Between lives : an artist and her world / Dorothea Tanning.

By: Publication details: New York : W.W. Norton , c2001.Edition: 1st edDescription: 378 p., [32] p. of plates : ill. ; 22 cmISBN:
  • 9780393050400
Subject(s): DDC classification:
  • 92 TAN
LOC classification:
  • N6537.T36 A2 2001
Summary: In this memoir, an expansion of Birthday, her 1987 collection of reminiscences, Tanning recounts her life and work. A noted painter and sculptor, Tanning moved in a circle that included some of the 20th century's greatest creative presences. From the worlds of dance, music, and literature, Tanning remembers episodes with Virgil Thomson, George Balanchine, Dylan Thomas, and Truman Capote. Her own artistic milieu included Giacometti, Joseph Cornell, Joan Miro, and her husband, the surrealist Max Ernst. Never merely gossipy or needlessly name-dropping, Tanning's memoir parades those she met and knew through New York, to New Mexico, to Paris, and back again, after Ernst's death, to New York. In her writing, Tanning achieves, at moments and sometimes for pages at a time, a prose style that is nearly, but not quite, lucid. Unfortunately, her maddeningly "poetic" account provides us with an obstructed view into the world of modern art.
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Item type Current library Call number Status Date due Barcode
Libro - Monografía Biblioteca Pública de San Miguel de Allende, A.C. Sala Ingles 92 TAN (Browse shelf(Opens below)) Available 037087

Includes index.

In this memoir, an expansion of Birthday, her 1987 collection of reminiscences, Tanning recounts her life and work. A noted painter and sculptor, Tanning moved in a circle that included some of the 20th century's greatest creative presences. From the worlds of dance, music, and literature, Tanning remembers episodes with Virgil Thomson, George Balanchine, Dylan Thomas, and Truman Capote. Her own artistic milieu included Giacometti, Joseph Cornell, Joan Miro, and her husband, the surrealist Max Ernst. Never merely gossipy or needlessly name-dropping, Tanning's memoir parades those she met and knew through New York, to New Mexico, to Paris, and back again, after Ernst's death, to New York. In her writing, Tanning achieves, at moments and sometimes for pages at a time, a prose style that is nearly, but not quite, lucid. Unfortunately, her maddeningly "poetic" account provides us with an obstructed view into the world of modern art.

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