Bois's (modern art, Harvard Univ.) well-argued thesis that Matisse, the sensual observer, and Picasso, the structuralist, had each other "in mind" when creating many paintings and sculptures redefines their complex relationship. With enormous appetite and "understanding," they worked similar ideas to dissimilar ends, challenging and influencing each other in great measure. By chronicling their mutual respect and referencing the historical documents of the time and what can now be deduced from the visual record, Bois has uncovered a wealth of evidence to support what was always implied. The many full-color illustrations encourage comparison and bolster the well-documented text. Ultimately, this is more than a book about Picasso and Matisse; through their examples, it is about the language of painting itself. Connoisseurs and students of modern art will derive much pleasure from this accomplishment, which accompanies a show currently at the Kimball Art Museum in Fort Worth, TX. Recommended for large public and academic libraries and any modern art collection.AEllen Bates, MLS, New York
Copyright 1999 Reed Business Information, Inc. --This text refers to the Hardcover edition.
Yve-Alain Bois is the Joseph Pulitzer, Jr. Professor of Modern Art at Harvard University. He has written extensively on twentieth-century art, particularly Minimal art. A collection of his essays, Painting as a Model, has been published by M.I.T. Press (1990). He co-organized the 1994-5 retrospective of Piet Mondrian in The Hague, Washington and New York. Among other projects, he is currently preparing the catalogue raisonné of Barnett Newman.