| | PUBLISHER
Cheim & ReadBOOK FORMAT
Clth, 9 x 11.75 in. / 70 pgs / illustrated throughout. PUBLISHING STATUS
Pub Date 2/28/2017
Out of stock indefinitely DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2017 p. 102 PRODUCT DETAILS
ISBN 9781944316051 TRADE
List Price: $40.00 CAD $54.00 GBP £35.00 AVAILABILITY
Not available | TERRITORY
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| | | CHEIM & READJoan Mitchell: Drawing into PaintingText by Mark Rosenthal.
 Drawing into Painting is a survey of works by Joan Mitchell (1925–92) on canvas and paper from 1958 through 1992, the year of her death. For Mitchell, drawing and painting were related but autonomous activities. Her pastels can be as dense as oil paintings, and her oil paintings can be as light and airy as watercolors. The book includes art from each decade of her career, with a formal range spanning flurried strokes and gestural lines of rhapsodic color, to darkly massed forms and complex, multi-panel formats. Mitchell’s move to France in 1959, as Mark Rosenthal writes in his essay, “suggests an aesthetic choice whereby she submerged American artistic developments within a profound embrace of French Impressionism.” This decision represented a departure from the influences and goals of her colleagues in the New York School, and harked back to her student days at the School of the Art Institute of Chicago.
Untitled, 1960, is reproduced from 'Joan Mitchell: Drawing into Painting.' |
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FORMAT: Clth, 9 x 11.75 in. / 70 pgs / illustrated throughout.
LIST PRICE: U.S. $40.00
LIST PRICE: CANADA $54
GBP £35.00
ISBN: 9781944316051
PUBLISHER: Cheim & Read
AVAILABLE: 2/28/2017
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of stock indefinitely
AVAILABILITY: Not available
TERRITORY: WORLD | D.A.P. CATALOG: SPRING 2017 Page 102 | PRESS INQUIRIES
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| Joan Mitchell: Drawing into Painting Published by Cheim & Read.
Text by Mark Rosenthal. Drawing into Painting is a survey of works by Joan Mitchell (1925–92) on canvas and paper from 1958 through 1992, the year of her death. For Mitchell, drawing and painting were related but autonomous activities. Her pastels can be as dense as oil paintings, and her oil paintings can be as light and airy as watercolors. The book includes art from each decade of her career, with a formal range spanning flurried strokes and gestural lines of rhapsodic color, to darkly massed forms and complex, multi-panel formats. Mitchell’s move to France in 1959, as Mark Rosenthal writes in his essay, “suggests an aesthetic choice whereby she submerged American artistic developments within a profound embrace of French Impressionism.” This decision represented a departure from the influences and goals of her colleagues in the New York School, and harked back to her student days at the School of the Art Institute of Chicago.
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