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Interpreting Cézanne
In this remarkable book the sculptor and writer Sidney Geist presents a revolutionary interpretation of the art of Cézanne. Geist argues that Cézanne's paintings are fertile with reflections of the artist's private world and passionate concerns. Looking at more than two hundred works, all reproduced in the book, he identifies the symbolism that gives form to a hidden significance in the paintings--concealed allusions to Cézanne himself and to his relations with his wife and mother, his father, his son, and his friend Zola, as well as a circle of colleagues including Pissarro, Frederic Bazille, and Ambroise Vollard. It is a complex pattern of symbols expressed in both secondary visual images and in verbal connections, including rebuses and puns. In reading these paintings for symbolic meaning Geist opens the way to a fuller understanding of Cézanne as well as to new ways of looking at pictures. Interpretation of this kind in its turn explains formal aspects of the paintings with a richness not possible in abstract analysis.
Brancusi
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Brancusi
...The universality of Brancusi, his paradoxical simplicity and inclusiveness, have never been more strikingly demonstrated than in Sidney Geist's study of the artist. The interpenetration of the sculptor's life and his art, and the beautifully logical course of his artistic evolution are brilliantly revealed by Mr. Geist, who is a reowned authority on Brancusi, a professor of art at Vassar, and a sculptor himself. Every facet of the work, including the graphics, is handsomely displayed in the numerous, large-scale illustrations. In addition, this definitive new volume on Brancusi includes a chronology of the artist's life, a bibliography, a fully documented catalogue of Brancusi's complete oeuvre, and a unique concordance which collates the sculptures catalogued in all the major books on Brancusi currently in print. -- from front flap.
Psychoanalysis And The Humanities
First published in 1996. Written by distinguished artists and scholars with psychoanalytic training, this seminal collection of essays spans the humanities-painting, sculpture, literature, history, anthropology, and philosophy-illustrating how psychoanalytic thinking can powerfully enhance these disciplines. The essayists address a question first posed by Freud in his 1919 article, Should Psychoanalysis Be Taught at the University? With a resounding Yes, they underline the intellectual enrichment to be gained from the application of the psychoanalytic method to humanistic disciplines and, conversely, the need for contemporary psychoanalysts to acquire the kind of historical and classical education taken for granted by their counterparts earlier in this century.
Old Masters and Young Geniuses
When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives? By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of disco...
My Love Affair with Modern Art
One of America’s leading curators, “a woman of resilience and vision, a writer of clarity and ardor” (Chicago Tribune), takes you on a personal tour of the world of modern art. In the Depression-era climate of the 1930s, Katharine Kuh defied the odds and opened a gallery in Chicago, where she exhibited such relatively unknown artists as Fernand Léger, Paul Klee, Joan Miró, Ansel Adams, Marc Chagall, and Alexander Calder. Her extraordinary story reveals how and why America became a major force in the world of contemporary art.
Sculpture and Touch
Since the Renaissance, at least, the medium of sculpture has been associated explicitly with the sense of touch. Sculptors, philosophers and art historians have all linked the two, often in strikingly different ways. In spite of this long running interest in touch and tactility, it is vision and visuality which have tended to dominate art historical research in recent decades. This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals with fresh insights who are working in disciplines beyond art history. The collection brings together a rich and diverse set of approaches, with essays tackling subjects from prehistoric figurines to the work of contemporary artists, from pre-modern ideas about the physiology of touch to tactile interaction in the museum environment, and from the phenomenology of touch in recent philosophy to the experimental findings of scientific study. It is the first volume on this subject to take such a broad approach and, as such, seeks to set the agenda for future research and collaboration in this area.
