LEADER 03564nam 2200625 a 450 001 9910496147903321 005 20230828214740.0 010 $a0-585-28070-3 035 $a(CKB)111054828787086 035 1 $aMAHA91B3089 035 1 $zDCLC9048336B 035 $a(MH)002313926-9 035 $a(SSID)ssj0000216880 035 $a(PQKBManifestationID)12022565 035 $a(PQKBTitleCode)TC0000216880 035 $a(PQKBWorkID)10202682 035 $a(PQKB)10601162 035 $a(EXLCZ)99111054828787086 100 $a19911106d1991 ub 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aOut of Eden $eessays on modern art /$fW.S. Di Piero$b[electronic resource] 210 $aBerkeley $cUniversity of California Press$dc1991 215 $a1 online resource (257 p., [8] p. of plates )$cill. (some col.) ; 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-08432-2 311 $a0-520-07065-8 320 $aIncludes bibliographical references (p. 249-251) and index. 327 $aModern instances : the Macchiaioli -- Morandi of Bologna -- Killing moonlight : the futurists -- Miscellany I -- Out of Eden : on Alberto Giacometti -- Notes on photography -- Matisse's broken circle -- The Americans -- Miscellany II -- Not a beautiful picture : on Robert Frank -- Other Americans : Julian Schnabel, Jerome Witkin, The Starns, Gregory Gillespie -- Francis Bacon and the fortunes of poetry. 330 $aOut of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and immediacy. He fixes his attention on painters and photographers as disparate as Cezanne, Boccioni, Pollock, Warhol, Edward Weston, and Robert Frank. There is indeed a satisfying sweep to this collection: Matisse, Giacometti, Morandi, Bacon, the Tuscan Macchiaioli of the late nineteenth century, the Futurists of the early modern period, and the American pop painters. Di Piero's analysis of modern images also probes the relation between new kinds of image making and transcendence. The author argues that Matisse and Giacometti, for example, continued to exercise the religious imagination even in a desacralized age. And because Di Piero believes that the visual arts and poetry live intimate, coordinate lives, his essays speak of the relation of poetry to forms in art. 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