Ebook Free Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes
Ebook Free Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes
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Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes
Ebook Free Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes
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Review
“Eloquent. . . . This is a novelist’s criticism, full of motion and drama.” —The Washington Post“An engaging and empathetic volume.” —The New York Times Book Review“Perceptive. . . . Generous and discerning.” —The Boston Globe “Fascinating and brilliant. . . . This magnificent survey draws its strength from its intensely personal focus, each piece reverberating off the others.” —The Financial Times “Illuminating. . . . Avid and thoughtful. . . . [Barnes] chatters like the gifted novelist he is, using his eye for the telling detail, his narrative intuition and his understanding of the creative process to help us see familiar artists like Degas, Braque and Magritte afresh, and to appreciate the work of lesser-known masters as well.” —The New York Times “[A] superb collection. . . . Barnes’s observations and expression prov[e] equally adept and satisfying.” —Minneapolis Star Tribune “This is art writing of the first order. . . . Page after page, essay after essay, Barnes pulls off the sort of acrobatically erudite performance that ultimately draws as much admiration for him as for the art he describes.” —Richmond Times-Dispatch “Powerful accounts of interconnections between art and artist. . . . Sharply observed and richly illuminating. . . . Barnes has a wonderful eye for what makes a great picture, and a command of language that again and again allows readers to share what he sees.” —Times Literary Supplement “A readable, riveting, informed work with sharp, marvellous anecdotes and observations. . . . In this beautifully illustrated book you’re in great company.” —The Irish Independent “Extremely rewarding, informative, attentive, thoughtful, entertaining.” —The Evening Standard “Barnes weaves biography, history, philosophy in this fascinating, richly illuminating and beautifully written book.” —Art Quarterly “It’s both a pleasure and an education to look over Barnes’s shoulder as he interrogates, wonders at, and relishes works of art. He’s a critic who prioritizes the objects themselves, and his work is always satisfying.” —Publishers Weekly (starred review) “Scholarly and astute yet accessible and exciting. . . . Barnes focuses his analytical prowess on significant artists and their oeuvres, opening fresh vistas to readers—and viewers.” —Kirkus Reviews (starred) “Handsomely illustrated, superbly written, felicitously thought-provoking. . . . Barnes is a consummate stylist, not only because of his artistic command of language but also by virtue of his searching intelligence, incisive candor, rogue wit, and righteous fairness.” —Booklist “[Barnes] digs into fascinating details of isometric proportions. . . . Highly recommended to all art readers.” —Library Journal
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About the Author
Julian Barnes is the author of twenty other books including, most recently, The Noise of Time. He has received the Man Booker Prize, the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, the David Cohen Prize for Literature and the E. M. Forster Award from the American Academy of Arts and Letters; in France, the Prix Médicis and the Prix Femina; and in Austria, the State Prize for European Literature. In 2004 he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture. His work has been translated into more than forty languages. He lives in London. www.julianbarnes.com
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Product details
Series: Vintage International
Paperback: 288 pages
Publisher: Vintage; Reprint edition (June 13, 2017)
Language: English
ISBN-10: 110187337X
ISBN-13: 978-1101873373
Product Dimensions:
6.8 x 1 x 8.6 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
42 customer reviews
Amazon Best Sellers Rank:
#439,480 in Books (See Top 100 in Books)
Those who have read the stories of Julian Barnes will know how often he builds them around real figures in the arts: THE LEMON TABLE contains stories about Turgenev and Sibelius; Sarah Bernhart and the photographer Nadar play major roles in LEVELS OF LIFE; Flaubert gets a whole novel to himself (almost) in FLAUBERT'S PARROT; and a meticulous analysis of Géricault's painting "The Raft of the Medusa" forms the centerpiece of his HISTORY OF THE WORLD IN 10½ CHAPTERS. That essay is reprinted here, slightly expanded. It forms the beginning of a sequence of pieces on French-speaking artists of the 19th and 20th centuries -- Géricault, Delacroix, Courbet, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Valloton, Braque, and Magritte -- followed by a few moderns: Claes Oldenburg, Lucian Freud, and Howard Hodgkin. I am finding it utterly addictive.As a novelist, Barnes has an eye for the telling personal detail: Delacroix in a daze walking home to a house he had moved out of two years earlier; Courbet drinking himself into obesity and death; Cézanne losing his temper with a fidgety sitter. He compares Courbet to Fantin-Latour in terms of their portrayals of the community of artists, and Degas to Bonnard in terms of their attitudes to women; his entry into the proto-Surrealist work of Redon is the question of whether it matters if an artist is married. Littérateur that he is, Barnes also has an ear for what other writers have said about these artists: Maxime Du Camp describing Delacroix sorting skeins of wool; Baudelaire telling Manet "you are only the first in the degeneration of your art"; Huysmans' brilliant description of a Cézanne still life as "skewed fruit in besotted pottery."But Barnes' approach is by no means entirely biographical. The Géricault essay, for instance, begins with a detailed description of the wreck of the Medusa and the ordeal of the survivors on the raft. He makes excellent points by considering all the episodes in the story that Géricault did NOT paint. But it is when he considers what he DID paint, that extraordinary group of half-naked figures reaching towards the distant ship, that his writing really takes off. He does something similar again in his second essay on Manet, considering the artist's three versions of "The Execution of the Emperor Maximilian" and its role as a political statement, but nonetheless tying it down to precise analysis of details such as the firing squad's hands and feet: "They are feet settling themselves in for useful work, like when a golfer shuffles for balance in a bunker. You can almost imagine the NCO's pre-execution pep-talk about the importance of getting comfortable, relaxing the feet, then the knees and the hips, pretending you're just out for a day's partridge or woodcock..."