Consists of 72 full-page color plates of Harris's drawings. Contains a lengthy letter written by the artist to Morris Yarowsky (who wrote the introduction illuminating Harris's work and artistic processes) stating his understanding and reworking of the thoughts of Hans Hoffman. Includes a list of pl
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Consists of 72 full-page color plates of Harris's drawings. Contains a lengthy letter written by the artist to Morris Yarowsky (who wrote the introduction illuminating Harris's work and artistic processes) stating his understanding and reworking of the thoughts of Hans Hoffman. Includes a list of pl
Read Less
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Seller's Description:
Used-Very Good. Califorinia artist Paul Harris is primarily known for his bronze sculptures, but much of his creative time is spent on crayon drawings and other works on paper. He draws flowers, models for the purely sensual qualities of shape and color, and their antipode, the often muted stripes of white, gray, tan, brown, black, red, and green found in Chilean mantas. Harris's drawings may look like paintings but there is rarely any involvement with paint--occasionally with acrylic but never with oil. In the crayon drawings, color is an independent entity as well as an element in the process of representation. The marks of the crayons are prominent, and form an integrated surface from which the specific imagery emerges. It is also the physical residue of the artist's contact with the paper, embodying the pressures of making the drawing and offering a kind of autobiographical record. Harris thinks of shape and color in anthropomorphic terms. Endowing color with human qualities of emotion and mood permits him to personalize his relationship to his art, both in its making and in decisions about its content. Minor to mild scratching/scuffing on cover. Book has mild shelf wear.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Used-Good. Califorinia artist Paul Harris is primarily known for his bronze sculptures, but much of his creative time is spent on crayon drawings and other works on paper. He draws flowers, models for the purely sensual qualities of shape and color, and their antipode, the often muted stripes of white, gray, tan, brown, black, red, and green found in Chilean mantas. Harris's drawings may look like paintings but there is rarely any involvement with paint--occasionally with acrylic but never with oil. In the crayon drawings, color is an independent entity as well as an element in the process of representation. The marks of the crayons are prominent, and form an integrated surface from which the specific imagery emerges. It is also the physical residue of the artist's contact with the paper, embodying the pressures of making the drawing and offering a kind of autobiographical record. Harris thinks of shape and color in anthropomorphic terms. Endowing color with human qualities of emotion and mood permits him to personalize his relationship to his art, both in its making and in decisions about its content.
