Joseph Solman. Crown Publishers. 1966. Signed. Beautiful Condition.
$400.00
Crown Publishers, New York, 1966. Hardcover. First Edition. Solman (1909-2008) rose to prominence in the 1930s as a painter of semi-abstract cityscapes, and became associated with the group "The Ten," which included Adolph Gottlieb and Mark Rothko. In the forties he became the art critic for the communist journal Masses & Mainstream, which had always portrayed Shahn positively as "the most mature, consistent and satisfying of the American social painters." Both artists had moved in rather different directions by the mid 1950s, and it is gratifying to see that Solman still held Shahn in such high regard late in his career. Quarto (28cm). Green cloth boards lettered in red; no dust jacket; 16pp text, 240 plates. Inscribed on front endpaper: "To Mary and Jack E___ With best wishes, Joseph Solman."
Crown Publishers, New York, 1966. Hardcover. First Edition. Solman (1909-2008) rose to prominence in the 1930s as a painter of semi-abstract cityscapes, and became associated with the group "The Ten," which included Adolph Gottlieb and Mark Rothko. In the forties he became the art critic for the communist journal Masses & Mainstream, which had always portrayed Shahn positively as "the most mature, consistent and satisfying of the American social painters." Both artists had moved in rather different directions by the mid 1950s, and it is gratifying to see that Solman still held Shahn in such high regard late in his career. Quarto (28cm). Green cloth boards lettered in red; no dust jacket; 16pp text, 240 plates. Inscribed on front endpaper: "To Mary and Jack E___ With best wishes, Joseph Solman."
Crown Publishers, New York, 1966. Hardcover. First Edition. Solman (1909-2008) rose to prominence in the 1930s as a painter of semi-abstract cityscapes, and became associated with the group "The Ten," which included Adolph Gottlieb and Mark Rothko. In the forties he became the art critic for the communist journal Masses & Mainstream, which had always portrayed Shahn positively as "the most mature, consistent and satisfying of the American social painters." Both artists had moved in rather different directions by the mid 1950s, and it is gratifying to see that Solman still held Shahn in such high regard late in his career. Quarto (28cm). Green cloth boards lettered in red; no dust jacket; 16pp text, 240 plates. Inscribed on front endpaper: "To Mary and Jack E___ With best wishes, Joseph Solman."