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Editorial Reviews
From Publishers Weekly
Coming off the success of Fairfield Porter: A Life in Art, a wonderfully judicious biography of the iconoclastic mid-20th century figurative painter, Spring, a critic and journalist, returns to introduce six decades of determined realist Cadmus’s Apollonian drawings, comprising a recent exhibition at New York’s DC Moore gallery. Cadmus, who died in 1999 at 94, studied academic drawing beginning at age 15, and Spring convincingly links him to artists ranging from Carracci and Ingres to Alta-Tadema, Eakins and Cadmus’s contemporary and lover Jared French. In a biographical narrative drawing on Cadmus’s letters, artist’s statements and unpublished interviews, Spring does an excellent job in delineating the context Cadmus created for himself, as an artist not so much opposed to the abstraction dominant for most of his career as indifferent to it. The 70 drawings here—done in chalk, crayon, pencil and watercolor, pencil and charcoal, and egg tempera, and often on hand-toned paper—speak for themselves: their lines are classically confident and fluid in a way that acknowledges but does not seek to stress the figures’ homoerotic allure, and their depiction of well-sculpted men in a variety of poses reveals a variety of affects, from contemplative to fearful to exultant. Many of the post-1962 drawings feature Cadmus’s life partner Jon Anderson, whose gaze at the viewer in a 1967 drawing is even and open. Spring’s care and feeling in presenting the drawings for the first time as a coherent body of work (apart from Cadmus’s paintings) will make this book attractive to anyone with an interest in 20th century art and culture. 120 illustrations, 70 in full color.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Abstraction gets the most ink whenever modern art is the subject, but surely another vital modernist development was the revival of the male nude. Paul Cadmus (1904-99), saw men's bodies erotically, for he was an uncloseted, though very private, homosexual. Still, his male nudes, mostly in his drawings, aren't pornographic. In them eroticism appears as affection and delight--attitudes informed by Cadmus' lifelong admiration for the sculptural nudes of Renaissance art, whose sinuous postures and musculature he emulated. Spring's marvelously fluent, biographically organized discussion of Cadmus' nude drawings argues that they are his best work. Given the satire and didacticism of Cadmus' better-known, painstakingly executed, brilliantly colorful egg-tempera paintings, which one associate characterized as "statements," and also the technical brio yet loving delicacy of texture of the drawings, Spring carries the day on this point. Surely Cadmus' highly traditional nudes are also modern because of their eroticism and, perhaps, timelessness, because of their tenderness and wonder. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Coming off the success of Fairfield Porter: A Life in Art, a wonderfully judicious biography of the iconoclastic mid-20th century figurative painter, Spring, a critic and journalist, returns to introduce six decades of determined realist Cadmus’s Apollonian drawings, comprising a recent exhibition at New York’s DC Moore gallery. Cadmus, who died in 1999 at 94, studied academic drawing beginning at age 15, and Spring convincingly links him to artists ranging from Carracci and Ingres to Alta-Tadema, Eakins and Cadmus’s contemporary and lover Jared French. In a biographical narrative drawing on Cadmus’s letters, artist’s statements and unpublished interviews, Spring does an excellent job in delineating the context Cadmus created for himself, as an artist not so much opposed to the abstraction dominant for most of his career as indifferent to it. The 70 drawings here—done in chalk, crayon, pencil and watercolor, pencil and charcoal, and egg tempera, and often on hand-toned paper—speak for themselves: their lines are classically confident and fluid in a way that acknowledges but does not seek to stress the figures’ homoerotic allure, and their depiction of well-sculpted men in a variety of poses reveals a variety of affects, from contemplative to fearful to exultant. Many of the post-1962 drawings feature Cadmus’s life partner Jon Anderson, whose gaze at the viewer in a 1967 drawing is even and open. Spring’s care and feeling in presenting the drawings for the first time as a coherent body of work (apart from Cadmus’s paintings) will make this book attractive to anyone with an interest in 20th century art and culture. 120 illustrations, 70 in full color.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Abstraction gets the most ink whenever modern art is the subject, but surely another vital modernist development was the revival of the male nude. Paul Cadmus (1904-99), saw men's bodies erotically, for he was an uncloseted, though very private, homosexual. Still, his male nudes, mostly in his drawings, aren't pornographic. In them eroticism appears as affection and delight--attitudes informed by Cadmus' lifelong admiration for the sculptural nudes of Renaissance art, whose sinuous postures and musculature he emulated. Spring's marvelously fluent, biographically organized discussion of Cadmus' nude drawings argues that they are his best work. Given the satire and didacticism of Cadmus' better-known, painstakingly executed, brilliantly colorful egg-tempera paintings, which one associate characterized as "statements," and also the technical brio yet loving delicacy of texture of the drawings, Spring carries the day on this point. Surely Cadmus' highly traditional nudes are also modern because of their eroticism and, perhaps, timelessness, because of their tenderness and wonder. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Product Details
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