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Giorgio Morandi (Twentieth-Century Masters Series) epub download

by Karen Wilkin


Find sources: "Karen Wilkin" – news · newspapers · books · scholar . 1998 - Giorgio Morandi (Twentieth-Century Masters Series).

Find sources: "Karen Wilkin" – news · newspapers · books · scholar · JSTOR (November 2016) (Learn how and when to remove this template message). Karen Wilkin (born 1940) is a New York-based independent curator and art critic specializing in 20th-century modernism. Educated at Barnard College and Columbia University, she was awarded a Woodrow Wilson Fellowship and a Fulbright Scholarship, to Rome. ISBN 0-856-67628-4, ISBN 978-0-856-67628-4.

Giorgio Morandi book. Giorgio Morandi (Twentieth-Century Masters Series). 0847819477 (ISBN13: 9780847819478).

Wilkin, Karen; Morandi, Giorgio, 1890-1964. Morandi, Giorgio, 1890-1964, Morandi, Giorgio, 1890-1964.

Giorgio Morandi (Twentieth-Century Masters Series). Few major twentieth-century artists seem duller at first glance than Morandi (1890^-1964). Except for some very early portraits, his work is "about" just three things: the landscape, with windowless houses, of hilly northern Italy; the courtyard of Morandi's apartment building in Bologna; and bottles, bowls, boxes, and other utensils atop a table.

Giorgio Morandi: Works, Writings, Interviews (Ediciones Poligrafa) by Karen Wilkin . David Smith (Modern Masters Series). Book by Wilkin, Karen). Book by Wilkin, Karen.

Giorgio Morandi: Works, Writings, Interviews (Ediciones Poligrafa) by Karen Wilkin (2007-07-01). 02UQA/?tag prabook0b-20. Hans Hofmann: Magnum Opus ) . Today, he is celebrated a giant of twentieth-century abstraction, and his pivotal role, along with Jackson Pollock, Willem de Kooning, and Arshile Gorky, in the development of Abstract Expressionism is widely acknowledged.

Wilkin teaches in the Master of Fine Arts program of the New York Studio School. YouTube Encyclopedic. 1995 - Frankenthaler: Works on Paper 1949-1984.

Magazine article New Criterion. Morandi at the Met. By Wilkin, Karen

Magazine article New Criterion. By Wilkin, Karen. Magazine article New Criterion. Giorgio Morandi can be described, with equal accuracy, as one of the most admired and celebrated of twentieth-century Italian painters or as one of the most misunderstood and underestimated. Responses to his magically quiet, introspective paintings, etchings, drawings, and watercolors seem to occupy opposite ends of the aesthetic spectrum.

Here is a video made from various images of landscape paintings and print from the show’s catalog and other sources (thanks . ) Here are a select group of images from the catalog to the show.

This much-anticipated volume presents the work of the private, enigmatic Bolognese painter and engraver. The text traces Morandi's many influences, from Giotto to Cezanne and the Metaphysical painters to the Cubists, and discusses the manner in which his life and work have informed the critical interpretations of his art. A wealth of color reproductions illustrates every phase of Morandi's career, including his signature still lifes and landscapes with their serene groupings of muted objects.

Giorgio Morandi (Twentieth-Century Masters Series) epub download

ISBN13: 978-0847819478

ISBN: 0847819477

Author: Karen Wilkin

Category: Arts and Photo

Subcategory: History & Criticism

Language: English

Publisher: Rizzoli (March 15, 1998)

