Renowned for his evocative and highly-charged imagery, British artist Christopher Le Brun’s new work builds upon a wide cultural literacy, from Virgil and Tennyson to William Walton.
Following his appearance in many international group exhibitions – such as the influential Zeitgeist exhibition at the Martin-Gropius-Bau, Berlin (1982) – Le Brun became recognised as one of the leading young European painters, and is currently the President of the Royal Academy, London.
Accompanying a solo exhibition at Friedman Benda, New York (11 September–18 October 2014), New Paintings shows an abundance of energy and Le Brun’s renewed pleasure in colour and light.
Alongside full-colour illustrations, this volume includes a personal response by artist and writer Edmund de Waal, and an introduction by art historian David Anfam that places the work within the tradition of late twentieth and early twenty-first century modern painting.
FORMAT: Pbk, 9.63 x 11.63 in. / 96 pgs / 40 color. LIST PRICE: U.S. $32.00 LIST PRICE: CANADA $45 ISBN: 9781905464920 PUBLISHER: Ridinghouse AVAILABLE: 10/1/2014 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: NA ONLY
Published by Ridinghouse. Text by David Anfam, Edmund De Waal.
Renowned for his evocative and highly-charged imagery, British artist Christopher Le Brun’s new work builds upon a wide cultural literacy, from Virgil and Tennyson to William Walton.
Following his appearance in many international group exhibitions – such as the influential Zeitgeist exhibition at the Martin-Gropius-Bau, Berlin (1982) – Le Brun became recognised as one of the leading young European painters, and is currently the President of the Royal Academy, London.
Accompanying a solo exhibition at Friedman Benda, New York (11 September–18 October 2014), New Paintings shows an abundance of energy and Le Brun’s renewed pleasure in colour and light.
Alongside full-colour illustrations, this volume includes a personal response by artist and writer Edmund de Waal, and an introduction by art historian David Anfam that places the work within the tradition of late twentieth and early twenty-first century modern painting.
