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Leon Kossoff Hardcover – 1 Oct 1996

5.0 out of 5 stars 3 customer reviews

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Hardcover, 1 Oct 1996
£65.00
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Product details

  • Hardcover: 176 pages
  • Publisher: Thames & Hudson; 1st ed edition (Oct. 1996)
  • Language: English
  • ISBN-10: 0500092648
  • ISBN-13: 978-0500092644
  • Product Dimensions: 1.9 x 24.8 x 31.8 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 3,378,067 in Books (See Top 100 in Books)

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Top Customer Reviews

Format: Hardcover
I love this book and have bought the hardback version to replace my paperback. Great images - well printed. If you like this artist- it's a must have. If you don't know the artist - you should do!
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Format: Hardcover Verified Purchase
This is an excellent volume, lavishly illustrated throughout, mainly in colour. I certainly have no hesitation in recommending it. !
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Format: Paperback Verified Purchase
Arrived on time and as advertised
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x9679b4d4) out of 5 stars 3 reviews
2 of 2 people found the following review helpful
HASH(0x94ee251c) out of 5 stars Leon Kossoff 18 April 2013
By W. Seals - Published on Amazon.com
Format: Hardcover Verified Purchase
I purchased the 1996 edition of this book on Leon Kossoff (with Christ Church, Spitalfields on the front cover). Its strength is in showing a wide exhibition of his work, including many of his best known paintings from 1954 to 1995. The plates are well-produced. The book does a good job of informing the reader of Kossoff's process from drawing to painting. Paul Moorhouse provides thoughtful, revealing commentary about Kossoff's life, formative experiences and Kossoff's approach to his work.

Leon Kossoff is well-known in Great Britain, less so here in the States. And that's unfortunate. For he is a superb painter, one of the greats. While his painting may only seem like muddy globs of paint on a board, and his subject matter is ordinary, Kossoff's great skill, like his friend and former art schoolmate, Frank Auerbach, is in revealing what their teacher, David Bomberg, called the "spirit in the mass." That process, for both painters, does not arrive easy. They struggle, painting and scraping, over and over. But from those thick applications of paint, they reveal something original, and in their own way. In doing so Leon Kossoff makes those ordinary places and people he depicts transforming.
6 of 8 people found the following review helpful
HASH(0x9679c6e4) out of 5 stars British expressionism 6 Sept. 2006
By Winston hough - Published on Amazon.com
Format: Hardcover
I can't decide between Kossoff and Auerbach who is best.Both use heavy paint. Sometimes this is overwhelming. Kossoff is at his best when he is painting family and friends. His humor is obvious. Some of his work is too close to Roualt .The large heads..for example. I like some of his landscapes ,as well.The text gives you a good idea of his struggles with paint.Luckily he found support, The Brits seem to be more generous in enabling the artists then we have in the United States. The U.K. is much smaller than the U.S.They manage to give their artists careers.The situation for artist in the U.S. is more competitive and difficult. I wonder why there are so many more books on Francis Bacon than Willem De Kooning. Someone said it is ,because he twisted the head of the figure in distortions like Picasso The book is well worth the price.
1 of 1 people found the following review helpful
HASH(0x961ed768) out of 5 stars Tate Exhibition of One of the World's Best Figurative Painters 6 Jun. 2013
By drkhimxz - Published on Amazon.com
Format: Hardcover
Recently, I reviewed a book here about the work of Leon Kossoff's great friend, Frank Auerbach. Unlike the native (British) born Kossoff, the younger Auerbach was born in Berlin and came to England as an immigrant child. Despite these differences, both artists have remained devoted to the figurative, representational approach with strong linkages to the expressionist tradition. The work of both is strongly rooted in the London setting and working with the live model, both in the studio and as found in the reality of their native surroundings. Both were students of the outstanding, but inadequately recognized and supported, David Bomberg. All three reflect the impact of their Jewish heritage reinforced by their emergence from within deep rooted Jewish communities. Both Kossoff and Auerbach produce works (the former mostly board, the latter on canvas) which are laden with paint which has been scraped, layered, reapplied, streaked, rutted, ridged and in many ways manipulated over time. Auerbach tends to built layer upon layer, kossoff scrapes down to the board each day, then rebuilds time and again till he has created the look which clicks for him.
The retrospective (of paintings only) by the Tate for which this is the catalog, is one of the few given him, despite a general recognition of his talent. Despite that limitation, the book is sufficiently rich in drawings illustrating the text sections as to give the reader a reasonably sound basis for understanding their relationship to the painting. The essays are quite good in their use of visual representations to provide a clearer understanding of the underlying principles of Kossoff's approach. I was quite happy with them. The plates themselves are about as good a representation as one can get in a printed text of such paint enriched surface. Study with my 5", x2 magnifying glass, gave me a very good sense of what the work was like, although only an approximation of the reality. Unfortunately, contrary to the situation with Auerbach (whose work was exhibited fairly often by his dealer Marlborough in their NYC gallery), the American who finds himself drawn to Kossoff finds a lesser opportunity to study the works themselves. I was quite happy to find one of his large paintings of his brother, Chaim, adorning the walls of the Metropolitan Museums gallery which also included one of Alex Katz's many Ada paintings, Warhol's Mao, and a variety of Chuck Close's large photo-based works. This gave me a good chance to enrich my study of the catalogue's plates. (Amusingly, Chaim was replaced in time by one of Frank Auerbach's portraits. Perhaps they reserved the area for British figurative artists since it was right next to one by Lucien Freud of his bulky entertainment model of the 1980's.)
While there are other catalogues and books available on Kossoff, this one, I believe, is best able to provide a broad perspective on his work. The one with a nice but short essay by Sylvester covers only a limited period. For anyone interested in contemporary figurative art, British art, or excellent art, this book will be a fruitful source of enlightenment and pleasure
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