From Library Journal
Russian painter Kasimir Malevich (1878-1935) is remembered primarily as the founder of the short-lived Suprematist movement in the 1920s. Yet his style varied quite a lot, tracing a curve from representation, followed by abstraction, and thence a return to the human figure. Similarly, Norwegian Edvard Munch (1863-1944) is so associated with his icon of angst, The Scream (1893), that his later, more painterly landscapes and portraits are often forgotten. Because these artists are best known for a small part of their output, these volumes, which review their entire careers, are particularly valuable. Textual matter is whittled to a minimum. Each volume contains just a pair of two-page essays: a terse biographical sketch followed by a succinct aesthetic commentary. As a result, these thin titles cannot be thought of as a source of anything but visual information, but they serve that purpose superbly. Their signature feature is the inclusion of numerous (60-70) high-quality color plates derived from every period in each artist's life. The 15th and 16th entries, respectively, in Abrams's excellent "Great Modern Masters" series, these books are identical in format to earlier titles focusing on such artists as Bacon, Chagall, Klee, and Matisse. The visual emphasis results in affordable supplements to better sources for biocritical information, like the Biographical Dictionary of Artists (Facts on File, 1995). Though not definitive, these two unique resources are highly recommended for all collections.?Douglas F. Smith, Oakland P.L., Cal.
Copyright 1996 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 1996 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Karen A. Wyckoff, ForeWord Magazine, October 2000
...late author and noted art critic Federico Zeri's engaging verve and expertise are cast easily within even a novice's grasp...
