Hans Namuth : portraits
著者
書誌事項
Hans Namuth : portraits
Published for the National Portrait Gallery by the Smithsonian Institution Press, c1999
大学図書館所蔵 全2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
Exhibition catalogue
Catalog of the exhibition held at the National Portrait Gallery, Smithsonian Institution, Washington, D.C., Apr. 30-Sept. 6, 1999
Includes bibliographical references (p. 163-164) and index
内容説明・目次
内容説明
During the summer and early fall of 1950, as Jackson Pollock moved about the huge canvases on the floor of his Long Island studio, defining their surfaces with dripped and thrown paint, a young photographer named Hans Namuth documented the artist at work. The best of his nearly five hundred photographs, first published in Portfolio and Art News magazines, enhanced public understanding of Pollock's paintings and began for Namuth a forty-year career of photographing America's leading painters, sculptors, writers, musicians, and architects. Accompanied by a biographical essay by Carolyn Kinder Carr, this collection of seventy-five of Hans Namuth's photographic portraits, taken between 1950 and 1989, shows how his friendships with his often reclusive subjects and his determination to capture the essence of each artist's style resulted in revealing portraits of such notable painters as Willem and Elaine de Kooning, Mark Rothko, Roy Lichtenstein, Jasper Johns, Andrew Wyeth, Helen Frankenthaler, and Andy Warhol.
Although Namuth identified most closely with the Abstract Expressionists who became famous in the 1950s and early 1960s, his repertoire included a new generation of 1980s artists, among them Julian Schnabel and David Salle. In both his black-and-white and color photographs, Namuth used subtle but telling poses, settings, and details: John Steinbeck appears with his famous dog Charley; Philip Johnson stands jauntily on a staircase in the Museum of Modern Art beside a painting that he donated; Louise Nevelson wears jewelry that echoes the sweeping lines of her wood sculpture. Carr sets the stage for Namuth's photographic career in America by describing his youth in pre-war Germany, his early work as a documentary photographer in Paris and Spain, his immigration to New York in 1941, and his wartime intellegence work for the United States Army. Returning to professional photography in 1949, he soon concentrated his efforts on photographic portraiture. While Namuth saw himself as an artist photographing ot
目次
Chapter 1 Foreword Chapter 2 Acknowledgements Chapter 3 Chronology Chapter 4 Photographing the Arts in America: The Portraits of Hans Namuth, 1950-1990 Chapter 5 Plates Chapter 6 Plate Credits Chapter 7 Selected Bibliography
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