I Paint What I Want to See
Published on 28. April 2022
Book
Paperback/Softback
288 pages
978-0-241-52571-5 (ISBN)
Description
Illuminating reflections on painting and drawing from one of the most revered artists of the twentieth century
'Thank God for yellow ochre, cadmium red medium, and permanent green light'
How does a painter see the world? Philip Guston, one of the most influential artists of the twentieth century, spoke about art with unparalleled candour and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.
'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' Jerry Saltz, New York Magazine
'Guston's paintings make us think hard' Aindrea Emelife, Guardian
'Thank God for yellow ochre, cadmium red medium, and permanent green light'
How does a painter see the world? Philip Guston, one of the most influential artists of the twentieth century, spoke about art with unparalleled candour and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.
'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' Jerry Saltz, New York Magazine
'Guston's paintings make us think hard' Aindrea Emelife, Guardian
Reviews / Votes
Philip Guston's work gathers strength with the passing of time. During his lifetime he seemed an outsider, but now the world of painting seems to have regrouped around him. This book captures the breadth and depth of his thinking, and also captures the feeling of an intensely lively era when artists like Cage, Feldman and Guston felt that making art was a branch of philosophy. I think everybody interested in the evolution of culture should read this thought-provoking and timely book -- Brian Eno Vital in grasping Guston's contribution to post-war American art and his abiding significance to contemporary painters -- Ben Luke * The Art Newspaper * An appealing little book ... A pocketsized portfolio of Philip Guston's writings, talks and interviews ... It includes a joyous appreciation of the Renaissance master Piero della Francesca ... advice to art students ... [and] insights into what makes a great artist tick -- Stephen Smith * The Times * This expertly curated selection of Guston's writings, talks and interviews draws together the artist's most incisive reflections on iconography and abstraction, metaphysics and mysticism, and the nature of painting and drawing... If you've never heard of him, this is a great introduction; if you have, this book will deepen your knowledge and understanding * Creative Boom *More details
Series
Language
English
Place of publication
London
United Kingdom
Publishing group
Penguin Books Ltd
Dimensions
Height: 181 mm
Width: 108 mm
Thickness: 27 mm
Weight
199 gr
ISBN-13
978-0-241-52571-5 (9780241525715)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Philip Guston
I Paint What I Want to See
E-Book
04/2022
1st Edition
Penguin Books Ltd
€9.49
Available for download
Person
Philip Guston was born in Montreal, Quebec in 1913, the seventh child of Russian immigrants. Raised in Los Angeles and largely self-taught, he found inspiration for his early murals in the masters of the Italian Renaissance. Early acclaim as a figurative painter and years spent teaching in the mid-West were followed by a Prix de Rome in 1948-49, after which he moved permanently to New York and turned to abstraction, joining contemporaries Pollock, De Kooning, Kline and Rothko. In the mid-1960s, Guston withdrew from the New York art scene to work on his late figurative paintings in Woodstock until his death in 1980, weeks after the opening of a major retrospective. His work and writings continue to exert a powerful influence over contemporary artists, and he is widely acknowledged as one of the most important American painters of the past century.