Popular perceptions of Vincent van Gogh (1853–1890) frequently envision the painter working before nature in an intense frenzy, yet the artist’s method was often controlled and deliberate. Van Gogh Repetitions is the first book to focus on the artist’s “repetitions,” a term he used to describe his process of producing more than one version of a composition. Van Gogh ultimately developed a conceptual framework that distinguished his répétitions from copies, études, tableaux, and décorations, balancing modernist aspirations toward originality with the creation of copies of his existing compositions. The artist’s practice of producing repetitions was far more extensive and vital to his creative process than is commonly recognized. In this groundbreaking and beautifully illustrated book, a series of essays considers the many unresolved issues and controversies surrounding the repetitions, including their origins, development, and meaning in van Gogh’s art. Technical and analytical examinations provide new insights into the artist’s working methods and approach to the creative process.

Van Gogh Repetitions

Arts & Photography

Robinson, William H.

Rathbone, Eliza

Steele, Marcia

Steele, Elizabeth

History & Criticism

The Phillips Collection

Kimura: Paintings and Works on Paper, 1968-1984

Chuta; Sutton Akihiro (essay) Kimura

The Choice Is Yours: Highlighting the Art and Life of Jacob Lawrence (An Art Activity Handbook for Y

Suzanne Wright

original pictorial wrappers, beautifully illustrated with reproductions of Avery's works in colour and in black and white.

Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips

Eliza E. Rathbone

Milton Avery

Louis Kaufman

Duncan Phillips

Giorgio Morandi (1890-1964) built his visual lexicon from the most minimal of props--dust-covered bottles, bowls, vases, pitchers, tins and boxes. From it, he composed delicious permutations of quiet still lifes, in the most muted yet luminous of palettes, transforming the genre of still life into a cosmos. The composer Morton Feldman once wrote that in his own work he was "interested in getting to Time in its unstructured existence... How Time exists before we put our paws on it," and in this sense Morandi may be his counterpart in paint: his painted objects seem to possess a subtle self-sufficiency and interiority. Accompanying a recent exhibition at the Phillips Collection, Washington D.C., this beautifully designed catalogue contains a selection of reproductions buttressed with two essays by Morandi experts: Flavio Fergonzi appraises the myths that have attached to Morandi, the history of his critical reception and the cities with which the artist was particularly associated; Elisabetta Barisoni discusses Morandi's reception in America.

Morandi: Master of Modern Still Life

Fergonzi, Flavio

Barisoni, Elisabetta

For over 50 years, Robert Ryman (born 1930) has explored the materiality of paint and the surfaces to which he applies it, in white-on-white paintings that subtly attain the status of painted objects rather than patterned gestures or depictions of further objects. Published on the occasion of the Phillips Collection's Ryman exhibition in Washington, D.C., Robert Ryman: Variations and Improvisations presents approximately 25 small-scale works, all of which are drawn from private collections, and some of which have only rarely been shown in the U.S. An interview with the artist is included.

Robert Ryman: Variations and Improvisations (Phillips Collection)

Sretenovic, Vesela

Individual Artists

During the early 1950s, Richard Pousette-Dart (1916-1992) created one of the most anomalous bodies of work of his career: graphite drawings on undercoats of blue or ocher painted over a titanium white ground. For an artist known for his love of color and impasto, these predominantly white paintings constituted quite a departure. Twenty-five works were shown at Betty Parsons Gallery in 1955, in an exhibition titled Predominantly White; the artist returned to mine this vein in later paintings in the 1960s, 1970s and 1980s.

Pousette-Dart: Predominantly White Paintings (Phillips Collection)

Works by Tony O'Malley: An Irish Vision (Profile)

Tony O'Malley

No / Escape [Hardcover] [Jan 01, 2014] Bernardi Roig.

NO/Escape

Bernardí Roig

Impressionists In Winter Effets De Neige by Moffett, Charles S (1998) Hardcover

MOFFETT, Charles, et al.

Collections, Catalogs & Exhibitions

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Books by The Phillips Collection