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Arshile Gorky: His Life and Work
 
 
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Arshile Gorky: His Life and Work [Hardcover]

Hayden Herrera (Author)
4.6 out of 5 stars  See all reviews (5 customer reviews)


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Book Description

July 14, 2003
From the Author of Frida, the Moving and Heroic Story of One of the Central Painters of the Twentieth Century

Born in Turkey around 1900, Vosdanik Adoian escaped the massacres of Armenians in 1915 only to watch his mother die of starvation and his family scatter in their flight from the Turks. Arriving in America in 1920, Adoian invented the pseudonym Arshile Gorky—and obliterated his past. Claiming to be a distant cousin of the novelist Maxim Gorky, he found work as an art teacher and undertook a program of rigorous study, schooling himself in the modern painters he most admired, especially Cézanne and Picasso. By the early forties, Gorky had entered his most fruitful period and developed the style that is seen as the link between European modernism and American abstract expressionism. His masterpieces influenced the great generation of American painters in the late forties, even as Gorky faced a series of personal catastrophes: a studio fire, cancer, and a car accident that temporarily paralyzed his painting arm. Further demoralized by the dissolution of his seven-year marriage, Gorky hanged himself in 1948.

A sympathetic, sensitive account of artistic and personal triumph as well as tragedy, Hayden Herrera’s biography is the first to interpret Gorky’s work in depth. The result of more than three decades of scholarship—and a lifelong engagement with Gorky’s paintings—Arshile Gorky traces the progress from apprentice to master of the man André Breton called “the most important painter in American history.”


Editorial Reviews

From Publishers Weekly

Most recently seen as a silent, enigmatic figure in the Armenian-Canadian filmmaker Atom Egoyan's Ararat, modernist painter Gorky (1900?-1948) is fastidiously served in this comprehensive biography. Born near Lake Van in Ottoman-held Armenia, the young Gorky witnessed the Armenian genocide, a horror that Herrera (Frida: A Biography of Frida Kahlo) covers with extreme care. Following Gorky's emigration to the U.S. in 1920 and his name change from Manouk Adoian (he claimed to be the cousin of Russian writer Maxim Gorky), Herrera establishes the bulk of the narrative around Gorky's paintings, describing what he was working on when and under what circumstances. Most of Gorky's work life was based in New York, where, by the 1930s, he was paid a salary by the WPA for murals and other work in his surrealist style, largely derived from Miro and Leger, as the 64 pages of color and b&w images affirm. Herrera expects and encounters many difficulties in untangling the secretive Gorky's feelings and mostly confines herself to quoting others extensively, including long passages from the letters of Gorky's American wife, Agnes Magruder (or as Gorky called her, "Mougouch"). Herrera's restraint and suspension of judgment can flatten out events, yet she lingers for paragraphs on Gorky's many paintings, describing them, speculating on their meanings with lucidity and documenting their sales. The result is a book that, exhaustive in its research, will be a starting point for scholars and critics, but that will fail to engross casual readers. Conversely, readers already familiar with Gorky who are looking for political meanings to his suicide, shown here as undertaken in physical and marital distress, may find less than they are looking for.
Copyright 2003 Reed Business Information, Inc.

From Booklist

For Arshile Gorky, born Vosdanig Adoian in Armenian Turkey around 1900, painting was "like trying to twist the devil," a phrase emblematic of the heroic struggles of his brief and arduous life. Secretive about his painful past, especially his survival of the Armenian holocaust (his mother died in his arms), he changed his name and posed as a Russian after arriving in the U.S. A born artist, tall, dramatic, fastidious, and forever poor, Gorky worked tirelessly to develop a unique visual language. Herrera, also the author of a Frida Kahlo biography, assiduously chronicles every aspect of her subject's difficult life, particularly his conflict-ridden relationships with women and the despair that led to his suicide at age 45. Curiously, both she and fellow Gorky biographer Matthew Spender (From a High Place [1999]) have a family connection: Spender married Gorky's elder daughter, whose mother is Herrera's godmother. Monumentally detailed and deeply moving, Herrera's illuminating portrait perceptively traces the progression of Gorky's work, and the tragic link between the terrors of his youth and the traumas of his last days. Donna Seaman
Copyright © American Library Association. All rights reserved

