MARC record from Internet Archive

LEADER: 03883cam 2200541 4500
001 ocm00403236
003 OCoLC
005 20180418051935.0
008 720824s1972 nyua b 001 0 eng
010 $a 76171162
040 $aDLC$beng$cDLC$dOCLCG$dSTF$dK6U$dBUF$dDEBBG$dUKMGB$dOCLCF$dOCLCQ$dTWS$dCNUTO$dNLC$dOCLCQ
016 7 $a001214694$2Uk
019 $a977405689$a1008416682
020 $a0394472276
020 $a9780394472270
035 $a(OCoLC)403236$z(OCoLC)977405689$z(OCoLC)1008416682
050 0 $aPR6003.E4$bZ66
050 14 $aNC1479.B37$bF4
082 4 $a828/.9/1209
084 $aHM 1775$2rvk
100 1 $aFelstiner, John.
245 14 $aThe lies of art;$bMax Beerbohm's parody and caricature.
250 $a[1st ed.].
260 $aNew York,$bKnopf,$c1972.
300 $axx, 283, xi pages$billustrations$c22 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 0 $aBorzoi books
504 $aIncludes bibliographical references (pages 269-283).
520 $aThe incomparable Max, peering through his affectations with a marmoset eye, preferring antagonism to neglect, whose wit it was to make lordly capital of his own limitations. What his limitations were (an immature self-centeredness? distrust, perhaps fear, of great emotion?) and how they might have originated are left for others to define; but their effect, a profound ambivalence, is registered everywhere in Felstiner's masterful analysis of his work in both media, his relationships, and the peculiar position he appropriated for himself as an artist. Felstiner relies lightly on such standard testimonies as Wilde's, regarding Max's ""precocious old-age,"" Shaw's ""incomparable"" introduction of his Saturday Review successor, and even Beerbohm's own voluminous self-portraiture. In the latter he sees a reflexive technique typical of Max's art -- a self-promoting self-effacement related to the paradox of dandyism and visible elsewhere in a preoccupation with cosmetics, masks, style -- and in the former he detects the uneasy animus that Max so charmingly and deliberately aroused. His elegant, non-partisan sniping, however, could disguise either esteem or disdain, or both as in the formidable presences of Wilde, Shaw, Ibsen. Behind the percipient cruelty of his caricatures, many of friends, there is a schoolboy's impulse to deflate and deface, as he habitually did the photographs in his books. And in the unexcellable sophistication of his parodies -- which now require the careful situating and anatomizing that Felstiner provides -- there are traces of skepticism about culture itself, though no one could have been more deeply immersed in it, more aware of its inner operations (viz. the discussion of Words for Pictures). ""Only art with a capital H gives any consolations to her henchman,"" he declared with equal irony and conviction. A decadent flippancy, but also a startlingly modern approach. The modernity emerges brilliantly here against a richly drawn background of his ornamentally perverse era. Altogether a success. -- Kirkus Review.
600 10 $aBeerbohm, Max,$cSir,$d1872-1956.
600 17 $aBeerbohm, Max,$cSir,$d1872-1956$2fast$0(OCoLC)fst00052368
600 17 $aBeerbohm, Max.$2swd
600 17 $aBeerbohm, Max,$d1872-1956.$0(DE-588)118657909$2gnd
650 07 $aParodie.$2swd
650 07 $aParodie.$0(DE-588)4044719-4$2gnd
776 08 $iOnline version:$aFelstiner, John.$tLies of art.$b[1st ed.].$dNew York, Knopf, 1972$w(OCoLC)563625682
029 1 $aAU@$b000000182971
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029 1 $aGEBAY$b11184612
029 1 $aNZ1$b3575625
029 1 $aUNITY$b00978635X
029 1 $aDEBBG$bBV003040542
029 1 $aNZ1$b977386
029 1 $aNLC$b000001289707
994 $aZ0$bPMR
948 $hNO HOLDINGS IN PMR - 636 OTHER HOLDINGS