Nathan Oliveira
著者
書誌事項
Nathan Oliveira
University of California Press , San Jose Museum of Art, c2002
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
"Ahmanson Murphy fine arts imprint"--1st prelim p
Published to accompany an exhibition at the San Jose Museum of Art, 8 February-12 May 2002 and others
Includes bibliographical references (p. 216-223) and index
内容説明・目次
内容説明
Nathan Oliveira's (1928 - 2010) passion for continuing an inner-directed artistic tradition attached to the human subject persisted throughout his more than forty years as a painter and master printmaker. His art represents an ongoing dialogue with artists from Rembrandt to Goya to Munch, Beckmann, Giacometti, and de Kooning - whom he recognized for their insights into the human condition. The human touch, so often absent in contemporary work, is distinct in Oliveira's art. His paintings and monotypes bear the mark of his brush in the tactile quality of the paint and the unique printed surfaces of his monotypes. He lived and worked in the San Francisco Bay Area, where he was professor emeritus of art at Stanford University, Oliveira is widely regarded as a key figure in American art, and his paintings, monoprints, drawings, watercolors, and sculpture have attracted an international audience. This book is the most comprehensive study to date of Oliveira's career as artist and teacher.
Generously illustrated with 172 images, more than 100 in color, and including valuable, previously unpublished biographical and bibliographical information, Nathan Oliveira accompanied the major traveling exhibition of the same name. Peter Selz's authoritative text weaves key moments in Oliveira's professional life together with compelling readings of the paintings themselves. Selz, who curated the exhibition, succeeds brilliantly in establishing a sense of where Oliveira came from, what inspired him, and how he thought of himself as an artist. Selz discusses Oliveira's beginnings as the son of Portuguese immigrants, his early exposure to Bay Area artists, and his formative experience of studying with Max Beckmann. Selz also traces the artist's affinity to his older contemporaries, his search for an expressive relationship between form and space that found resonance in presentation of the single figure, and the exhibitions and collaborations that shaped his career. Susan Landauer's introduction provides an overview of the artist's work, while Joann Moser considers Oliveira's prints and drawings.
Gary Carson's chronology, bibliography, and list of Oliveira's solo exhibitions complete this landmark publication, which fills an important gap in bringing Oliveira's powerful paintings and prints to the attention of a much larger public.
目次
Director's Preface Daniel T. Keegan Between the Notes: The Art of Nathan Oliveira Susan Landauer Nathan Oliveira Peter Selz Traditions through Time: A Consideration of Oliveira's Prints and Monotypes Joann Moser Chronology G.B. Carson' Selected Exhibitions G.B. Carson Bibliography G.B. Carson List of Illustrations Index
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