Dore Ashton

Mark Rothko's iconic paintings are some of the most profound works of twentieth-century Abstract Expressionism. This collection presents fifty large-scale artworks from the American master's color field period (1949-1970) alongside essays by Rothko's son, Christopher Rothko, and San Francisco Museum of Modern Art curator of painting and sculpture Janet Bishop. Featuring illuminating details about Rothko's life, influences, and legacy, and brimming with the emotional power and expressivecolor of his groundbreaking canvases, this essential volume brings the renowned artist's luminous work to light for both longtime Rothko fans and those discovering his work for the very first time. A textured case and large-scale tip-on on the front cover round out this sumptious package.

""Abstract Art Before Columbus, V2"" is a book written by Dore Ashton that explores the history and evolution of abstract art in pre-Columbian America. The book delves into the artistic traditions of indigenous cultures such as the Maya, Aztec, and Inca, and how they expressed themselves through abstract forms and symbols. Ashton provides a detailed analysis of the various techniques and materials used by these cultures, as well as the meanings behind their abstract art. Through this exploration, the book challenges the notion that abstract art was a purely European invention and highlights the rich and diverse artistic heritage of the Americas. The book is a valuable resource for art historians, anthropologists, and anyone interested in the cultural history of the Americas. Map By Fred F. Scherer. This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

"Clay can be a metaphor for many things. I made it a metaphor for flesh and earth". (Stephen De Staebler). Over the course of a fifty-year career, Stephen De Staebler (1933-2011) created powerful, elegiac figurative sculptures in clay and bronze. Extending and assimilating an artistic lineage that includes Michelangelo, Auguste Rodin, and Alberto Giacometti as well as the art of the ancient Americas, Egypt, and Greece, De Staebler developed a sculptural vocabulary uniquely his own. A resident of the San Francisco Bay Area since the late 1950s, De Staebler was among the first students of the legendary Peter Voulkos at the University of California, Berkeley. In conjunction with the Bay Area Figurative movement, De Staebler helped to infuse the existentialist agenda of Abstract Expressionism with a profound humanism. Illuminating the significance of De Staebler's practice as never before, curator Timothy Anglin Burgard analyzes the artist's major pieces. Poet and critic Rick Newby sketches a biographical portrait of the sculptor, and renowned art historian Dore Ashton offers a moving tribute to the artist, with whom she was a lifelong friend. Produced in collaboration with the artist and his estate, this authoritative volume - published on the occasion of a major exhibition at the de Young Museum in San Francisco - offers an unprecedented glimpse into the sculptor's studio and process.

As the Washington Post says, "Dore Ashton brings the reader to the very core of Mark Rothko's art." She draws on her countless interviews with the artist- giving little credence to the false mythology surrounding his work- to take us to the heart of Rothko's painting, showing its derivation from his reading, travel, and thought.

With the emergence of Abstract Expressionism after World War II, the attention of the international art world turned from Paris to New York. Dore Ashton captures the vitality of the cultural milieu in which the New York School artists worked and argued and critiqued each other's work from the 1930s to the 1950s. Working from unsifted archives, from contemporary newspapers and books, and from extensive conversations with the men and women who participated in the rise of the New York School, Ashton provides a rich cultural and intellectual history of this period. In examining the complex sources of this important movement--from the WPA program of the 1930s and the influx of European ideas to the recognition in the 1950s of American painting on an international scale--she conveys the concerns of an extraordinary group of artists including Willem de Kooning, Jackson Pollock, Ad Reinhardt, Philip Guston, Barnett Newman, Arshile Gorky, and many others. Rare documentary photographs illustrate Ashton's classic appraisal of the New York School scene.

An anthology of Pablo Picasso's statements about art