Cover image for Philip Pearlstein : since 1983
Philip Pearlstein : since 1983
Storr, Robert.
Personal Author:
Publication Information:
New York : Harry N. Abrams, Inc., in association with Robert Miller Gallery, [2002]

Physical Description:
128 pages : illustrations (some color) ; 26 x 27 cm
Format :


Call Number
Material Type
Home Location
Item Holds
N6537.P33 A4 2002 Adult Non-Fiction Non-Fiction Area

On Order



Long acknowledged as a master of contemporary realism, Philip Pearlstein has remained true to his pursuit of painting monumental nudes since the 1960s. Like Alex Katz, Alice Neel, and others, Pearlstein eschewed the minimalism, conceptualism, and later expressionism practiced by his many of his contemporaries and followed a course of realist figurative painting that has proven to be very influential to a younger generation of artists. The larger-than-life men and women that occupy his canvases, often veering out of the frame at surprising angles, are posed on furniture or against colorful rugs, and rendered cool and motionless under stark, even light. Over the years, Pearlstein's compositions have become more complex with the introduction of folk art, sculpture, and other objects that serve as formal counterpoints to the nudes. The book includes a fascinating interview with the artist and a thoughtful essay by Robert Storr.

Reviews 1

Choice Review

Storr is uniquely qualified to be the author of this new volume, which gives the best overview to date of Pearlstein's career since 1983. Storr is a longtime friend of Pearlstein, in addition to being senior curator in the Department of Painting and Sculpture at the Museum of Modern Art in New York and the author of a number of books and articles on modern artists. The high point of this book may well be the intriguing interview between Pearlstein and Storr, in which Storr tries (unsuccessfully) to get the painter to admit that there is a hidden symbolism in his recent paintings of nudes surrounded by objects of folk art. Also included here is a provocative essay by Storr, who theorizes that Pearlstein's latest works are heavily influenced by Francis Picabia and Andy Warhol (both of whom used perverse humor in their roles as "debunkers of metaphysical art"). Chronology; 60 full-color reproductions of works done by Pearlstein since 1983; extensive bibliography. Highly recommended. General readers; lower-division undergraduates through faculty. M. W. Sullivan Villanova University