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Kitaj is a complex and controversial artist who is one of the most important figural painters of the late 20th century. This monograph is the result of a close collaboration between artist and author and includes a review of Kitaj's work.

A fresh account of a turbulent phase in the modern master’s career.

A fresh account of a turbulent phase in the modern master’s career.

This book accompanies an exhibition of Kitaj’s prints at the British Museum in 2013 and amounts to the definitive collection of the artist’s graphic works. The text explores the artist’s biography and at the same time positions these prints within the context of his paintings. Kitaj’s complex and intriguing prints are highly personal and draw on many of the artist’s major obsessions such as literature, politics and film.

This book accompanies an exhibition of Kitaj’s prints at the British Museum in 2013 and amounts to the definitive collection of the artist’s graphic works. The text explores the artist’s biography and at the same time positions these prints within the context of his paintings. Kitaj’s complex and intriguing prints are highly personal and draw on many of the artist’s major obsessions such as literature, politics and film.

. . . 1 Vol. . 181 pp. Cuarto Mayor. Rústica. . Buen estado de conservación.

Catalog for 7 November 2001-10 February 2002 exhibition. Beautifully illustrated. Kitaj's paintings and drawings inspired by Cézanne's work are reproduced. The paintings are discussed in the context of earlier works by Kitaj, which reveal his constant preoccupation with the Old Masters. The book includes a short essay about Kitaj's work, plus an interview with the artist.

New copy in publisher's shrink wrap.

239p large green paperback, detail of 'Cecil Court' to cover, very good copy, little used

Neu -Der amerikanische Künstler und selbstdiagnostizierte »Bibliomane« R.B. Kitaj (1939-2007) veröffentlichte 1969 ein Portfolio mit dem Titel »In Our Time: Covers for a Small Library after the Life for the Most Part«. Kitajs »kleine Bibliothek« besteht aus 50 Büchern, deren Umschläge er in Silkscreens übertrug und teils zusätzlich collagierte - eine imaginäre, auf Buch-Cover reduzierte Bibliothek des 20. Jahrhunderts, die Titel aus den Bereichen Politik, Philosophie, Literatur, Judaica und Film umfasst. In Our Time dokumentiert nicht nur die revolutionäre Entwicklung im Buchdesign von der klassischen Moderne bis zur Pop Art. Die Transformation in ein anderes druckgraphisches Medium verwandelt die Buchtitel auch in autonome Kunstwerke, die jeden Bibliomanen begeistern müssen. (Text dt., engl., frz.) 120 pp. Deutsch, Englisch, Französisch

R.B. Kitaj (1932–2007) is one of the most intriguing 20th century artists. Born into a Russo-Jewish family near Cleveland, Ohio, 17-year old Kitaj spent 5 years at sea aboard a Norwegian freighter. He went on to study art in New York and Vienna. A Royal College of Art stipend made him move to London where he became a celebrated artist. Curating The Human Clay, a 1976 show of figurative contemporary British artists, he coined the term "School of London" for the artistic circle around Francis Bacon, Frank Auerbach, Lucian Freud, and Leon Kossoff. In 1991 he was elected a member of the Royal Academy, one of only three American painters to be thus honored in the history of the institution. A major 1994 retrospective at London’s Tate Gallery failed to produce Kitaj’s international breakthrough, but was unanimously panned by British critics instead. This, and the unexpected death of his wife Sandra, induced his increasingly paranoid perspective. Embittered he returned to the USA and settled in Los Angeles, where he finally took his own life in 2007. Kitaj left behind a manuscript unmatched among 20th-century artist autobiographies — Confessions of an Old Jewish Painter. Eloquently describing his vices and sufferings, it stands in the traditions of both St. Augustine and Thomas de Quincey. Now published for the first time, it is a sensation, from both a literary and art historical point of view.

An expanded new edition of the monograph on the work of R. B. Kitaj, the product of a close collaboration between artist and author.

Qto., 152 pages, colour illustrated. The text is in both English and German. A New copy. r.b. kitaj paintings

New copy in publisher's shrink wrap.