Product Details

  • Hardcover: 784 pages
  • Publisher: Farrar, Straus and Giroux; 1 edition (July 14, 2003)
  • Language: English
  • ISBN-10: 0374113238
  • ISBN-13: 978-0374113230
  • Product Dimensions: 9.5 x 6.5 x 1.8 inches
  • Shipping Weight: 2.9 pounds
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #2,016,380 in Books (See Top 100 in Books)

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Average Customer Review
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11 of 12 people found the following review helpful:
4.0 out of 5 stars Gorky comes alive, November 17, 2003
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This review is from: Arshile Gorky: His Life and Work (Hardcover)
I became interested in Arshil Gorky after watching, "Ararat," Atom Egoyan's masterful film about the Armenian holocaust. I knew nothing about his art or his place in the annals of art history. Hayden Herrera does a wonderful job giving us a portrait of a troubled eccentric who is also a genius. In particular, she does a terrific job showing his complicated relationship with his homeland. His wife didn't learn until after Gorky was dead that he was Armenian. He told her he was Russian. Herrera also does a good job of interpreting his art, helping the reader make sense of his semi-abstractions. The book includes more than one hundred prints of his artwork and that helps show his artistic journey.

The book is less successful in providing a look at the milieu of New York City art world. There is much discussion in a summary way about the conflicted role Gorky held in relationship to the surrealists but I didn't get a good sense of who the surrealists were and how they interacted with Gorky. Nor are we sure of how Gorky interacted with the abstract expressionists. Some of this failing maybe intentional as Herrera focuses on Gorky's marriage in the nineteen forties and quotes extensively from his wife's letters. Herrera may feel that her job is to help us understand the man through the most significant relationship in his life rather than by focusing his relationship with his peers.

Despite these failings, I think this biography provides an extremely vivid portrait of Gorky the man and the artist. Although his life was often hard and he died relatively young (at age 48), Gorky emerges from these pages a glorious artist who created art that was both self-consciously derivative and highly original. Go figure!
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7 of 10 people found the following review helpful:
5.0 out of 5 stars A Fitting Successor, July 22, 2003
By A Customer
This review is from: Arshile Gorky: His Life and Work (Hardcover)
This book is a fitting successor to Frida. Both books tell the story of tragic lives made triumphant through art. Both brilliantly evoke their respective art worlds in the first half of the last century. They also evoke the tumultuous political, economic, and social world of the times. The writing is graceful and clear. Herrera talks about paintings, realistic and abstract, with believablity and intelligence. The great empathy she shows for her subjects also illumines the aesthetic discussions. This is an heroic story of an artist overwhelmed by circumstance. Herrera's understanding of how experience molds character, how character lies at the foundation of art, her restraint and eye for significance, her effortless prose, make this as fine a biography as Frida. Both artists are lucky to have found such a biographer!
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4 of 6 people found the following review helpful:
5.0 out of 5 stars A Fitting Successor, July 23, 2003
By A Customer
This review is from: Arshile Gorky: His Life and Work (Hardcover)
This book is a fitting successor to Frida. Both books tell the story of tragic lives made triumphant through art. Both brilliantly evoke their respective art worlds in the first half of the last century. They also evoke the tumultuous political, economic, and social world of the times. The writing is graceful and clear. Herrera talks about paintings, realistic and abstract, with believablity and intelligence. The great empathy she shows for her subjects also illumines the aesthetic discussions. This is an heroic story of an artist overwhelmed by circumstance. Herrera's understanding of how experience molds character, how character lies at the foundation of art, her restraint and eye for significance, her effortless prose, make this as fine a biography as Frida. Both artists are lucky to have found such a biographer!
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Inside This Book (learn more)
First Sentence:
On a summer night in 1903 near the shore of Lake Van in Turkish Armenia, the Der Marderosian family gathered in their ancient monastery church, Charahan Surp Nishan. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
fervent scrutinizer, way gorky, purer work, julien levy, day gorky, imaginary wife, linked with the sun, cafeteria people, telephone conversation with author, pierre matisse, studio fire, biomorphic shapes, black angel, landscape table, memorial show
Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Union Square, Ethel Schwabacher, Stuart Davis, Museum of Modern Art, United States, Jeanne Reynal, Crooked Run, American Mission, Sedrak Adoian, Mina Metzger, Van City, Newark Airport, Saul Schary, Marny George, World's Fair, John Graham, Mischa Reznikoff, New School of Design, David Hare, Dorothy Miller, Whitney Museum, Fifty-seventh Street, Grand Central School of Art, Margaret Osborn
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