Brice Marden: A Retrospective ISBN 0-87070-446-X / 978-0-87070-446-8 Hardcover, 11.5 x 9.5 in. / 240 pgs / 248 color. / U.S. $60.00 CDN $72.00 October / Art

Terry Winters’s work of the past decade weaves disparate strains of idea, object, and physical operations into the primary logic of his art. His art contains an astonishing array of forms and demonstrates the equally surprising breadth of his artistic language. This retrospective volume continues where the mid-career survey (1992) at the Whitney Museum concluded, presenting the past decade of Winters’s innovative work in paintings, prints, drawings, and artists’ books. Terry Winters presents the ways in which the artist creates sets and subsets of distinctive works that interact with bodies of previous and current work. Also included are images by the artist that have not previously been exhibited or published. Winters’s work is frequently included in conversations and studies relating to the interplay of art and science, and his recent paintings, drawings, and prints reflect his engagement with scientific and computational systems of thought and presentations of information. For Winters, abstract art has become a vehicle not for “reproducing and inventing form but for harnessing forces.” By utilizing expressive means, “data becomes pictorial and spatial.” This superbly illustrated volume displays the full range of Winters’s newest works and the complex relationships that link them to one another.

"Art from the post-World War 11 period, primarily in America"--Blurb.

Brice Marden's art is deceptively austere. Within the seemingly narrow color range of his paintings and drawings, he orchestrates remarkable thematic variations of color, light, scale and mood. His monochromatic gray palette of the 1960s, expressing a "vocabulary of ambiguities,'' gave way to limpid motions and a neoclassical exploration of color-and-light relationships. Kertess, a curator at New York City's Whitney Museum, links the elemental grace of Marden's more recent works to this American artist's summer sojourns on Hydra, a Greek island in the Aegean Sea. In Marden's organic, cellular structures, Kertess sees the influence of Chinese calligraphy and Marden's trips to the Far East. Illustrated with 158 plates (133 in color), this handsome monograph follows Marden's metamorphosis from a pure abstractionist to an artist seeking to objectify the spiritual, as he does in his Annunciation series and in the Elements, which are symbolic paintings rooted in medieval alchemy.

This beautiful and important book highlights the collection of European drawings at the Yale University Art Gallery, one of America's premier university museums. From intimate studies to exquisite finished compositions, this selection of works documents the history of European drawing practices beginning with late-medieval model books and progressing to the verge of the modern period. The accompanying text--written by a team of scholars--offers a unique introduction to various critical and technical aspects of the study of master drawings, brought to life through drawings from a range of national schools and in a variety of media. Among the drawings examined in this handsomely produced volume are an animated pen and ink sketch by Giulio Romano, a pastoral landscape by Claude Lorrain, a forceful and humorous caricature by Guercino, a scene from the epic poem Orlando Furioso by Jean-Honoré Fragonard, and a delicate portrait by Edgar Degas.

Published to accompany an exhibition at the Art Institute of Chicago, from October 28, 2008 to January 18, 2009.

Catalogue of an exhibition held at the Pierpont Morgan Library New York, May 20 - August 19 1999.

Accompanying an exhibition at the Cleveland Museum of Art last fall and now at the Dahesh Museum in New York, this catalog focuses upon the French drawings in Muriel Butkin's highly specialized collection which she has promised to the Cleveland Museum. To assemble her diverse yet nicely integrated set of drawings, Butkin started buying 18th-century French drawings when they were affordable. In the mid-1970s, with the guidance of art historian Gabriel Weisberg, she expanded her collection to include 19th-century French drawings. These drawings were counter to the mainstream impressionist and postimpressionist taste of the time and focused more on academic French subject matter such as life drawings, portraits, or compositional studies. In the preface, Butkin herself reinforces her taste by saying that drawings are much more personal and spontaneous than paintings, often demonstrating the artistic process. Foster, curator of drawings at the Cleveland Museum, and other scholars present a well-researched volume that contributes new information to a very specialized field of art history. It is greatly disappointing, however, that the bulk of the reproductions are in black and white, often missing the subtly colored tones in many of the drawings. Nonetheless, this is recommended for museum and academic libraries that support graduate programs in art history. 183 b/w illustrations

This newest volume in Hudson Hills Press's acclaimed series about leading collections of master drawings presents sixty-eight great sheets, all reproduced in full-color, including many versos, from one of the finest college museums in America.