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LoveSong
These photographs were taken in the early 1970s for a book on sexual love. At a time when people were jailed for depicting acts of intimacy, artist and photographer Arnold Skolnick made some of the most memorable and erotic images of the twentieth century, many far too sophisticated for the book for which they were taken. Of the few that were exhibited at the time, a critic wrote: "These photos give the forms of two people making love the grandeur and power of sculpture. One is, of course, reminded of Rodin." With good reason not to promote them, Skolnick stored the negatives and contact sheets away for over thirty years, but he did not forget them. Now, having reached his seventieth birthday, Skolnick has gone back to the work, to produce an extraordinarily beautiful lovesong--a lush and highly sensual celebration of the union of man and woman. "LoveSong" features fifty-five stunning tritone images, printed in Italy, and is bound in full satin, with a satin slipcase. 55 tritone photographs.
Paintings of California
A collection of paintings by various artists that were inspired by the landscapes, seascapes, and cityscapes of California.
Paintings of the Southwest
A rare collection of art and literature perfectly suited for the artist, traveler, or anyone enchanted by the Southwest.
The Art of Monhegan Island
This book traces the artistic and cultural roots of the special appeal that the island of Monhegan in Maine has held over a broad range of artists who have resided there, some of them year-round for long periods, others who summered there or lived there only briefly. Includes examples in color of the works of 80 artists, including Wyeth (Jamie), Bogdanov, Bellows, Frederick, Henri, Hopper, and Kent.
The Watercolors of John Singer Sargent
A generously illustrated gathering of many rarely-seen watercolors by a painter best known for his oils who was also a master of the very difficult medium of watercolor. The book includes 150 4-color images, along with an introductory essay and brief section introductions.
Ben Shahn
BEN SHAHN offers a comprehensive look at the art work of one of the leading social realists of our time. The book includes pieces done in the 1930s depicting the effects of the Depression, urban decay, labor strikes & poverty. Brilliant posters created for the Office of War Information during World War II describe Shahn's work in the 1940s. The book explores the artist's post-war transition from a social realism to a "personal realism," employing allegory & symbolism. Through discussions of his political views, his struggles to maintain artistic integrity, as well as through selections of Shahn's own writings, the author weaves a compelling portrait of the man & his work. BEN SHAHN includes an extensive bibliography. Other Pomegranate books dedicated to twentieth-century American artists: CHILDE HASSAM'S NEW YORK, by Ilene Susan Fort, ISBN 1-55640-317-0, $21.95; EDWARD HOPPER'S NEW ENGLAND, by Carl Little, ISBN 1-55640-315-4, $21.95; & STEWARD DAVIS'S ABSTRACT ARGOT, by William Wilson, ISBN 1-55640-316-2.
Paintings of New England
Ninety-seven artists and works spanning nearly two centuries are represented, all skillfully introduced by Carl Little.
Edward Hopper's New England
Edward Hopper (1882-1967), one of the most important American painters of the twentieth century, spent nearly every summer of his long artistic career in New England. This book presents many of Hopper's finest paintings of the region and examines the crucial role New England played in Hopper's development as an artist. Carl Little is author of Paintings of Maine and is a regular contributor to Art New England and Art in America.
Stuart Davis's Abstract Argot
This book examines Davis?s life and art in the context of their colorful, disturbed times. Thirty-six color plates mark his development from social realist to cosmopolitan Parisian expatriate and sophisticated distiller of the American spirit. In the 1920s and 1930s Davis welded the discoveries of the avant-garde school of Paris to the slangy realism of the Yankee Ashcan painters. The resulting style (which he called---with tongue in cheek---?Colonial Cubism?) embodied the rhythm, sass, and ebullience of that most original art form, jazz. Davis made the sound of jazz visible in compositions of hard staccato lines and crisp colors.
