Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902-1936 Multiple Occupancy Common Love, Aesthetics of Becoming Social Forces Visualized: Photography and Scientific Charity, 1900-1920 Edward Koren: The Capricious Line Pictures for Books: Photographs by Thomas Roma Modernism and Iraq The New Acropolis Museum Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University Revolutions: A Century of Makonde Masquerade in Mozambique Robert Moses and the Modern City: The Transformation of New York Architecture in Print: Design and Debate in the Soviet Union 1919–1935, Selections from the Collection of Stephen Garmey Guide to Phlamoudhi "Please, teach me..." Rainer Ganahl and the Politics of Learning Restoring Byzantium: The Kariye Camii in Istanbul & the Byzantine Institute Restoration The Troubled Search: The Work of Max Abramovitz Moscow: City, Spectacle, Capital of Photography Reflection: Seven Years in Print—The LeRoy Neiman Center for Print Studies Jean Fautrier, 1898–1964 Paris as Gameboard: Man Ray's Atgets Arte Povera: Selections from the Sonnabend Collection Architect of Dreams: The Theatrical Vision of Joseph Urban Percival Goodman: Architect, Planner, Teacher, Painter Experiments in the Everyday: Allan Kaprow and Robert Watts—Events, Objects, Documents Brushed Voices: Calligraphy in Contemporary China Mastering McKim's Plan: Columbia's First Century on Morningside Heights Robert Motherwell on Paper Apostles in England: Sir James Thornhill and the Legacy of Raphael's Tapestry Cartoons The Old World Builds the New: The Guastavino Company and the Technology of the Catalan Vault, 1885–1962 The Post-Pre-Raphaelite Print: Etching, Illustration, Reproductive Engraving, & Photography in England in and around the 1860s Unfaded Pageant: Edwin Austin Abbey's Shakespearean Subjects Robert Smithson Unearthed: Drawings, Collages, Writings Victorian Pleasures: American Board and Table Games of the Nineteenth Century from the Liman Collection Impossible Picturesqueness Sexual Difference: Both Sides of the Camera
Jean Fautrier, 1898-1964

Jean Fautrier, 1898–1964

Curtis L. Carter and Karen K. Butler, with essays by Yve-Alain Bois, Benjamin H. D. Buchloh, and Rachel E. Perry
Yale University Press, 2002
9 x 10", 221 pp., 82 illus., 77 in color
ISBN 0-300-09697-6, Paper, $35

Jean Fautrier, one of France's most important interwar and postwar artists, is perhaps best known for the Otages, his series of abstract paintings featuring partially obliterated or disfigured faces—victims of Nazi atrocities in France during World War II. This landmark book, the first English-language publication on Fautrier, discusses his significance to the history of avant-garde and modern art.

Essays examine Fautrier's early work of 1926–28 in relation to art informel; analyze the formal and social aspects of the Otages paintings; consider Fautrier's Originaux multiples of 1950, a radical series of original reproductions that questions modernist notions of the unique art object; and discuss the influence of American abstract expressionism on his late work. The book also includes contemporary critical essays on Fautrier written by leading French literary figures, including André Malraux, Jean Paulhan, and Francis Ponge as well as a group of translated letters, many never before published, sent by Fautrier to Malraux and Paulhan.

This important book accompanies an exhibition jointly organized by and on view at the Haggerty Museum of Art, Marquette University, from September 19 to December 29, 2002; the Wallach Art Gallery, Columbia University, from January 28 to March 29, 2003; and the Fogg Art Museum, Harvard University, from April 26 to July 20, 2003.