Cover image for The drawings of Jasper Johns
The drawings of Jasper Johns
Rosenthal, Nan.
Personal Author:
Publication Information:
Washington : National Gallery of Art ; New York : Thames and Hudson, 1990.
Physical Description:
345 pages : illustrations (some color) ; 32 cm
General Note:
Catalog of an exhibition held at the National Gallery of Art, 20 May-29 July 1990; Kunstmuseum, Basel, 10 August-29 October 1990; and Hayward Gallery, London, 29 November 1990-3 February 1991.
Personal Subject:
Format :


Call Number
Material Type
Home Location
Item Holds
NC139.J58 R6 1990 Adult Non-Fiction Central Closed Stacks-Oversize

On Order

Reviews 2

Library Journal Review

Jasper Johns is certainly among the best-known contemporary artists, and many critical articles and books on his work have been published. This volume accompanies an exhibition of Johns's drawings at the National Gallery of Art and consists of essays by Rosenthal and Fine, an interview with Johns, and an exhibition catalog. Rather than break new ground, the text carefully situates the exhibited drawings within the context of Johns's oeuvre by relating each drawing to other work by Johns and to statements by Johns and his interpreters. Although not a vital acquisition for general collections, this work would be accessible to general readers and interested laypersons, while still of value to specialists for the detail of its catalog annotations.-- Kathryn W. Finkelstein, M.Ln., Cincinnati (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

It is hard to imagine more complete coverage of the graphic work of a living artist than this big, gorgeous, pricey book published by the National Gallery to accompany a major exhibition of the same title. Two thorough, intelligent essays lead the way to an extensively annotated catalog. Throughout, the reproductions, both color and black and white, are of very high quality. Nan Rosenthal's essay, "Drawing as Re-reading," focuses on Johns the master of the recycled obsessive image. Ruth Fine's essay, "Making Marks," addresses the reflexivity of Johns's art and specifically how the work is made. There is a satisfactory bibliography but unfortunately no biographical sketch; there is an interview between the authors and Johns. Some of the more interesting critical discussions treat the relationship of the paintings to the drawings; the prevailing influence of Cubism, Surrealism, and Marcel Duchamp; and the influence of the Isenheim Altarpiece in the work of the 1980s. The book really cannot be faulted, and one's response to it will rest finally on one's response to the cold pedanticism of Johns's layered system of half-hidden signs for their own sake. -J. T. Frazer, Wesleyan University