was first a painter's painter, in terms of building an audience, but his paintings are less about Art than about Life. He himself grouped his works in what he called "Friezes of Life", and his themes were always the stages of life - childhood/youth/maturity/age - and the basic involvements of life - sexual intimacy/hostility, sickness, loneliness, and death. Munch seldom painted anything to be decorative. He sought emotional impact above all. Many of his paintings are fearsomely grim, to be honest about them, and dark and yes, depressing. But don't think you can "live without them" until you've had a chance to experience them.
On the other hand, as you'll read in the text of this Taschen book, by Ulrich Bischoff, Edvard Much is generally perceived among art historians as the most significant "bridge" between the French post-impressionists and the German expressionists. That's the sort of insight one can draw from the plates in this book, some of which seem remarkably close to Cezanne and Monet while others leap forward over van Gogh to Kokoschka and Beckmann. Yet Munch is one of the most 'recognizable' of painters; it's rare to see a painting of his for the first time, across a gallery, without instantly identifying the artist. Chiefly that's because of his unique combination of the most formal vertical/horizontal axis compositions with the most informal, improvisational brushwork and his thin washes of color.
The utility of a book like this is limited, I think, to being an "aide to memory". If you've never seen at least a sample of Munch's paintings, you can't possibly imagine their impact from these little shiny pages. Munch was first a painter's painter, in terms of building an audience, but his paintings are less about Art than about Life. He himself grouped his works in what he called "Friezes of Life", and his themes were always the stages of life - childhood/youth/maturity/age - and the basic involvements of life - sexual intimacy/hostility, sickness, loneliness, and death. Munch seldom painted anything to be decorative. He sought emotional impact above all. Many of his paintings are fearsomely grim, to be honest about them, and dark and yes, depressing. But don't think you can "live without them" until you've had a chance to experience them.
6 of 7 people found the following review helpful
An intensive exploration.
7 July 2003
Format:Hardcover
This book is short, only 48 pages, but is packed with an incredible amount of information and art. Zeri has done a phenomenal job of encapsulating Munch's life and work in a single, easily digestible package, one from which admirers of "The Scream" and art enthusiasts in general can learn a great deal. I would love to explore other books in Zeri's series.
1 of 3 people found the following review helpful
re Edvard Munch
3 Mar 2009
Format:Paperback
http://www.amazon.com/gp/product/3822859710/ref=cm_cr_rev_prod_title
AAALiving.com writes"Becoming Edvard Munch: Influence, Anxiety and Myth" at the Art Institute of Chicago challenges the comon idea that Munch was mentally unstable. Displaying approx 150 works by Munch (incl.. Self Portrait with Palette (illustrated) and his influential peers, this exhibit shows that although he was influenced by other art movements, Munch's work draws strongly on Norwegian pictorial traditions. 312-443-3600, artinstuteofchicago.org
AAALiving.com writes"Becoming Edvard Munch: Influence, Anxiety and Myth" at the Art Institute of Chicago challenges the comon idea that Munch was mentally unstable. Displaying approx 150 works by Munch (incl.. Self Portrait with Palette (illustrated) and his influential peers, this exhibit shows that although he was influenced by other art movements, Munch's work draws strongly on Norwegian pictorial traditions. 312-443-3600, artinstuteofchicago.org
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