Download Georges Seurat 1859-1891 by Robert L. Herbert, Georges Seurat, N. Y.) Metropolitan PDF

By Robert L. Herbert, Georges Seurat, N. Y.) Metropolitan Museum of Art (New York, Galeries Nationales Du Grand Palais (France)

The definitive evaluate of the paintings and lifetime of Seurat, the good Neo-impressionist artist.

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Clifford has aspirations—there’s a Yale pennant hanging in his bedroom—a Brillo pad topknot for hair, and a leftward sway to his hips that eerily anticipates the cantilevered posture of the adult Feiffer. The drawing is primitive but engaging: There are wonderful images of contestants blowing fantastic bubbles—question mark–shaped, people-shaped, square-shaped—and a surreal ending, as Clifford blows a moon-size bubble that floats him high into the sky. In the weekly incarnation of the strip, which began July 10, 1949, Clifford grows steadily less geekish and more conventionally appealing, until he looks like a sketch for one of the characters in Charles M.

1953–54. There’s an intriguing logic to Feiffer’s late-in-the-game decision, sometime in the early 1990s, to make writing and illustrating children’s books the primary focus of his creative energies. For decades, the drawings he had done on a lark for Norton Juster’s uproarious fantasy for children, The Phantom Tollbooth (1961), had stood apart from his work as a one-off excursion into a specialized realm he had long ago ceded to his friend Maurice Sendak. Yet during all those years, childhood kept coming up as a theme and even obsession in Feiffer’s cartooning, most often for the purpose of exposing the adult world’s fears of people more open-minded than themselves, and the cruel and duplicitous behavior toward the powerless young that frequently followed as a consequence.

I was hopeless at vehicles of any kind. ” Although he had taken a painting class at James Monroe, painting never really interested him. Neither did printing, graphics, or lithography, all of which he studied in school. “It was always words and pictures. ” A year or two before Feiffer turned up at Eisner’s studio, while he was still in high school, he had taken a drawing class at the Art Students League in Manhattan, at his mother’s suggestion. “I was maybe the youngest person there. I took an anatomy class in one of those big dirty rooms.

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