Cover image for The fauve landscape
Title:
The fauve landscape
Author:
Freeman, Judi.
Personal Author:
Edition:
First edition.
Publication Information:
Los Angeles, Calif. : Los Angeles County Museum of Art ; New York : Abbeville Press, [1990]

©1990
Physical Description:
350 pages : illustrations (some color) ; 29 cm
General Note:
Published in conjunction with a travelling exhibition held at the Los Angeles County Museum of Art, Oct. 4-Dec. 30, 1990, the Metropolitan Museum of Art, New York, Feb. 19-May 5, 1991, and the Royal Academy of Arts, London, June 10-Sept. 1, 1991.
Language:
English
ISBN:
9781558590250

9780875871516
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ND1356.6 .F74 1990 Adult Non-Fiction Non-Fiction Area-Oversize
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Summary

Author Notes

Horror writer James Herbert was born in London, England on April 8, 1943. Before becoming a full-time writer, he worked as a singer and an art director for an advertising agency. His novels have sold more than forty-two million copies worldwide and have been translated into thirty-three languages, including Russian and Chinese. His stories are simple, yet compelling and usually have a young, jaded man as the hero. Besides writing his novels, he also designs the book covers and handles the publicity. He currently lives in London, England with his wife and children.

(Bowker Author Biography)


Horror writer James Herbert was born in London, England on April 8, 1943. Before becoming a full-time writer, he worked as a singer and an art director for an advertising agency. His novels have sold more than forty-two million copies worldwide and have been translated into thirty-three languages, including Russian and Chinese. His stories are simple, yet compelling and usually have a young, jaded man as the hero. Besides writing his novels, he also designs the book covers and handles the publicity. He currently lives in London, England with his wife and children.

(Bowker Author Biography)


Reviews 6

Publisher's Weekly Review

This scholarly, joyously beautiful volume will serve as a definitive reference source on fauvism. A sweeping survey of fauvist color-drenched landscape painting, the study follows Henri Matisse, Andre Derain, Maurice de Vlaminck, Georges Braque, Raoul Dufy, Orthon Friesz and their associates as they forged the first avant-garde art movement of the 20th century. Some 200 color plates and a like number in black and white, an extended chronology and biographical profiles complement essays on the fauvists' break with impressionism, their political views, travels abroad, scandals and the influence of the Norman port of Le Havre (birthplace of Braque, Dufy and Friesz). Edited by Freeman, a curator at the Los Angeles County Museum, the album documents a traveling exhibit. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved


Library Journal Review

This extraordinary book was prepared as a companion to the Los Angeles County Museum of Art's exhibit The Fauve Landscape: Matisse, Derain, Braque, and Their Circle, 1904-1908. It is, however, much more than an exhibit catalog. Extensive endnotes following each contributed chapter are as fascinating as the over 400 illustrations (210 in full color) that illuminate the work. Freeman's documentary chronology from 1904 through 1908 draws heavily upon notes and personal correspondence of the Fauve artists and thus provides interesting personal insights. Also notable are reproductions of photographic postcards from the period that document views as the artists would actually have seen them. A selected bibliography and thorough index complete the volume. This will appeal to general readers as well as scholars. Highly recommended for public and academic libraries.-- P. Steven Thomas, Washburn Univ., Topeka, Kan. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

This exhibition catalog is a lavishly produced volume on the leading avant-garde painters in France from 1904 to 1908. Known as the Fauves ("wild beasts") for their unrestrained and abstract use of color, this group included the well-known painters Henri Matisse and Georges Braque, as well as lesser-known figures such as Maurice de Vlaminck and Andre Derain. The notion of holding under tight focus a discrete group of artists working in an equally discrete period within a single genre (landscape) is a tempting one for the scholar. There are clear advantages to such a study, as this volume reveals: it is a thorough publication on the subject; it isolates the significant common denominators of a particular artistic episode; and it does particular justice to the lesser figures within that episode, bringing some to light for the first time. Unfortunately, this volume also reveals the disadvantages to such a focus. Although consisting of a series of essays by five scholars, the catalog remains a kind of myopic document or record of events in the lives of the artists without benefit of analytic interpretation or extrapolation. Moreover, each author's emphasis on questions of form is an anachronism within the art historical community, which lately seeks to cast these questions into broader contexts. The book, nonetheless, is valuable for its "Documentary Chronology" and its many beautiful color illustrations. College and university art collections. D. J. Johnson Providence College


Publisher's Weekly Review

This scholarly, joyously beautiful volume will serve as a definitive reference source on fauvism. A sweeping survey of fauvist color-drenched landscape painting, the study follows Henri Matisse, Andre Derain, Maurice de Vlaminck, Georges Braque, Raoul Dufy, Orthon Friesz and their associates as they forged the first avant-garde art movement of the 20th century. Some 200 color plates and a like number in black and white, an extended chronology and biographical profiles complement essays on the fauvists' break with impressionism, their political views, travels abroad, scandals and the influence of the Norman port of Le Havre (birthplace of Braque, Dufy and Friesz). Edited by Freeman, a curator at the Los Angeles County Museum, the album documents a traveling exhibit. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved


Library Journal Review

This extraordinary book was prepared as a companion to the Los Angeles County Museum of Art's exhibit The Fauve Landscape: Matisse, Derain, Braque, and Their Circle, 1904-1908. It is, however, much more than an exhibit catalog. Extensive endnotes following each contributed chapter are as fascinating as the over 400 illustrations (210 in full color) that illuminate the work. Freeman's documentary chronology from 1904 through 1908 draws heavily upon notes and personal correspondence of the Fauve artists and thus provides interesting personal insights. Also notable are reproductions of photographic postcards from the period that document views as the artists would actually have seen them. A selected bibliography and thorough index complete the volume. This will appeal to general readers as well as scholars. Highly recommended for public and academic libraries.-- P. Steven Thomas, Washburn Univ., Topeka, Kan. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

This exhibition catalog is a lavishly produced volume on the leading avant-garde painters in France from 1904 to 1908. Known as the Fauves ("wild beasts") for their unrestrained and abstract use of color, this group included the well-known painters Henri Matisse and Georges Braque, as well as lesser-known figures such as Maurice de Vlaminck and Andre Derain. The notion of holding under tight focus a discrete group of artists working in an equally discrete period within a single genre (landscape) is a tempting one for the scholar. There are clear advantages to such a study, as this volume reveals: it is a thorough publication on the subject; it isolates the significant common denominators of a particular artistic episode; and it does particular justice to the lesser figures within that episode, bringing some to light for the first time. Unfortunately, this volume also reveals the disadvantages to such a focus. Although consisting of a series of essays by five scholars, the catalog remains a kind of myopic document or record of events in the lives of the artists without benefit of analytic interpretation or extrapolation. Moreover, each author's emphasis on questions of form is an anachronism within the art historical community, which lately seeks to cast these questions into broader contexts. The book, nonetheless, is valuable for its "Documentary Chronology" and its many beautiful color illustrations. College and university art collections. D. J. Johnson Providence College


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