Amazon.com Review
There's a famous photograph of Picasso in his 70s that probably would make you think "genius" and "visionary" even if you had no idea he was a great artist. One hand pushes up against his forehead, carving a few extra wrinkles and hooding one eye; the other eye stares out with implacable intensity. This is the work of Arnold Newman, one of the great contemporary American portrait photographers, whose images--frequently made on assignment in Europe--appeared in
Harper's Bazaar,
Fortune,
Life,
Look, and other major magazines. Trained as a painter, he believes (as he writes in a short, passionate essay prefacing his selection of 60 years of his work) that "we do not take pictures with our cameras, but with our hearts and minds." He has always been fascinated by the kind of people--scientists, musicians, actors, politicians, writers, and artists--with whom he could have "long conversations until late at night."
Arnold Newman, probably the most extensive of the many samplings of the photographer's work, amply displays his vaunted skill at portraying mostly well-known sitters in their native habitats, whether these happen to be lonely-looking palaces (Haile Selassie, Generalissimo Franco), book-lined offices (Golda Meier, Stephen Jay Gould), a shabby road veiled in darkness (Shelagh Delaney), a bed (Woody Allen, scribbling on a legal pad), or mysterious precincts that capture the willful individuality of artists and architects. With 240 black-and-white and color plates, this beautifully produced book (marred only by the awkward way the elegant black silhouette of a grand piano lid in the Igor Stravinsky portrait bleeds across two pages) accompanies an exhibition at the Corcoran Gallery of Art in Washington, D.C. (March 18-May 21, 2000). --Cathy Curtis
--This text refers to an alternate
Hardcover
edition.
From Library Journal
At 82 and still actively involved in a career that has spanned 60 years, Arnold Newman has photographed many of the 20th century's leading political and cultural figures. His approach to portraiture has been to place subjects within their working or natural environments to better distinguish their personalities and creative abilities. Thus, we see artists in their studios, writers at their desks, composers seated at pianos, and presidents and prime ministers in stately settings. His images of John F. Kennedy, Harry Truman, Igor Stravinsky, Pablo Picasso, Piet Mondrian, Eleanor Roosevelt, Arthur Miller, and Lillian Hellman, among others, are often what come to mind when we think of these famous people. This book is compiled as part of Taschen's lavish, large-format series on prominent photographers (e.g., August Sander, LJ 7/99) and released as the catalog for a retrospective at the Corcoran Gallery of Art in Washington, DC. It contains introductory essays by Newman and by Philip Brookman, curator and organizer of the exhibition, and features over 200 full-page black-and-white and color plates, supplemented with a detailed chronology. Well worth considering, even if your library does own pictures of many of Newman's subjects.DJoan Levin, MLS, Chicago
Copyright 2000 Reed Business Information, Inc.
--This text refers to an alternate
Hardcover
edition.