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KURT SCHWITTERS

Warner Schmalenbach - 1887 - 1947 KURT SCHWITTERS (1887 to 1947) Abrams, NY, 1967. 4to, pp. 402. Exhibitions, bibliography, index. 420 illustrations, including 54 magnificent hand-tipped plates in full color. The monograph of Kurt Schwitters covers the artist's work in. Art, typography, advertising, poetry, the theater and architecture. During World War I, searches for oven more vital subject matter and content began to come into for focus. in Switzerland, Germany, Paris and somewhat later New York, there rose an art, literature and even a music of the fantastic and absurd. Young men and women expressed their reactions to the spreading hysteria and madness of the world at war, creating a better commentary on traditional values. The purest exponent of the Dada spirit to emerge from Germany, if not from the entire movement, was Kurt Schwitters (ironically enough he was rejected by the high priests of Dada, The Dada Club in Berlin). Schwitters took his own special direction MERZ, from a syllable of the works Kammerz on a chance scrap of paper that he used in an early collage. Repudiating the hollow mediums, he created his art from oddments picked up here and there . cigarette wrappers, discarded tickets, newspapers, string, wire screening, whatever caught his fancy. "I am a painter and I nail my pictures together," he said. Miraculously, they transform the detritus of his surroundings into strange and wonderful beauty. In the 1920s the more and more became attracted to the geometric Abstractionists and the Constructivist, and his work, for all of the spontaneous fantasy and random materials, always demonstrated the subtlest relations and proponent portions. Today his place as one of the pivotal figures of modern art is secure. Contemporary Neo--Dada and pop artists acknowledge him as forerunner and inspiration. Taken from the inside front flap of the dust-jacket.
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MATISSE – The Master

Hilary Spurling NOTES FROM THE INSIDE FLAP OF THE DUST-JACKET: BY HILARY SPURLING ' If my story were ever to be written down truthfully from start to finish, it would amaze everyone,' wrote Henri Matisse. It is hard to believe today that Matisse, whose exhibitions, draw huge crowds worldwide, was once almost universally reviled and ridiculed. His response was neither to protest nor to retreat. He simply pushed on from one innovation to the next, and left the world to draw its own conclusions. Unfortunately, these were generally false and often damaging. Throughout his life and afterwards, people fantasized about his models and circulated baseless fabrications about his private life. Fifty years after his death, 'MATISSE THE MASTER' shows us the painter as he saw himself. With unprecedented and unrestricted access to his voluminous family correspondence, and other new material in private archives, Hillary Spurling documents a lifetime of desperation and self-doubt, exacerbated by my M'atisse's attempts to counteract the violence and disruption of the 20th century in paintings that seemed out of effortlessly serene radiant and stable. here for the first time is the truth about Matisse's models, especially to Russians: his pupil Olga Meerson ( whose hitherto unknown portrait of Matisse lying on his studio couch is on the dust jacket ) and the extraordinary Lydia Delectorskaya, who became his studio manager, secretary and companion in the last two decades of his life. What every woman who played an important part in Matisse's life was remarkable in her own right, but not least his beloved daughter Marguerite, whose honesty and courage surmounted all ordeals, including interrogation and torture by the Gestapo in World War II. If you have ever wondered how anyone with such a tame, dull personal image as Matisse could have painted such rich, powerful, mysteriously moving pictures, let alone produce the radical cut paper and stained-glass inventions of his last years, here's the answer. They were made by the real Matisse, whose true story has been written down at last from start to finish by his first biographer, Hilary Sperling.
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Joan Miro

James Johnson Sweeney JOAN MIRO MUSEUM OF MODERN ART - PUBLISHED 1941 By JAMES jOHNSON SWEENEY Notes from the dust-jacket: JOAN MIRO is one of the most gifted artist of our Period (1941). None of the younger men in Europe, can boast a more original contribution or a sounder redirection of interests than this young leader of the inter-war generation of painters in Paris. He has won the acclaim alike of serious critics and the general public. This important survey of his art, the first monograph on the subject, illustrates and analyzes all of the painter's more important works and through this analysis brilliantly clarifies his development. The book also evaluates Miro's contribution to the European pictorial tradition and especially his relation to his immediate predecessors. A brief but comprehensive sketch of the artist's career is followed by ageneral consideration of twentieth-century painting and his place in it. Emphasis is laid on Juan Miro's intimate links with his Catalan heritage. A comprehensive bibliography is accompanied by lists of all of the painter's exhibitions, books illustrated by him, ballets which he has designed, and other work in related pictorial fields. The book is lavishly illustrated with seventy plates, four of them in full color. The illustrations, which include many works of Miro not in this country, present a complete panorama of the works of this important artist. James Johnson Sweeney, the editor, is a leading authority on modern art. He has contributed widely to European and American art periodicals. This volume will rank as one of the most important works and should fill a vital niche in the bookshelves both of the scholar and the amateur. Published in 1941 The Museum Of Modern Art - New York City
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Soutine (Chaim)

(Chaim ) SOUTINE Born (1893 ) - in Smilovichi, near Minsk, Lithuania. Dies (1943) - in Paris. Page. 93 contains: A complete list of Exhibitions 1927 to 1963 A Biographical Sketch His Bibliography - Listing The Dust jacket and interior of the book are in near-fine condition; Dust Jacket Condition: New Fine 1st. First edition. Hardcover in dust jacket. Distributed by: Abrams, NYC 1964. FOLIO, 14 1/4" Tall, 11 wide, 3/4 in. thick 94pp., 59 illustrations, 34 in color plates tipped in on paper due to age (60 years) very slightly toned. Printed and Bound in Milan, Italy, by Stabilimento d'Arti Grafiche Amilcare Pizzi, Italy. Notes taken from the introduction by Marcellin Castaing Soutine was an Expressionist artist that lived and worked in Paris at the height of the modern era. A painting is a creation; the painter's emotions and imagination together give him the power to bring life to all he sees. From that moment on he has abolished time. Without life everything must perish and be lost. he does away with space, too, and consequently eliminates the conception of progress in our and, with it, the hierarchy of major works. By its humanity, Titian's portrait of Charles the Fifth reaches out to me the Man with Pipe, one of Van Gogh's self- portrait. Schools fade away and are replaced by individuals. What is left of the Impressionist school, one of the most widely represented? Men like Monet, Sisley, or Pissarro? What would Divisionism be without Seurat, or Cubism without Picasso? As for theories, they must be studied for their own sake, then left aside. They have given rise to a disorderly, contradictory literature in which painting is regulated to a place of secondary importance; they disappear of their own accord when faced with the ultimate mystery of the work itself.