By John Updike
In this posthumous choice of John Updike’s paintings writings, a significant other quantity to the acclaimed Just having a look (1989) and Still Looking (2005), readers are back handled to “remarkably based essays” (Newsday) within which “the mental issues of the novelist force the attention from paintings to paintings till a deep figuring out of the paintings emerges” (The manhattan instances booklet Review).
constantly taking a look opens with “The readability of Things,” the Jefferson Lecture within the Humanities for 2008. the following, in taking a look heavily at person works by way of Copley, Homer, Eakins, Norman Rockwell, and others, the writer teases out what's commonly “American” in American paintings. This speak is by way of fourteen essays, such a lot of them written for The big apple evaluation of Books, on sure highlights in Western paintings of the final 2 hundred years: the enduring pix of Gilbert Stuart and the chic landscapes of Frederic Edwin Church, the sequence work of Monet and the monotypes of Degas, the richly patterned canvases of Vuillard and the golden extravagances of Klimt, the cryptic triptychs of Beckmann, the non-public graffiti of Miró, the verbal-visual puzzles of Magritte, and the enormous Pop of Oldenburg and Lichtenstein. The booklet ends with a attention of contemporary works through a residing American grasp, the steely sculptural environments of Richard Serra.
John Updike was once a gallery-goer of genius. Always Looking is, like every little thing else he wrote, a call for participation to seem, to see, to recognize the visible international during the eyes of a connoisseur.
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Extra info for Always Looking: Essays on Art
Cm. Includes index. eISBN: 978-0-307-96183-9 1. Art—Psychology. I. Title. U63 2012 700—dc23 2012005986 Cover image: John Updike, in 1989, looking at three paintings by Henri Matisse in the Florence May Schoenborn Gallery, The Museum of Modern Art, New York (from left to right: View of Notre Dame, 1914; Moroccan Garden, 1912; Goldfish and Sculpture, 1912). 1 The question is not what you look at— but how you look & whether you see. ” —JOHN UPDIKE, The Poorhouse Fair Contents Cover Title Page Copyright Epigraph Editor’s Note PREFACE: PICTURES AND WORDS “THE CLARITY OF THINGS” MAKING FACES THE LOVE OF FACTS THE ARTFUL CLARKS MANY MONETS DEGAS OUT-OF-DOORS AN INTIMATE WHIRLWIND GOLD AND GELD BRIDGES TO THE INVISIBLE MIRÓ AT MOMA THE ART OF OUR DISORDER MAGRITTE THE GREAT A CASE OF MONUMENTALITY BIG, BRIGHT, AND BENDAYED SERRA’S TRIUMPH Index Illustration Credits A Note About the Author A Note About the Editor Other Books by This Author Editor’s Note Always Looking was conceived by Judith Jones of Alfred A.
This time, Benjamin West complained that the girl looked “disagreeable,” and conveyed Reynolds’s opinion that Each Part of the Picture [is] Equell in Strenght of Coulering and finishing, Each Making to[o] much a Picture of its silf, without the Due Subordanation to the Principle Parts, viz they head and hands. What Reynolds meant is shown by his own portrait of Horace Walpole. Here light is sharply focused on the head and one hand. Incidental details are confined to papers, for Walpole is a writer, acting out his role on a minimalist stage.
Louis, Missouri. 20) Charles Sheeler’s 1930 American Landscape portrays, in muted cool colors, an actual industrial site—the Ford Motor Company’s huge River Rouge plant, near Detroit—but ideally cleaned-up, with none of the grime, litter, and air pollution that actually attend industry. And—talk about “the clarity of things”—here are some locomotive wheels that Sheeler painted in 1939, entitled Rolling Power. With a passionate closeness, the details of piston and lever and fuel line are rendered to an effect of purity and silence, a reduction of machinery to its spiritual, Newtonian essence.
Always Looking: Essays on Art by John Updike