By John Updike
In this posthumous number of John Updike’s paintings writings, a spouse quantity to the acclaimed Just taking a look (1989) and Still Looking (2005), readers are back handled to “remarkably based essays” (Newsday) within which “the mental matters of the novelist force the attention from paintings to paintings until eventually a deep realizing of the artwork emerges” (The big apple instances booklet Review).
continuously having a look opens with “The readability of Things,” the Jefferson Lecture within the Humanities for 2008. the following, in having a look heavily at person works by means of Copley, Homer, Eakins, Norman Rockwell, and others, the writer teases out what's usually “American” in American artwork. This speak is via fourteen essays, so much of them written for The manhattan assessment of Books, on sure highlights in Western paintings of the final 2 hundred years: the long-lasting pics of Gilbert Stuart and the elegant 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 used to be a gallery-goer of genius. Always Looking is, like every little thing else he wrote, a call for participation to appear, to see, to recognize the visible global in the course of the eyes of a connoisseur.
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Extra info for Always Looking: Essays on Art
No ideas but in things. The American artist, first born into a continent without museums and art schools, took Nature as his only instructor, and things as his principal study. A bias toward the empirical, toward the evidential object in the numinous fullness of its being, leads to a certain liney-ness, as the artist intently maps the visible in a New World that feels surrounded by chaos and emptiness. GILBERT STUART Self-Portrait, 1778 Oil on canvas, 16¾ × 12¾″ Redwood Library & Athenæum, Newport, Rhode Island.
STUART Henry Knox, 1806 Oil on wood, 47⅞ × 38⅝″ Museum of Fine Arts, Boston. 3) The Metropolitan exhibition has divided Stuart’s long career into the cities he worked in—Newport, London, Dublin, New York, Philadelphia, Washington, and Boston—the rooms painted in bright flat Williamsburg colors, yellow and maroon. The naïve family portraits he did in Newport (the Banister family, c. 1773; the Malbone brothers, c. 1774) were quickly surpassed by the intent, shiny-skinned head of his friend Benjamin Waterhouse (1775), who gave up his early interest in drawing “in despair” of competing with Stuart, and took up the study of medicine instead; Waterhouse was to enhance American well-being significantly by introducing smallpox vaccine in 1800, and provided in his autobiography useful reminiscences of his childhood friend.
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.
Always Looking: Essays on Art by John Updike