."Fully illustrated in colour throughout" says the jacket flap. This is not true. The color illustrations (two or three per essay) are indeed of excellent quality and printed on thick creamy paper.* But they tend to be details rather than the full picture, and often of works peripheral to the artist's more famous oeuvre. I understand the logic of that: Barnes gives you the things that are hard to find, knowing that you can turn to the internet for the rest. I found myself reading with iPad by my side, not only reminding myself of the masterpieces, but also seeking out things that I had never even heard of until Barnes mentioned them. For example Akseli Gallen-Kallela's "Symposium" (1894), "a Munchishly hallucinatory group portrait set at the Kämp Hotel in Helsinki after much drink has been taken." Interesting in that one of stupefied figures is the composer Jean Sibelius, but also because one side of the picture is taken up by "a pair of deep-red raptor's wings. The Mystery of Art has just called in on them, but is now flying away." Barnes' art criticism, like his stories, is full of unexpected trouvailles like that. But the heart of all his essays is his invocation of masterpiece after masterpiece, in words so full of visual detail that you almost do not need the physical reproductions. Almost, but not quite: for only when you look at the pictures do you realize just how right Barnes is, time after time.======I originally wrote the above review (and awarded the five-star rating) when I was halfway through, after the essay on Bonnard. I was not surprised by its quality; Barnes is deeply immersed in the French nineteenth century. Reading on, though, I have to admit that my interest dropped off. Although still full of good observations, the later essays did not always achieve that miraculous balance between art, personality, and history. The essay on Vuillard seemed to miss the man; the one on Vallotton failed to convince about the genius; the piece on Oldenburg gave no good reason why it had been written at all; and the article on Lucian Freud succeeded only in conveying the impression of a very unpleasant individual. But even at the end, there were joys. His piece entitled "So does it become Art?" is Barnes at his best, taking an out-of-the-way subject -- plaster casts of dead bodies in 19th-century France and in our own time -- and deriving some very pertinent questions about the nature of art. And in the last essay of all, "Words for H.H.", Barnes does more for his old friend Howard Hodgkin than for any other artist in the book, by admitting to the limitations of words, and sketching a dance of friendship instead -- and by linking him to his great love of over a century before, the novelist Gustave Flaubert. So to the last line in the book: "So that's enough words." No more are needed.*My comments on the paper, printing, and quality of the reproductions apply to the British edition. I cannot speak to the American one, which appears to be in a rather different format.
Julian Barnes really does keep an eye open on art, and he is a pleasure to read. And a relief too: he doesn't shower you with explanations and theories as so many art critics do, he tells it how he sees it, not mincing his words. He reminds us that Flaubert thought that "it was impossible to explain one art form in terms of another" and that "great paintings required no words of explanation".True, but there is still work to do for a writer and art lover like Barnes. He gives us a sense of the evolution of art, his essays are pinpointing markers if you will, to help determine "good" art (likely to be meaningful to future generations) from "bad art" (momentarily popular, soon to be forgotten). What I find particularly intriguing is his personal list of artists that will endure the challenge of time, marking their century: "When the future looks back at the second half of the twentieth century in Britain, it will surely see it as a period dominated by painters: Bacon, Freud, Hockney,Hodgkin, Riley (and Caulfield, Auerbach, Hitchens, Aitchinson, Uglow).My only regret is that Barnes did not spread his net wider, to include, say, American or German painters of the same period. But at least his position vis a vis contemporary art is both coherent and sensible...
Barnes at his best is a master of opening his own readers' eyes -- not so much instructing as expanding one's awareness. Many of these essays do exactly that, and Barnes's style makes nearly all a pleasure to read. Although I appreciate that it likely would change the character of the book, even more illustrations to accompany his detailed descriptions would enhance his discussion. As he observes, words can only do so much. Also, perhaps because written with different intentions, a few pieces seem narrow or a bit out of place. It may be that I simply do not wholly share his sensibilities with respect to the sub-set of (mostly) French artists of a period that he considers, although he has made head-way in educating me. Taken as a collection, Barnes mostly achieves that difficult balance of melding his personal response with the observations of a great describer and thoughtful critic. Put differently, Barnes meets his own test of art that spurs the mind to reflection.A footnote: Although it may be an instance of the piece that strays, the short essay "So does it become art?" is one of those original and brilliant excursions at which Barnes shines. This is the one I marked for reference.
I've been a Barnes fan since Flaubert's Parrot" came out. If I really like an author I send copies to friends. Barns is my top gift author. His literary depth is brilliant with any genera or style he tackles. He weaves his considerable artful style into all his work.These essays should encourage everyone to pay attention to pictures. As a devoted Kindle reader, I enjoy reading Barns more now because his generosity with language is immediately and thoroughly accessible. I usually got peeved at authors who tossed "foreign," obscure and classical language around like peanuts to squirrels.
"Writing about music is as sensible as dancing about architecture"...or something like that. Barnes tackles the issue of one art-form commenting on another in the final essay (which isn't really an essay) in the book, but it's the book as a whole that elegantly refutes the idea that such commentary should be impossible.I never greatly enjoyed art criticism, finding it too self-engaged, until I found Barnes's treatment of Gericault in his History of the World. There's nothing else quite as all-encompassing here (the chapter is repeated as an opening salvo), but the cultured tone of an interesting and interested person pointing out interesting things is everywhere.
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