Page 57 - Studio International - October 1965

New books

Klee: the later work Plastic as an art form illustrated and containing bibliography
/ntroducuon and commentaries on 1he By Thelma R. Newman. 10½ by 7¼ in. xxiv and appendices listing sources of supply
plates by Prof. Dr. Wal1er Ueberwasser. + 340 pp. (London: Sir Isaac Pitman & in Great Britain, the publication is rr.ost
11 ½ by 9 in. 112 pp. 45 colour pla1es Sons Ltd.) 80s. timely; already young sculptors are
(Basle: Galerie Beyeler) '$7.50 (including With the invention of new materials, becoming more and more aware of the
pos1age). modern artists have been swift to adapt resources at hand and the book will
This catalogue of the recent exhibition them to their purposes. Plastics in its first obviously find its way into schools ar:d
held at the Galerie Beyeler, Basle, has invention-celluloid-was used as long studios of artists who are thinking of work
every right to be considered as a book ago as 1924 by Antoine Pevsner for his in unconventional materials.
that will take its place on the shelves of sculpture. Naum Gaba. another pioneer of
all lovers of the great German Swiss artist constructivism, has made consistent use
who as much as any other has put his of acrylic and the painters David Alfaro Pewter
imprint on the art of the 20th century. Siqueiros and Jackson Pollock both used By John Bedford. 7½ by 5 in. 64 pp.
Professor Ueberwasser, who can claim the plastic pyroxylin to paint some large (London: Cassell & Co .. Ltd.) 1 0s. 6d.
every right to be regarded as our most canvases. This book by an artist and No. 6 in the pocket-sized 'Collectors'
sensitive interpreter of this esoteric and lecturer on the subject describes Pieces' series deals historically V\ith the
far from easy artist to interpret, has written exhaustively the various kinds of plastics subject, covering it thoroughly from the
an introduction and notes on the 64 works available to the artist including polystyrene earliest times up to its emergence in the
exhibited that trace the history of some with its very flexible use for metal casting stile Liber1y as Art Nouveau manufactures
from the early experiences by Klee. Some already employed here successfully by at the beginning of this century. The aim
of the works were for sale but loans from Geoffrey Clarke and others. While the of the book (and the series) is to guide
the Klee Foundation and Felix Klee descriptions are technical and primarily the non-specialist in the basic details of
include a few paintings well-known for the instructions of the untutored who marks, design and characteristics of the
through previous exhibitions. The quality wish to experiment in its potentialities. for different vessels cast in this subtle and
of the colour reproduction in the 45 the collector and art-lover the book is of simple metal. Many of them are English
tipped-in colour plates is of the highest great value in its explanation of methods but from the Continent, especially Germany
Swiss standard giving great visual joy. and systems of employment. Copiously and Holland, have come splendid
examples, some of them in the Victoria
and Albert Museum which are reproduced
in the book. To the collector of f1'odest
means who can nevertheless find the
subject of endless delight, the guidance
and knowledge imparted so effortlessly
will be of encouragement and assistance.

Music in the visual arts
Man lhrough his ar/. Volume 2. Edi1crs:
Am"/ de Silva. 0110 von Simson, Rcg€r
Hinks, Philip Trou1man. 12¼ by 9 in.
64 pp. 20 pla1es, 16 in co/cur: 18 ii/us .
in black and while. (London: Educa1ional
Produc1ions Lid.) 30s.
It was Pater who wrote the much-quoted
phrase that pictures 'aspire to the condition
of music'. While to a certain extent this is
Magritte: Golconde, 'Honour true, it is conditioned by the imagery
to the poets of the commonplace! contained in the picture itself r:o less than
Magritte and Leger have the rhythms and harmonies of its com­
faced both the appearance and
sensation of the twentieth position in colour and form. This book,
century. Technically Magntte is introduced by the late Roger Hinks, has
on common ground with the
movie. But where the sought to choose examples of art in which
cinema needs a succession of music either exists as subject matter or is
shots, the painting presents
simultaneous images on which inherent in the design. The selection is
we can privately dwell.' distinctive both for its variety and the
From Painting: some basic manner in which the theme has been
principles
interpreted successfully in pictorial terms.
Painting: some basic principles without making a conscious effort of Earliest example is the painted relief of
By Frederick Gore. 7¾ by 6½ in. 96 pp. imitation. Controversial and explosive of The Blind Harpis1 from a tomb in Memphis
(London: Swdio Visca) 10s. 6d. some too easily accepted misconception of about 1375 to 1360 B.C. There is a
Author of this book is a practising painter -such as the belief that masters such as lively dance in the Attic cup of the 5th
as well as being the head of the School of Michelangelo and Tintoretts were con­ century B.C. and in the sculpture of India
Painting at St. Martin's School of Art in cerned to record appearances accurately­ and Java no less than the paintinss of
London. He examines the history of Mr. Gore rightly maintains that 'Painters China and Japan are priceless specirr.ens
painting and compares the motives and are concerned with ideas, not with an of art to which the theme is corrple­
materials of the artist in this medium from anecdotal inventory of visual details'. To mentary. The Italian Renaissance, the
the prehistoric cave paintings up to the anyone unable to find in contemporary French schools and Rembrandt are
latest manifestation in 'Pop' and optical painting the common ground that all art represented. A surprising citation of
works. The underlying principles, he has with that of preceding periods, this musical allegory is in the south trrnsept
maintains, are the same: the expression of modestly priced paperback. stylishly laid and the Rose Window of Lausanr , e
the painter's thoughts and feelings. Each out and well printed in Holland, provides Cathedral. Last of the twenty plates, 211 of
civilisation imposes its own system of in text and illustrations an introduction which are commented on vvith thorou1;;h
seeing upon the artist so that even if he and an explanation. Few books have come and sensitive appreciation. is of a i:;ainting
•
wished a 20th century painter could not our way that align modern with ancient art by Nicolas de Stael The Musicians, rich
paint in the manner of the Renaissance with such convincing insight. in primary chords.
175