Patrick Caulfield paintings /

by Livingstone, Marco.
Additional authors: Caulfield, Patrick, -- 1936-2005.
Published by : Ashgate; (Aldershot :) Physical details: 288 p. : ill. (chiefly col.) ; 30 cm. ISBN:0853319170; 0853319294. Year: 2005
Item type Current location Call number Copy number Status Date due
Reference Items British Council Library
759.2 (Browse shelf) 1 Not for loan

Enhanced descriptions from Syndetics:

This is the first major monograph to be published on the paintings of Patrick Caulfield, whose work has enjoyed widespread popular appeal and critical acclaim over the past four decades. When Caulfield established his reputation in the early 1960s, his deadpan handling and his reliance on vivid, flat colours encased in uniform black outlines led to him being hailed as one of the originators of Pop Art in England. Caulfield himself consistently denied an interest in popular culture, preferring instead to make timeless pictures that subtly and with great originality reconfigured such traditional subjects as interiors and still-lives. Marked by a graphic elegance, a finely tuned colour sense and a sometimes melancholy air, these are among the most haunting paintings of the late twentieth century.Illustrating over 150 works, this book reproduces almost all the paintings made by Caulfield since 1961, when he was still studying at the Royal College of Art ...

Formerly CIP.

Includes bibliographical references and index.

Table of contents provided by Syndetics

  • Mistaken identity (p. 9)
  • Building the foundations: the 1960s and 1970s (p. 13)
  • Portrait of Juan Gris, 1963 (p. 28)
  • View of the Bay, 1964 (p. 49)
  • Inside a Swiss Chalet, 1969 (p. 65)
  • Unfinished Painting, 1978 (p. 106)
  • Still Life: Maroochydore, 1980-81 (p. 114)
  • Trouble is his business (p. 145)
  • The London Life Mural, 1982 (p. 151)
  • Buffet, 1987 (p. 152)
  • Rooms ready for habitation (p. 187)
  • Trou Normand, 1997 (p. 200)
  • Reserved Table, 2000 (p. 222)
  • A text for silent pictures (p. 247)
  • Bishops, 2004 (p. 257)
  • Chronology (p. 260)
  • Solo exhibitions (p. 271)
  • Group exhibitions (p. 272)
  • Public collections (p. 275)
  • Selected bibliography (p. 275)
  • List of illustrated works (p. 282)
  • Index (p. 287)

Reviews provided by Syndetics

Library Journal Review

Patrick Caulfield is known as one of the earliest of England's pop artists and has even been called the originator of pop art. He paints in vivid colors and simple black lines that outline the objects in his work. In this book-the first volume to be published on his paintings-Livingstone, an art historian and independent curator who has written extensively on pop art, traces the evolution of Caulfield's career and style since the 1960s. He writes clearly and carefully assesses the artist's work, including everything Caulfield has ever painted. The text is complemented with 150 illustrations in color, a chronology, a useful bibliography, listings of solo and group exhibitions of the artist, the public collections in which his work is hung, and a list of the illustrated works. This book is well worth considering and is a bargain at the price.-Martin Chasin, Adult Inst., Bridgeport, CT (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Caulfield, a contemporary of David Hockney and R. B. Kitaj, has often been compared to the pop artists, mainly Roy Lichtenstein. But this large, generously illustrated book affords the opportunity to see the richness and depth of Caulfield's work and to appreciate its many deceptively hidden sources. Livingstone explores the artist's career output, represented here by drawings, paintings, screen prints, murals, stage sets, posters, and interior designs. Caulfield's genius lies in his ability to absorb and borrow from his predecessors, observe and render the world around him, and maintain his own unique subtractive vocabulary, yet create a timeless, evocative serenity. The author examines this process in painstaking, fascinating detail. Because a few paintings are highlighted in interspersed essays, there is some repetition. But because of the long friendship between the two men and the lapse of time between the writings, this only adds interest to the text. Included are a chronology by Richard Riley, a list of exhibitions, and an extensive bibliography. ^BSumming Up: Highly recommended. Upper-division undergraduates through professionals. B. Waterman-Peters Kansas State University

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