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Leonora Carrington: Surrealism, Alchemy and Art
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Review
"Documentary photographs and high-quality illustrations of many rarely exhibited works from private collections make this long overdue work essential for all art collections." —Choice
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About the Author
Susan L. Aberth received her PhD in Art History from the Graduate Center of the City University of New York; her dissertation was on the art of Leonora Carrington. She is currently Assistant Professor of Art History at Bard College, New York, where she specializes in Latin American Art.
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Product details
Paperback: 160 pages
Publisher: Lund Humphries; New edition edition (March 28, 2010)
Language: English
ISBN-10: 1848220561
ISBN-13: 978-1848220560
Product Dimensions:
9.8 x 0.6 x 11.4 inches
Shipping Weight: 1.9 pounds (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
31 customer reviews
Amazon Best Sellers Rank:
#56,814 in Books (See Top 100 in Books)
This is one of only two books in English that I know of devoted to Leonora Carrington, a fantastic (in all senses) Surrealist artist and writer who was born in England but did most of her work in Mexico. If you like fantasy/surrealist art and don’t know Carrington’s work, or do know it but have only seen a few examples, I strongly recommend that you purchase this book immediately.I want to praise Susan Aberth and her publisher as well as Carrington, however: this book is everything I think an art book should be—and that too few of them are. The photographs of the art are clear, numerous, mostly full page, and all in vivid color (except for a few photographs of people that were not in color to begin with). Aberth’s text is also illuminating, describing Carrington’s life, bringing out her major themes (such as her blending of myths and symbols from disparate cultures, particularly Celtic [her family background] and Mexican [her adopted background], and her feminist view of alchemy as a form of cooking), and analyzing several paintings in detail. Her analysis almost always refers to features that can actually be seen in the reproductions—which is by no means always the case in art books, I’ve found. Her language is clear and easy to understand, not drowning in academic art-critic-ese. I have admired Carrington’s work for a long time, and I definitely felt that I understood it, and her, better after reading Aberth’s commentary.
This has been curated really well. Instead of dwelling on Carrington as part of the story of Max Ernst, this is a great collection of color plates of her many paintings from the late 1940's on, from as soon as she was able to start painting again after escaping all the creeps trying to put her away 'Down Below'. The idea that she did this (MUCH) work without expectation of sales, of fame or fortune, but on impulse and for personal exploration, and while raising babies, boggles the mind.This collection is curated to explicitly feature Leonora Carrington's longtime Great Work with alchemical, goddess, occult and magical themes. If you want the sigils, magical diagrams and veves, they are all in this set. The technique is haunting, delicate details as on the walls of an ancient Roman mansion, and some of these pieces (sculptures and weavings) I've honestly never seen in other catalogs. After all those years and the sights /senses of Mexico, the art just gets weirder and more wonderful over time. Also there are so many later pieces I'd never seen, featuring the culinary imagery and the wonderful old crones - like walking, wrinkled potatoes - that begin to appear in her consistent, evolving visual language as the Magician inserts herself into the work as she ages.These are the color plates you have been looking for. Though it's not a huge coffee table book, it is truly inspiring.
Beautiful prints of Leonora Carrington's paintings and drawings as well as interesting account of her life. Much better quality book (the color prints) than I expected.
Refreshing to read about Leonora Carrington and focus more on her than her relationship with Max Ernst. Leonora is a poet and painter in her own right. Very well done, easy to read and good reproductions of her work. I'd say I love this book, but then I am a fan of Leonora Carrington's and Remedios Varos, two most extraordinary women who happened to meet in Mexico at a critical time in each of their lives.
She's the best and it's awesome to have such a great book in english about such an amazing women.
Beautiful book.
Anyone interested in the Art and the life of Leonora Carrington will welcome this beautiful book. Surprisingly there is next to nothing available about Carrington, and the few books that are out of print only give very little information about her and not enough illustrations of her work. Hence this book was long awaited and is certainly the most extensive book yet published about this original, mysterious and fascinating artist.In the foreword the author explains that the object of the book is two fold, to outline the artist's life and to provide an overview: "of the full scope of her workin painting, sculpture, drawing, printmaking, and theatrical set and costume design" (p.9). If both of these objects would have been realized this would have been an extensive work and valuable work.The biographical portion of the book attempts to give a biographical sketch of Carrington. The first chapter covers her life from her birth in 1917 in Lancashire, England, to a wealthy Catholic family, as a rebellious adolescent, to her insistence against her family's wishes to attend art school. The second chapter describes her relationship with Max Ernst, their life in France and her "induction" at the age of nineteen to the Surrealist movement. Thee third chapter tells of her war time experiences which included being separated from Ernst who was imprisoned as an enemy alien in France, being put in a Spanish Insane Asylum, breaking with her family and marrying a Mexican Diplomat so that she could get out of war torn Europe. The fourth chapter begins with her move to Mexico in 1943, her marriage to Emerico "Chiki" Weisz, about whom we learn next to nothing, and her emergence as a mature artist, which coincides with her friendship with fellow surrealist painter Remedios Varo. Aberth explains that Carrington and Varo were inseparable and saw each other almost daily for decades. They shared interests in bizarre cooking, the esoteric, alchemy, witchcraft, cats, and of course painting. A look at the painting of the two artists from this time shows a remarkable similarity in subject matter, style and colors, yet both remain distinct. It seems obvious that they deeply influenced one another in many areas. These four chapters are the most interesting of the book and read as a most improbable life story. It is also in the first four chapters were the problems of the book start to show. First of all, there is a heavy reliance on the books by Whitney Chadwick who has written several books on Carrington and on Janet Kaplan, the biographer of Remedios Varo. We are given less and less facts about Carrington's life and it becomes increasingly obvious that very little primary research, if any at all went into this book. This becomes most evident in the last chapter of the book that describes the last fifty years of Carrington's life in barely five pages. The readers can also ask themselves what happened in this period when she became recognized internationally as an artist. Did she remain married? Did she continue having mental problems? What did she do after Varo died? Why did she move to the US? Why did she return to Mexico? How did she deal with success? Was she re-united with her family?The book reproduces about ninety of Carrington's works. Almost all of these are paintings. There are a few sculptures and one photograph of set design and costumes. Only a few paintings are described in any detail, so the readers have to fend for themselves to try decipher the symbolism and meaning. Most of the illustrations are of fairly high quality, but some are too small. The last photograph of Carrington dates from ca. 1960, so we have no idea what she looks like today.The book fails to deliver on both of its "objects" to provide an overview of both life and work, and in that respect it is disappointing. Very little is said about Carrington's numerous published books, which could have been used as source material to a much better effect.Still this book is valuable as it is the only book about Carrington and her art currently in print and it will hopefully attract many readers and new admirers. I can only hope that a Catalogue Raisonais similar to the Remdios Varo Catalogue published a few years ago will be forthcoming with more critical information about Carrington's work. A detailed biography would also be welcome. Despite all of my reservations, I still recommend the book highly, because of Carrington's bizarre life and interests and her exceptional original talent as an artist.Review by Walter O. Koenig
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