Alice Neel : the art of not sitting pretty / Phoebe Hoban

By: Material type: TextTextPublication details: New York : St. Martin's Press , 2010.Edition: 1st edDescription: 500 p. : illus. ; 25 cmISBN:
  • 9780312607487
Subject(s): DDC classification:
  • 92 NEE 
LOC classification:
  • ND1329.N36 H63 2010
Summary: In this first full-length biography of Neel, Hoban recounts the remarkable story of Neel´s life and career, as full of Sturm and Drang as the century she powerfully captured in paint. Neel managed to transcend her often tragic circumstances, surviving the death from diphtheria of her infant daughter Santillana, her first child by the renowned Cuban painter Carlos Enriquez, with whom she lived in Havana for a year before returning to America; the break-up of her marriage; a nervous breakdown at thirty resulting in several suicide attempts for which she was institutionalized; and the terrible separation from her second child, Isabetta, whom Carlos took back to Havana. In every aspect of her life, Neel dictated her own terms; from defiantly painting figurative pieces at the height of Abstract Expressionism, convincing her subjects to disrobe (which many of them did, including, surprisingly, Andy Warhol) to becoming a single mother to the two sons she bore to dramatically different partners. No wonder she became the de facto artist of the Feminist movement. (When Time Magazine put Kate Millet n its cover in 1970, she was asked to paint the portrait.) Very much in touch with her time, Neel was also always ahead of it. Although she herself would probably have rejected such label, she was America´s first feminist, multicultural arits, a populist painter for the ages.
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Libro - Monografía Biblioteca Pública de San Miguel de Allende, A.C. Sala Ingles 92 NEE (Browse shelf(Opens below)) Available 020969

In this first full-length biography of Neel, Hoban recounts the remarkable story of Neel´s life and career, as full of Sturm and Drang as the century she powerfully captured in paint. Neel managed to transcend her often tragic circumstances, surviving the death from diphtheria of her infant daughter Santillana, her first child by the renowned Cuban painter Carlos Enriquez, with whom she lived in Havana for a year before returning to America; the break-up of her marriage; a nervous breakdown at thirty resulting in several suicide attempts for which she was institutionalized; and the terrible separation from her second child, Isabetta, whom Carlos took back to Havana. In every aspect of her life, Neel dictated her own terms; from defiantly painting figurative pieces at the height of Abstract Expressionism, convincing her subjects to disrobe (which many of them did, including, surprisingly, Andy Warhol) to becoming a single mother to the two sons she bore to dramatically different partners. No wonder she became the de facto artist of the Feminist movement. (When Time Magazine put Kate Millet n its cover in 1970, she was asked to paint the portrait.) Very much in touch with her time, Neel was also always ahead of it. Although she herself would probably have rejected such label, she was America´s first feminist, multicultural arits, a populist painter for the ages.

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