MARC Record from marc_columbia

LEADER: 03538cam a22003614a 4500
001 5439890
005 20221110034844.0
008 050427t20052005waua bc s000 0deng
010 $a 2005012226
020 $a0295985542 (ltd. edition hardcover : alk. paper)
020 $a0295985550 (pbk. : alk. paper)
035 $a(OCoLC)ocm60188407
035 $a(NNC)5439890
035 $a5439890
040 $aDLC$cDLC$dOCLCQ$dBAKER$dC#P$dOrLoB-B
042 $apcc
050 00 $aN6537.C794$bA4 2005
082 00 $a759.13$222
100 1 $aKangas, Matthew.$0http://id.loc.gov/authorities/names/n83052963
245 10 $aWilliam Cumming :$bthe image of consequence /$cMatthew Kangas.
260 $aSeattle :$bCharles and Emma Frye Art Museum, in association with University of Washington Press, Seattle,$c[2005], ©2005.
300 $a159 pages :$billustrations (chiefly color) ;$c28 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
505 00 $tForeword /$rMidge Bowman -- $gCh. 1.$tYouth : idyll, crisis, and discovery -- $gCh. 2.$tCumming's cultural nexus -- $gCh. 3.$tThe dark wood -- $gCh. 4.$tThe search for the populist subject -- $gCh. 5.$tSketchbook : subtext of an imagination -- $gCh. 6.$tTransformation and reconciliation : from Marxism to modernism -- $tPlates.
500 $aIssued in connection with an exhibition to be held Aug. 20, 2005-Jan. 1, 2006, Charles and Emma Frye Art Museum, Seattle.
504 $aIncludes bibliographical references (p. 156-158).
520 1 $a"William Cumming (b. 1917) is one of the most complex and contradictory American artists of the past century. Painter, correspondent, art and music critic, educator, memoirist, and loquacious interview subject, Cumming is heard here in his own words and through art critic Matthew Kangas, who brings together 140 crucial works and situates Cumming in the cultural context of his times - artistic, social, and political, including his years in the Communist Party USA." "Unaffected by decades of rapid stylistic changes in the art world, Cumming remained committed to the image of consequence - socially relevant subject matter - through the Great Depression, the "lost years" of World War II, and the Cold War. He then embraced a renewed sense of life, hope, and a second "conversion" to modernist painting's precepts of color, shadow, line, shape, and contour. With its solid cohesion of shapes, subject, and color, Cumming's art now bears comparison to Bonnard and Vuillard rather than Tobey or Callahan." "Self-taught and yet a brilliant instructor, Cumming was a slim young man who talked like Mark Twain and drew like a dream. This book takes advantage of exclusive access to letters the young artist wrote to his mentor, Margaret Bundy Callahan, during the mid-1940s, and includes much that Cumming left out of his 1984 memoir, Sketchbook." "Because of his close association with the Big Four - Tobey, Graves, Callahan, and Anderson - of the Northwest School, Cumming's art has often been compared to theirs and not allowed to stand on its own, considerably different, basis. That Kangas acknowledges this independent stand is one of this book's chief strengths."--BOOK JACKET.
600 10 $aCumming, William$vExhibitions.
700 1 $aCumming, William.$0http://id.loc.gov/authorities/names/n84028860
710 2 $aCharles and Emma Frye Art Museum.$0http://id.loc.gov/authorities/names/n88219151
856 41 $3Table of contents$uhttp://www.loc.gov/catdir/toc/ecip0511/2005012226.html
852 80 $bfax$hND239 C912$iK13