Pages: 128 pages

ePUB size: 1207 kb

FB2 size: 1832 kb

Rating: 4.4

Votes: 784

Other Formats: azw lit txt mbr

Related to Giorgio Morandi (Twentieth-Century Masters Series) ePub books

Pedora
This is one of the best books on Morandi that I've come across. Wilkin's text is wonderfully clear and objective, and mercifully free of "art babble." The illustrations are well chosen and very, very well printed. Not everyone "gets" Morandi, as Wilkin points out, but this representation of his work will certainly make a few converts.
Pedora
This is one of the best books on Morandi that I've come across. Wilkin's text is wonderfully clear and objective, and mercifully free of "art babble." The illustrations are well chosen and very, very well printed. Not everyone "gets" Morandi, as Wilkin points out, but this representation of his work will certainly make a few converts.
Ericaz
This is a handsome coffee table book of 116 paintings and sketches, most of which are in color, from the artwork of Giorgio Morandi, where Karen Wilkin writes 35 pages of text providing the background, the influences and biographical highlights of the artist. She also sprinkles in comments on Morandi's art along with quotes from the artist, for example, when Morandi described himself as "a believer in Art for Art's sake rather than in Art for the sake of religion, of social justice or of national glory. Nothing is more alien to me than an art that sets out to serve other purposes than those implied by the work of art in itself. . . . "

I was drawn to the art of Morandi when I read how the German existentialist philosopher Martin Heidegger said how the still lifes of Morandi were able to make the nature of things experienced and comprehended in ways that a philosophical essay was not. This observation coupled with Maurice Merleau-Ponty noting how a painting can display a kind of openness and immersion in the world that we, as viewers, can learn a great deal from.

And I am prompted to write a review of this book on Morandi's art after viewing a course on the world's greatest paintings given by William Kloss, where Professor Kloss encouraged students of art to "trust your eyes, but use them well," and how we should not avoid the responsibility to read a painting as well as trusting our initial response. So, with this trusting and reading in mind, I will venture on what is for me new ground, since my reviews to date have been mainly on books of ancient philosophy, aesthetics and literature.

Let's look at plate number 82, Still Life, 13 x 17 ½, oil on canvas. Set out on a table, three small cylindrical objects touch one another in the middle of the painting. The front of the table is rich chocolate brown, the top a lighter brown and the wall behind a still lighter brown. The irregular shaped cup on the left, brown in color, seems to catch the light of the sun; the small bottle in the middle is the brightest color, an earthy orange; the cup on the right is a more faded orange. The brush strokes are visible, almost having the quality of finger painting. Usually we can imagine a certain piece of music fitting the subject or mood of a work of art; not here, this is a world that is private and silent; it is as if we can sense the artist silently communing with the objects and space and light.

When we approach an area we wish to investigate carefully, it is wise to simplify if we want to penetrate for a deeper understanding. This is my sense of Giorgio Morandi's art. He spent the majority of his creative life painting a handful of objects on a bare table in a bare room touched by light. It is as if the objects opened themselves to him and open themselves to us via his art; as if, through his painting, we are given an opportunity to understand the cups and bottles and pitchers and bowls and other objects on their own terms.

This is a beautiful book with beautiful art. I would suggest anybody who loves art or who would like to start loving art, order this book. I can assure you of a most rewarding experience. And please keep this book on Morandi out on your coffee table to share with others.
Ericaz
This is a handsome coffee table book of 116 paintings and sketches, most of which are in color, from the artwork of Giorgio Morandi, where Karen Wilkin writes 35 pages of text providing the background, the influences and biographical highlights of the artist. She also sprinkles in comments on Morandi's art along with quotes from the artist, for example, when Morandi described himself as "a believer in Art for Art's sake rather than in Art for the sake of religion, of social justice or of national glory. Nothing is more alien to me than an art that sets out to serve other purposes than those implied by the work of art in itself. . . . "

I was drawn to the art of Morandi when I read how the German existentialist philosopher Martin Heidegger said how the still lifes of Morandi were able to make the nature of things experienced and comprehended in ways that a philosophical essay was not. This observation coupled with Maurice Merleau-Ponty noting how a painting can display a kind of openness and immersion in the world that we, as viewers, can learn a great deal from.

And I am prompted to write a review of this book on Morandi's art after viewing a course on the world's greatest paintings given by William Kloss, where Professor Kloss encouraged students of art to "trust your eyes, but use them well," and how we should not avoid the responsibility to read a painting as well as trusting our initial response. So, with this trusting and reading in mind, I will venture on what is for me new ground, since my reviews to date have been mainly on books of ancient philosophy, aesthetics and literature.

