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An innovative new history of Cubism told through some of the most significant artworks ever produced, drawn from a distinguished private collection
This groundbreaking new history of Cubism, based on works from the most significant private collection in the world today, is written by many of the field’s premier art historians and scholars. The collection, recently donated to The Metropolitan Museum of Art, includes 80 works by Picasso, Braque, Gris, and Léger and is unsurpassed in the number of masterpieces and iconic pieces deemed critical to the development of Cubism.
Twenty-two essays explore various facets of Cubism from its origins and consider small groupings of works in light of specific themes—such as a study by neuropsychiatrist Eric Kandel on Cubism and the science of perception. Also included is a fascinating interview in which Lauder discusses his approach to collecting. This is a work to place beside other great histories of Modernism. It is a comprehensive, copiously illustrated book that offers a greater understanding of Cubism and will stand as a resource on this pioneering style for many years to come.
- Sales Rank: #549998 in Books
- Brand: Ingramcontent
- Published on: 2014-11-18
- Original language: English
- Number of items: 1
- Dimensions: 12.65" h x 1.61" w x 9.93" l, .0 pounds
- Binding: Hardcover
- 392 pages
Features
- Cubism The Leonard A Lauder Collection Metropolitan Museum of Art Hardcover
Review
Both Emily Braun and Rebecca Rabinow received First Place Awards for the 2014 Awards of Excellence for Catalogue Publication, sponsored by the Association of Art Museum Curators.--Awards for Excellence for Catalogue Pubication"Association of Art Museum Curators" (05/13/2015)
Winner of the 2015 Henry Allen Moe Prize given annually by the New York State Historical Association.--Henry Allen Moe Prize"NY State Historical Assoc" (06/17/2015)
About the Author
Emily Braun is distinguished professor at Hunter College and the Graduate Center, CUNY, New York. Rebecca Rabinow is curator in the Department of Modern and Contemporary Art, The Metropolitan Museum of Art.
Most helpful customer reviews
22 of 22 people found the following review helpful.
Leonard Lauder's Extraordinary Cubist Collection
By Kenneth Hughes
This is the catalogue of the exhibition of the same name mounted at New York's Metropolitan Museum of Art from October 2014 until February 2015. It represents the final state of Leonard Lauder's collection of Cubist art, which he refined over the course of several decades to concentrate on exceptional work of the four "essential" Cubists: Picasso, Braque, Gris and Léger. It is generally thought to be the most extensive and important collection of Cubist art ever assembled by a private individual, and in April 2013, Mr. Lauder donated it to the Museum and at the same time established a Research Center for Modern Art, with the very distinguished Met curator Rebecca Rabinow in charge. Dr. Rabinow has co-edited the catalogue along with Emily Braun, Distinguished Professor of art history at the City University and for many years Mr. Lauder's private curator. The volume is introduced by a forthright conversation between Prof. Braun and Mr. Lauder, in which he explains the passions and interests which motivated him to create the collection, his evolving philosophy, and the criteria he applied to his acquisitions. Finally, he explains, what it came down to was "museum worthiness": is this a piece deserving of permanent installation in a major museum? That was always the question he asked, because from the very beginning, he was aware that in assembling his paintings, he was acting as the caretaker of a major cultural heritage that was one day destined to be a gift to a public institution. (It is quite indicative that he refers always to "the" collection, never to "my" collection.) And so, over the course of time he accumulated the artworks on display: 33 Picassos (including two sculptures), 17 Braques, 15 Légers, and 14 Grises (in February 2014, the Museum added Gris's "Still Life with Checked Tablecloth" [1913], purchasing it from Sotheby's with funds also provided by Mr. Lauder.) To call the collection spectacular does not quite do it justice; it is actually stupendous, astonishing, and extraordinary in every sense of the word. In his conversation with Dr. Bauer, Mr. Lauder mentions a comment someone made after his gift was announced, to the effect that anyone with a couple of billion dollars could walk up and down Madison Avenue and put together a similar collection (Madison Avenue being the Manhattan address of several important art dealers and galleries), which is obviously patently untrue. Money is necessary, of course (and he is thought to have spent something like a billion dollars amassing the works), but it is not enough; also needed are focus, patience, persistence to the point of dogged determination, understanding, and discrimination. Only steady perseverance and consistent application can explain the uniform excellence of these works, and they are truly the best of the best.
It is really not possible to describe the collection; it simply must be seen, and, fortunately, the catalogue does justice to the exhibition and fully meets the Museum's exacting standards. For some time the Met's major exhibition catalogues have had as their goal to present the most current and authoritative research relevant to their theme and so to advance the scholarly discussion, while at the same time providing tutorial guidance for a more general audience. They are intended to be, and are, significant events in both art history scholarship and public awareness. This volume follows that pattern: there are twenty-two scholarly essays, most of them under ten pages in length and tightly focused, including contributions by some of the most outstanding scholars of Cubism and modern art writing today (Eizabeth Cowling, Jack Flam, Christopher Green, Pepe Karmel, Dorothy Kosinski, Kenneth Silver, Anne Umland, and others). The essays follow the itinerary of the exhibition from Braque to Gris to Léger to Picasso, and the exhibits are reproduced in the approximate order of their discussion in the texts. All eighty exhibition works are reproduced full-page in very faithful color, and the reproductions are accompanied by frequent companion illustrations; the jacket text says that there are 280 illustrations, no doubt including the numerous black-and-white and color photographs of the artworks in the artists' studios and in the private residences, galleries and museum spaces where they hung prior to their accession to the Lauder collection. The essays are not all equally fascinating, of course; a couple simply seemed too short to make their point persuasive, but there are certainly enough here with arresting information and stimulating perspectives to hold one's attention and compel one to keep reading. For the most part, they are straightforward and easily comprehensible to the layman, which is not always the case with writing of this kind. On the other hand, scholars too will find much that is compelling, especially in the apparatus, which is extensive. The essays themselves are all meticulously annotated, and the catalogue checklist is exceptional in its scope, providing all curatorial information including work titles in their original languages, place and date of creation so far as known, medium/materials and support, precise size, extraneous markings recto and verso, catalogue raisonné numbers, provenance, prior exhibitions, and literature (apparently through 2013). There is an excellent selected bibliography (35 pp.), a provenance index identifying all entities listed in the provenance record, and a comprehensive index. This is material very welcome to some readers, but most people will want to have this book simply for its stunning paintings and stimulating discussions, and, especially, as a recollection of a unique moment in our collective celebration of the art of modernity and as a welcome reminder of the ennobling behests of great philanthropy. We owe Leonard A. Lauder an enormous debt of gratitude: there is no end to the books on Cubism, but there is none quite so special as this exceptional and amazing catalogue.
0 of 0 people found the following review helpful.
An important Collection!
By Vernon
A lovely document for any lover of Abstract Art. An impressive, thoughtful collection. And very well photographed & documented by "THE MET".
0 of 0 people found the following review helpful.
Buy the Book and See the MMA Exhibit-Cubist Works
By Kathleen C. Kester
Bought the book twice. Once at the Metropolitan Museum of Art ((NYC) when viewing the underlying Leonard Lauder Cubism Exhibit and again on Amazon for an art lover friend, when I returned. The works in the exhibit are suppose to ultimately become part of the MMA's permanent collection. Buy the book before you go to see the works. It will enhance your understanding and appreciation of these marvelous Cubists works.
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