- 1 of 1 copy available at Evergreen Indiana.
0 current holds with 1 total copy.
|Location||Call Number / Copy Notes||Barcode||Shelving Location||Status||Due Date|
|Orleans Town and Twp PL - Orleans||927.4 RAT (Text)||36870000002718||Nonfiction||Available||-|
- ISBN: 0395590728 (alk. paper)
- Physical Description: xix, 358 p.,  p. of plates ill. 24 cm.
Includes bibliographical references (p. -340) and index.
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|Subject:||Photographers > United States > Biography.
Evans, Walker, 1903-1975.
- Baker & Taylor
An authority on photographer Walker Evans looks beyond the anonymity of his work to reveal an artist with a genius for capturing telling detail who defined the American scene for an entire generation and profoundly influenced photographers who followed him.
- Baker & Taylor
An authority on photographer Walker Evans looks beyond the anonymity of his work to reveal an artist with a genius for capturing telling detail, who defined the American scene for an entire generation and profoundly influenced photographers who followed
- Blackwell North Amer
In this first full biography of the enigmatic artist, a leading national authority on Evans brilliantly penetrates the calculated anonymity of his work to reveal the obsessions behind it.
A man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. Charismatic and seductive, he attracted many of the brightest talents of his day. He counted Hart Crane, James Agee, Lincoln Kirstein, Ben Shahn, and Berenice Abbott among his closest friends, and with them he reveled in the intellectual and sexual freedom that distinguished the New York art world during his lifetime. Evans loved nothing better than a good party, and he attended all the best ones in the half-century from the 1920s to the 1970s. A social chameleon, he was as much at ease in bohemian Greenwich Village as in the heady West Side circle that included Robert Penn Warren, Lionel Trilling, and Alfred Kazin.
Belinda Rathbone interviewed more than a hundred friends and colleagues of Evans' as well as his two former wives, and combed archives and letters to illuminate his singular vision and the complex personality Evans so carefully withheld from his photographs. The result is a portrait not only of an artist who profoundly influenced the generation of photographers who followed him but also of the artistically fecund times that nurtured him.
Walker Evans's haunting images of southern sharecroppers in Let Us Now Praise Famous Men were as revolutionary in their time as James Agee's text and are now deeply ingrained in the American consciousness. In the first full biography of this intriguing and enigmatic artist, a leading national authority on Evans looks beyond the calculated anonymity of his work to reveal the singular obsessions behind it. A man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. His friendships with Hart Crane, Lincoln Kirstein, and James Agee drew him into the promiscuous New York literary scene in the 1930s, '40s, and '50s, and his fierce independence from contemporaries such as Ansel Adams and Margaret Bourke-White brought him notoriety among photographers. Both charismatic and seductively aloof, Evans had a spy's genius for capturing the telling detail. From his rise to prominence with the founding of the Museum of Modern Art to his work