Let's look at plate number 82, Still Life, 13 x 17 ½, oil on canvas. Set out on a table, three small cylindrical objects touch one another in the middle of the painting. The front of the table is rich chocolate brown, the top a lighter brown and the wall behind a still lighter brown. The irregular shaped cup on the left, brown in color, seems to catch the light of the sun; the small bottle in the middle is the brightest color, an earthy orange; the cup on the right is a more faded orange. The brush strokes are visible, almost having the quality of finger painting. Usually we can imagine a certain piece of music fitting the subject or mood of a work of art; not here, this is a world that is private and silent; it is as if we can sense the artist silently communing with the objects and space and light.

When we approach an area we wish to investigate carefully, it is wise to simplify if we want to penetrate for a deeper understanding. This is my sense of Giorgio Morandi's art. He spent the majority of his creative life painting a handful of objects on a bare table in a bare room touched by light. It is as if the objects opened themselves to him and open themselves to us via his art; as if, through his painting, we are given an opportunity to understand the cups and bottles and pitchers and bowls and other objects on their own terms.

This is a beautiful book with beautiful art. I would suggest anybody who loves art or who would like to start loving art, order this book. I can assure you of a most rewarding experience. And please keep this book on Morandi out on your coffee table to share with others.
Mr_KiLLaURa
The color quality of the plates (or reproductions of the paintings) in this book are terrible. One plate was even backwards. I am not reviewing the authors writing in any way, but who would want an art book that had lousy pictures of the art?

Here is how I know:

I recently was visiting my mother in NYC when I went to the Morandi show at the Metropolitan Museum of Art. I love Morandi so much I went to the museum bookstore afterwords to buy a book. I have a masters degree in fine art with a major in painting so I know when buying an art book to check the quality of the photographic plates, especially for color. I repeat, this book has terrible reproduction quality (for example the light greens appear a dark brownish green and the contrast is to high - this last point is not to picky as Morandi's color palette is very delicate - and high contrast ruins it.)

The best book I found at the Museum store (I am going from memory here) was the one published by Museo Morandi (I did not see it for sale on Amazon). A very close second was Giorgio Morandi 1890-1964: Nothing Is More Abstract Than Reality (Hardcover), published for the show at the Met. (One note, the book on sale at the museum has a different color cover, but otherwise it seems to be the same as the one found on Amazon.) Good luck!
Mr_KiLLaURa
The color quality of the plates (or reproductions of the paintings) in this book are terrible. One plate was even backwards. I am not reviewing the authors writing in any way, but who would want an art book that had lousy pictures of the art?

Here is how I know:

I recently was visiting my mother in NYC when I went to the Morandi show at the Metropolitan Museum of Art. I love Morandi so much I went to the museum bookstore afterwords to buy a book. I have a masters degree in fine art with a major in painting so I know when buying an art book to check the quality of the photographic plates, especially for color. I repeat, this book has terrible reproduction quality (for example the light greens appear a dark brownish green and the contrast is to high - this last point is not to picky as Morandi's color palette is very delicate - and high contrast ruins it.)

The best book I found at the Museum store (I am going from memory here) was the one published by Museo Morandi (I did not see it for sale on Amazon). A very close second was Giorgio Morandi 1890-1964: Nothing Is More Abstract Than Reality (Hardcover), published for the show at the Met. (One note, the book on sale at the museum has a different color cover, but otherwise it seems to be the same as the one found on Amazon.) Good luck!
Mildorah
It's true, this book is my oldest possession, from an earlier printing, I've had this book since the early 70's. If you are a painter and want to learn how to put space and light into your work then this book is your greatest resource and greatest challenge. For those in the know, Morandi is THE ONE for creating a palpable space in two demensions. The space shimmers and moves - it's real!
Mildorah
It's true, this book is my oldest possession, from an earlier printing, I've had this book since the early 70's. If you are a painter and want to learn how to put space and light into your work then this book is your greatest resource and greatest challenge. For those in the know, Morandi is THE ONE for creating a palpable space in two demensions. The space shimmers and moves - it's real!
Arlelond
The prints are excellent - both in terms of variety and quality of print. I use them in classes and they are really a treasure. The text is very readable and enjoyable as well (though I care more about the print quality).
Arlelond
The prints are excellent - both in terms of variety and quality of print. I use them in classes and they are really a treasure. The text is very readable and enjoyable as well (though I care more about the print quality).