Description

Immediate dispatch from Somerset. Nice older book in good condition. Pages in good condition. Plates are remarkably bright and vivid. No notes or highlighting. Dustcover a little discloured due to age. See images. Fantastic book.

About the book >.>.> Moreover especially Warhol and Oldenburg and it was perhaps inevitable that the huge attention lavished on Pop art in the mid-sixties would result in some mistaken notions about the older artist’s work which had been formed on quite different principles and on the basis of a very different experience. Not for the first time did an artist’s success have the effect of obscuring the actualities of his art. Lindner himself was acutely conscious of the differ- ences that separated his work from that of the Pop artists he admired. Interviewed by Dean Swanson in 1969 he spoke of “that European touch of sophisti- cation which thank God these Pop people didn’t have. I envy them for that.” It is indeed a European consciousness of a particular kind that informs his work even where its imagery is so evidently drawn from American life. If perhaps his Portrait of Marcel Proust painted in 1950 had been better known at the time and more deeply pondered we might have had a clearer account of the complexities harbored in his highly enigmatic art. For there is in Lindner’s painting a Proustian reservoir of memory and asso- ciation of private symbols and recaptured time that is quite unlike anything to be found in the work of the Pop artists. The recurrent images and recurrent scenarios that constitute the “secret” of his art draw from this reservoir their essential poetry-the poetry of an exile and an outsider who found in New York the costumes and the mise en sc?ne and requisite. (OS)