ISBN：9781941701560  

书名：Giorgio Morandi: Late Paintings / 乔治·莫兰迪：晚期绘画

作者：Laura Mattioli

出版：David Zwirner Books，2017

装帧：精装，96页，33幅彩插+2幅黑白图

语种：英文

开本：22.9 × 26.7 cm

内容提要：

本书是2015年卓纳画廊的展览乔治·莫兰迪：晚期绘画“Giorgio Morandi: Late Paintings”的配套图录。该展览也是继2008年大都会回顾展以来，莫兰迪在美国的首个大型展览。本图录聚焦于1948年至1964年，莫兰迪的晚期创作。期间，莫兰迪发展出了那些标志性的连续排列的、造型简化的形式和组合，这种更为持久、细腻的风格，对20世纪艺术产生了深远影响。

本书不仅收录了这位意大利大师众多晚期作品，还包括他在1952年创作的十幅标志性“yellow cloth”作品中的五幅，这一系列作品在1998年威尼斯佩吉·古根海姆美术馆(Peggy Guggenheim Collection)的展览中十分抢眼。书中以大量的图版展示形成莫兰迪艺术风格的微妙色彩和透视。

除了Laura Mattioli的文章和策展人David Leiber所撰前言之外，更难得的是，本书收录了一众从事不同媒介的当代艺术家对莫兰迪的私人感受，包括John Baldessari、Lawrence Carroll、Vija Celmins、Mark Greenwold、Wayne Thiebaud、Alexi Worth和曾梵志，证明了莫兰迪绘画对当代艺术的持续影响。

One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide. 

This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. The catalogue is published on the occasion of the 2015 exhibition of Morandi’s paintings from this period at David Zwirner, New York—which, according to The New York Times, represent “lucid perfection, at once cerebral and impassioned.” It marked the first major presentation of the artist’s late work in America since the acclaimed 2008 retrospective at The Metropolitan Museum of Art, New York.

In addition to an essay by Laura Mattioli and a foreword by David Leiber, who organized the exhibition, this catalogue includes a fantastic array of contributions by contemporary artists: John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. They offer their personal responses to Morandi’s work and to the Zwirner exhibition in particular. Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi’s paintings and their influence on contemporary art.