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Ronald Brooks KitajR.B. Kitaj "The Jerwish Question"1969
1969
About the Item
Initialled signed in pencil From R. B. Kitaj, In Our Time: Covers for a Small Library After the Life for the Most Part, screenprint 1969 edition of 150 photo screenprint. A cover of the infamous Henry Ford book from the Dearborn Independent "The Jewish Question".
Printed by Kelpra Studio, London, published by Marlborough AG, Schellenberg, Florida. The Jewish Museum. a cover related to Russian Soviet cinema and film.
Stylistically, these are hybrid works, influenced by Pop art and the modernist tradition of the Readymade, a work of art created when a mundane found object is named as an artwork and set in an art context. This avant-garde concept was originally invented by the Dada master Marcel Duchamp early in the twentieth century. In the 1960s it received renewed attention at a time when artistic norms were again being questioned. Reacting to Andy Warhol’s Pop imagery, Kitaj poignantly called his repurposed book covers “his soup can, his Liz Taylor.” The blatant use of images taken directly from commercial sources situates In Our Time as a precursor of appropriation art. In turning book covers into works of art, Kitaj is offering fragments of a history of knowledge, in which the content of each volume is at once mysterious and absent. Coming from this passionate bibliophile, the series is nothing less than an intellectual self-portrait.
R.B. Kitaj, in full Ronald Brooks Kitaj . Ron Kitaj was born in Ohio, USA in 1932. American-born painter noted for his eclectic and original contributions to Pop art. He became a merchant seaman with a Norwegian freighter when he was 17. He studied at the Akademie der Bildenden Kunste in Vienna and the Cooper Union in New York. After serving in the United States Army for two years, in France and Germany, he moved to England to study at the Ruskin School of Drawing and Fine Art in Oxford and then the Royal College of Art in London, alongside David Hockney, Allen Jones and Patrick Caulfield. Kitaj was recognised as being one of the world's leading draftsmen, almost on a par with, or compared to, Degas. Indeed, he was taught drawing at Oxford by Percy Horton, himself a pupil of Walter Sickert, who was a pupil of Degas; and the teacher of Degas studied under Ingres.
Kitaj had a significant influence on British Pop art and was recognised as being one of the world’s leading draughtsmen. In his later years he developed a greater awareness of his Jewish heritage, considering himself to be a ‘wandering Jew’. He was awarded Royal Academician in 1991 and Golden Lion at the Venice Biennale in 1995. Examples of his work are held in most major public collections worldwide. Kitaj was elected to the Royal Academy in 1991, the first American to join the Academy since John Singer Sargent. He received the Golden Lion at the Venice Biennale in 1995. He staged another exhibition at the National Gallery in 2001, entitled "Kitaj in the Aura of Cézanne and Other Masters".
In September 2010 Kitaj and five British artists including Howard Hodgkin, John Walker, Ian Stephenson, Patrick Caulfield and John Hoyland were included in an exhibition entitled The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the Yale Center for British Art.
Kitaj was associated with the beginnings of the Pop art movement in Great Britain in the early 1960s. His works mingled the impersonal finish characteristic of Pop canvases with the loose, painterly brushwork of Abstract Expressionism but differed from the work of his Pop contemporaries in their complex and allusive figurative imagery. Kitaj’s semi abstract paintings feature brightly coloured and imaginatively interpreted human figures portrayed in puzzling and ambiguous relation to one another. His work was highly intellectual in its wealth of pictorial references to historical, artistic, and literary topics. Kitaj continued to exhibit widely throughout the 1960s and ’70s while teaching painting at various British fine arts schools. In his later years, he developed a greater awareness of his Jewish heritage, which found expression in his works, with reference to the Holocaust and influences from Jewish writers such as Franz Kafka and Walter Benjamin, and he came to consider himself to be a "wandering Jew". In 1989, Kitaj published "First Diasporist Manifesto", a short book in which he analysed his own alienation, and how this contributed to his art.
He staged a major exhibition at Los Angeles County Museum of Art in 1965, and a retrospective at the Hirshhorn Museum in Washington D.C. in 1981. He selected paintings for an exhibition, "The Artist's Eye", at the National Gallery, London in 1980.
- Creator:Ronald Brooks Kitaj (1932-2007, American)
- Creation Year:1969
- Dimensions:Height: 19.97 in (50.7 cm)Width: 13.59 in (34.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38210505722
Ronald Brooks Kitaj
Born in Cleveland, Ohio in 1932, R.B. (Ronald Brooks) Kitaj is considered a key figure in European and American contemporary painting. While his work has been considered controversial, he is regarded as a master draftsman with a commitment to figurative art. His highly personal paintings and drawings reflect his deep interest in history; cultural, social and political ideologies; and issues of identity. Among his various honors are election to the American Academy of Arts and Letters in 1982, and election to the Royal Academy in 1985 (the first American since John Singer Sargent to receive this honor.) Numerous retrospective exhibitions of his work include shows at the Hirshhorn Museum in Washington, D.C.; The Jewish Museum, Berlin; The Jewish Museum, London; and the Hamburger Kunsthalle in Germany. Raised in Cleveland, Ohio, and Troy, New York, Kitaj joined the Merchant Marines in 1949.
In 1950, between sailings, he attended classes at the Cooper Union for the Advancement of Science and Art in New York. He went on to study drawing at the Academy of Fine Art in Vienna, Austria. Kitaj moved to Oxford, England in 1957, and enrolled at The Ruskin School of Drawing and Fine Art, University of Oxford. In 1959, Kitaj was accepted into Royal College of Art, London, where he befriended classmate David Hockney. Upon graduation from the RCA, Kitaj signed with Marlborough Fine Art, London, where he had his first solo exhibition in 1963. His art career began in earnest, and he found critical acclaim alongside commercial success. A second solo show followed at Marlborough Gallery, New York, in 1965, and he sold “The Ohio Gang” to The Museum of Modern Art. In 1969, Kitaj taught for a year at the University of California, Los Angeles. In 1976, he coined the term “School of London” in an essay he wrote as curator of the polemical exhibition, “The Human Clay,” at the Hayward Gallery, London. The term, though loose, continues to define a group of stylistically diverse artists, including Kitaj, who were working in London at that time focusing on figural representation. In 1981, he spent a year in Paris, France, where he focused on drawing and use of pastel. In 1994, the Tate Gallery, London, organized a major retrospective of Kitaj’s work. Hostile and personal attacks from some critics led to what Kitaj referred to as the “Tate War.” The exhibition subsequently traveled to the Los Angeles County Museum of Art and the Metropolitan Museum of Art, New York. Kitaj moved to Los Angeles, California, and continued to exhibit with Marlborough Fine Art and the Marlborough Gallery, New York. In 2001 the National Gallery London organized a solo exhibition of paintings: “R.B. Kitaj In the Aura of Cezanne and Other Masters.” Kitaj focused on his “late style” in his Yellow Studio in Westwood and died in 2007. His gift of his archive to the UCLA Library Special Collections was celebrated with exhibitions at the Skirball Cultural Center and UCLA’s Young Research Library.
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Published by the artist with Marlborough Graphics at the Kelpra studio in 1972. This work is also in the collections of TATE London and the Victoria & Albert Museum. the price reflects the fact that there is no backing page.
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