Physical description: 159 p. (2 folded) : ill. (some col.), ports. ; 30 cm. Notes: Catalogue of an exhibition held at the Scottish National Gallery of Modern Art, Edinburgh, 1 July-5 Sept. 1995; and travelling in Europe until 16 April 1996. Includes bibliographical references (p. 157-159). Subjects: Bacon, Francis 1909-1992. Freud, Lucian. Andrews, Michael 1928-1995. Kossoff, Leon 1926-Auerbach, Frank 1931-. Kitaj, R. B. Exhibitions. Genre: Illustrated catalog.

This book, a follow-up to Kitaj's influential "First Diasporist Manifesto" (1989), is a personal reflection on the Jewish Question in contemporary art as it is lived and painted and imagined by one of today's most innovative and controversial artists. In 615 distinct propositions that deliberately echo the Commandments of Jewish Law, Kitaj here channels his ideas for a new Diasporist art in a daring stream of consciousness. Including 41 images of the artist's work chosen by him to accompany the text, this beautifully crafted volume is a unique and fascinating look into an artist's unusual life and work. From "The Second Diasporist Manifesto" is: 'But I swore to become myself - the new Jewish painter of a skeptical Diasporist art, born in Modernism, which cleaves to my own uncanny Jewish life of study, painting, unthinkable thoughts and near death...I admit that my Manifesto-poem is very personal, as a poem can be. But one would have to also unpack the cultural secrets of a book on Islamic Art, or Chinese or Egyptian or African Art. My Jewish Art lives a more Modernist Secret life. The Jewish Diaspora is not the only one. It's just mine.'

R.B. Kitaj (1932–2007) is one of the most intriguing 20th century artists. Born into a Russo-Jewish family near Cleveland, Ohio, 17-year old Kitaj spent 5 years at sea aboard a Norwegian freighter. He went on to study art in New York and Vienna. A Royal College of Art stipend made him move to London where he became a celebrated artist. Curating The Human Clay, a 1976 show of figurative contemporary British artists, he coined the term "School of London" for the artistic circle around Francis Bacon, Frank Auerbach, Lucian Freud, and Leon Kossoff. In 1991 he was elected a member of the Royal Academy, one of only three American painters to be thus honored in the history of the institution. A major 1994 retrospective at London’s Tate Gallery failed to produce Kitaj’s international breakthrough, but was unanimously panned by British critics instead. This, and the unexpected death of his wife Sandra, induced his increasingly paranoid perspective. Embittered he returned to the USA and settled in Los Angeles, where he finally took his own life in 2007. Kitaj left behind a manuscript unmatched among 20th-century artist autobiographies — Confessions of an Old Jewish Painter. Eloquently describing his vices and sufferings, it stands in the traditions of both St. Augustine and Thomas de Quincey. Now published for the first time, it is a sensation, from both a literary and art historical point of view.

Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselvesThe development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley.Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint. 100+ illustrations, 70 in color

This book, a follow-up to Kitaj's influential "First Diasporist Manifesto" (1989), is a personal reflection on the Jewish Question in contemporary art as it is lived and painted and imagined by one of today's most innovative and controversial artists. In 615 distinct propositions that deliberately echo the Commandments of Jewish Law, Kitaj here channels his ideas for a new Diasporist art in a daring stream of consciousness. Including 41 images of the artist's work chosen by him to accompany the text, this beautifully crafted volume is a unique and fascinating look into an artist's unusual life and work. From "The Second Diasporist Manifesto" is: 'But I swore to become myself - the new Jewish painter of a skeptical Diasporist art, born in Modernism, which cleaves to my own uncanny Jewish life of study, painting, unthinkable thoughts and near death...I admit that my Manifesto-poem is very personal, as a poem can be. But one would have to also unpack the cultural secrets of a book on Islamic Art, or Chinese or Egyptian or African Art. My Jewish Art lives a more Modernist Secret life. The Jewish Diaspora is not the only one. It's just mine.'

Benjamin argues for a reappraisal of philosophy with reference to the centrality of ontology, offering original reinterpretations of contemporary painters including Lucien Freud, Francis Bacon and R.B. Kitaj.