A beautifully produced introduction to a celebrated artist.
Norway's most lauded modernist reinvented his aesthetic aims throughout his long career.
Edvard Munch (1863-1944), famous for his haunting work The Scream, produced nearly 1,800 paintings and thousands of drawings, etchings, prints, sculpture, and photographs. In the 1950s, New York’s Museum of Modern Art mounted an extensive traveling exhibition of his works, and in 1963, the Munch Museum in Oslo opened on the centennial of his birth. Although Munch has been the subject of much scholarship, art historian and museum curator Ustvedt saw the need for an introduction addressed to general readers. He amply succeeds in this insightful, vibrant overview of Munch’s life and prolific oeuvre, deftly translated by McCullough and illustrated with a wealth of images. The author traces Munch’s development beginning in the 1880s, when he broke with past traditions and “successfully positioned himself as a radical revolutionary.” Munch identified an early painting, The Sick Child, as an artistic breakthrough: an effort to capture “the fleeting mood” of the sickroom with bold, layered brush strokes, streaming light, and blurred details. Throughout the 1890s, Munch became part of a circle of bohemian intellectuals in Paris and Berlin. An Artists’ Association exhibition in Berlin, however, scandalized some critics, who derided his paintings as “sloppy and unfinished” and not “morally edifying.” Munch welcomed the scandal, soon mounting his own exhibition—for which he charged an entry fee. Ustvedt recounts Munch’s doomed love affairs, mental breakdown, and artistic frustrations, all feeding works that evoked—with swirling movement, brash colors, and ghostly images—“the emotional rather than the rational”: anxiety, vulnerability, and “the inner life of the soul.” Though receptive to the “sensibilities of the age,” Munch delved deeply into his psyche, believing that art must be “forced into being by a man’s compulsion to open his heart. All art…must be created with one’s lifeblood.”
A beautifully produced introduction to a celebrated artist. (130 illustrations)Pub Date: July 9, 2020
ISBN: 978-0-500-29576-2
Page Count: 224
Publisher: Thames & Hudson
Review Posted Online: April 8, 2020
Kirkus Reviews Issue: May 1, 2020
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
A vivid sequel that strains credulity.
Fremont (After Long Silence, 1999) continues—and alters—her story of how memories of the Holocaust affected her family.
At the age of 44, the author learned that her father had disowned her, declaring her “predeceased”—or dead in his eyes—in his will. It was his final insult: Her parents had stopped speaking to her after she’d published After Long Silence, which exposed them as Jewish Holocaust survivors who had posed as Catholics in Europe and America in order to hide multilayered secrets. Here, Fremont delves further into her tortured family dynamics and shows how the rift developed. One thread centers on her life after her harrowing childhood: her education at Wellesley and Boston University, the loss of her virginity to a college boyfriend before accepting her lesbianism, her stint with the Peace Corps in Lesotho, and her decades of work as a lawyer in Boston. Another strand involves her fraught relationship with her sister, Lara, and how their difficulties relate to their father, a doctor embittered after years in the Siberian gulag; and their mother, deeply enmeshed with her own sister, Zosia, who had married an Italian count and stayed in Rome to raise a child. Fremont tells these stories with novelistic flair, ending with a surprising theory about why her parents hid their Judaism. Yet she often appears insensitive to the serious problems she says Lara once faced, including suicidal depression. “The whole point of suicide, I thought, was to succeed at it,” she writes. “My sister’s completion rate was pathetic.” Key facts also differ from those in her earlier work. After Long Silence says, for example, that the author grew up “in a small city in the Midwest” while she writes here that she grew up in “upstate New York,” changes Fremont says she made for “consistency” in the new book but that muddy its narrative waters. The discrepancies may not bother readers seeking psychological insights rather than factual accuracy, but others will wonder if this book should have been labeled a fictionalized autobiography rather than a memoir.
A vivid sequel that strains credulity.Pub Date: Feb. 11, 2020
ISBN: 978-1-982113-60-5
Page Count: 352
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Oct. 20, 2019
Kirkus Reviews Issue: Nov. 15, 2019
BOOK REVIEW
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