Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.
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Editorial Reviews
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Text: English, French (translation)
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Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
5.0 out of 5 stars
ANOTHER FAVORITE ARTIST,
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This review is from: MODIGLIANI CROWN ART LIB (Crown Art Library) (Hardcover)
MY LIBRARY IS GROWING AND GETTING OUT OF CONTROL.
COLORED PAINTINGS GALORE /GOOD EDITION - ADDED TO MY BOOK COLLECTION BOUGHT IT USED , AND IT WAS IN GREAT CONDITION WITH DUST JACKET.
0 of 3 people found the following review helpful:
4.0 out of 5 stars
I keep looking at the noses.,
By
This review is from: Modigliani: (CAL) (Crown Art Library) (Paperback)
Mostly this is a book of portraits, and the sculptures which are in this book are usually called "Head". The best of the sculptures, in The Tate Gallery in London, looks pretty tall for a head. Even the painted faces might seem a bit long, but I think the main tendency has been for Modigliani to paint noses which were longer than the noses on the people I see. Some of the faces have a nose which is defined by a distinctive curve on just one side of the nose, but the only profile view which I remember in this book is the 1909 Charcoal of Paul Alexander on page 25. Sometimes the color of the nose makes the tip of the nose seem like the only realistic part of the picture, as in the oil on canvas painting of Chaim Soutine in 1916 on page 43. The paintings on pages 44 and 45 provide a nice contrast between his use of lines on both sides of a long, straight nose (the guy) on the left and a single curve in Portrait of a Girl, 1916, on the right. There are four women with distinctly different noses on pages 82, 83, 84, and 85. I might not have noticed this so much, except that when I was most interested in art, someone told me that all my pictures looked the same, and I realized that the best one that I had ever done (it looked more like a close-up) was an ear.
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