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252 Books Much of the interest in the book centers quite naturally on the emotional impact ofsolely graphic articulation. Aside from a few examplesof ink washes, the drawings aredivided mainly between pencil and ink+ach of which tends to yield markedly different styles: the former a romantic tonal sensuousness and the latter a more intellectual linear cleverness in which marks and configurations are manipulated for their own curiosity. Various geographic locations have influenced his work: Scotland, Italy, China and New York are represented either as visual journalism, nostalgic fantasy or utilized at various levels of Surrealism. Many artists appear to have influenced his multitudinous techniques. As in Escher’s work, there is an emphasis on impossible figures and optical illusions. Like Picasso and other cubists he is interested in distorted figures and the fusion of multiple vantage points. His analytical graphic linear structures are often similar to those of Paul Klee. Like Dali, he can be self consciously and intimately surrealistic-utilizing what one might call a vaguely decadent classical tonal sensualism. There is a hint of Redon in certain haunted, enigmatic tonal portraits. Yet, as in Steinberg’s cartoons, I also note decorative elaborations of subject matter and design motifs that have a distinctly commercial illustrative flavor. Whether one sees all this as an overly-mutable eclecticism or a sophisticated and urbane largesse that admits of no prior claims on stylistic possibilities depends on the qualities of individual uniqueness one is able to detect at the core of these manifestations. McLaren has a fine talent for innovation and sensitive effects in these drawings. Many of his interests appear to have been abandoned after the first raw fruits of their potential were glimpsed, and someof them may suffer somewhat by comparison with other artists who developed similar themes more thoroughly. However. these apparently derivative modes are only a limited percentage of his total activity and they do offer something new and interesting in each case. Certain of his extra-dimensional studies might well point to new artistic and even scientific insights. There may indeed be too many styles here for one person to thoroughly realize and develop in one lifetime, but McLaren’s ‘play’is dazzling in its scope, if not comfortably consistent in its depth and single-mindedness. It would be most interesting to see a subsequent book on his ‘work’: a comprehensive text on his films. The Art of the Print: Masterpieces, History, Techniques. Fritz Eichenberg. Abrams, New York, 1976.61I pp.. illus. Fine Prints: Collecting,Buying andSelling. CecileShapiroand Lauris Mason. Harper & Row. New York and London, 1976. 256 pp.. illus. $10.95. Reviewed by Sean O’Driscoll* The prestige of the print is now very high. The number of printmakers and print exhibitions is steadily increasing, and painters and sculptors are beginning to realize the artistic as well as the economic potentials of printmaking: Art teachers need at least a background knowledge of the history. techniques and ways of acquiring of original prints. These two books are a complementary pair of the liveliest and most up-to-date texts available in their related specialities. Eichenberg’s book is undoubtedly the most comprehensive single volume yet published on the history and techniques of printmaking. Shapiro and Mason present a thorough guide for collectors, buyers and sellers in a far more practical approach than those published before. The first book gives an excellent coverage of the deve!opment of the graphic arts from its early beginnings to the latest innovative techniques, including 3-dimensional approaches.The techniques described are illustrated with well-selected examples (749 illustrations, including 95 plates in color). most of which have not been reproduced before in a textbook. The author, Director Emeritus of the Pratt Graphic Arts Center, New York, describes each of the techniques expertly and thoroughly. His words are supported by such masters of printmaking as Durer. Rembrandt, Goya. Hogarth, Audubon, Piranesi, Cassat. Degas. *Irish International Arts Centre, Castle Matrix, Rathkeale, Co. Limerick, Eire. Picasso. Matisse and Miro. as well as comments by contemporary artists including Avati, Masereel. Peterdi and Wengenroth. The step-by-step procedure for making works by Summers and Deshaies, prepared specifically for this book, is also illustrated. Thus the various...

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
p. 252
Launched on MUSE
2017-01-04
Open Access
No
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