Always Looking: Essays on Art
2012. g. nov. · Knopf
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A dazzling collection of “remarkably elegant essays” (Newsday) on art—and the companion volume to the celebrated Just Looking and Still Looking—from one of the most gifted American writers of the twentieth century.
In this book, readers are treated to a collection in which “the psychological concerns of the novelist drive the eye from work to work until a deep understanding of the art emerges” (The New York Times Book Review).
Always Looking opens with “The Clarity of Things,” the Jefferson Lecture in the Humanities for 2008. Here, in looking closely at individual works by Copley, Homer, Eakins, Norman Rockwell, and others, the author teases out what is characteristically “American” in American art. This talk is followed by fourteen essays, most of them written for The New York Review of Books, on certain highlights in Western art of the last two hundred years: the iconic portraits of Gilbert Stuart and the sublime landscapes of Frederic Edwin Church, the series paintings of Monet and the monotypes of Degas, the richly patterned canvases of Vuillard and the golden extravagances of Klimt, the cryptic triptychs of Beckmann, the personal graffiti of Miró, the verbal-visual puzzles of Magritte, and the monumental Pop of Oldenburg and Lichtenstein. The book ends with a consideration of recent works by a living American master, the steely sculptural environments of Richard Serra.
John Updike was a gallery-goer of genius. Always Looking is, like everything else he wrote, an invitation to look, to see, to apprehend the visual world through the eyes of a connoisseur.
In this book, readers are treated to a collection in which “the psychological concerns of the novelist drive the eye from work to work until a deep understanding of the art emerges” (The New York Times Book Review).
Always Looking opens with “The Clarity of Things,” the Jefferson Lecture in the Humanities for 2008. Here, in looking closely at individual works by Copley, Homer, Eakins, Norman Rockwell, and others, the author teases out what is characteristically “American” in American art. This talk is followed by fourteen essays, most of them written for The New York Review of Books, on certain highlights in Western art of the last two hundred years: the iconic portraits of Gilbert Stuart and the sublime landscapes of Frederic Edwin Church, the series paintings of Monet and the monotypes of Degas, the richly patterned canvases of Vuillard and the golden extravagances of Klimt, the cryptic triptychs of Beckmann, the personal graffiti of Miró, the verbal-visual puzzles of Magritte, and the monumental Pop of Oldenburg and Lichtenstein. The book ends with a consideration of recent works by a living American master, the steely sculptural environments of Richard Serra.
John Updike was a gallery-goer of genius. Always Looking is, like everything else he wrote, an invitation to look, to see, to apprehend the visual world through the eyes of a connoisseur.
Par autoru
JOHN UPDIKE was the author of more than sixty books, eight of them collections of poetry. His novels, including The Centaur, Rabbit Is Rich, and Rabbit at Rest, won the Pulitzer Prize, the National Book Award, the National Book Critics Circle Award, and the William Dean Howells Medal of the American Academy of Arts and Letters. He died in 2009.
CHRISTOPHER CARDUFF is a member of the staff of The Library of America and the editor of John Updike’s Higher Gossip: Essays and Criticism.
CHRISTOPHER CARDUFF is a member of the staff of The Library of America and the editor of John Updike’s Higher Gossip: Essays and Criticism.
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