Word: self-portrait
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Good autobiography is often not so much a self-portrait as a chronicle of the times. Such is Starting Out in the the thirties, a chatty tour of the Depression in New York and the generation of radical writers-John Steinbeck, William Saroyan, Clifford Odets, James T. Farrell, Robert Cantwell-who, like Author Kazin, were starting out in the Thirties. An essayist, critic and anthologist (F. Scott Fitzgerald: the Man and His Work; The Portable William Blake), Kazin was born in a Brooklyn slum, the son of an immigrant Polish Jew. He got his first job, as a part-time...
...TIME and LIFE Building. The artist was enchanted with the view of Manhattan, particularly the bright mosaics of neatly parked automobiles on the roofs below. "Très Chagall," he said, and wished he could paint them right then and there. Instead he ultimately agreed to do a self-portrait for the cover...
Along the way, the self-portrait developed its own problems. Chagall tried and abandoned nearly a dozen. Finally he achieved what he wanted -a pensive ink-and-crayon study of himself with palette and easel, at a window of his studio, the characteristic colors of his beloved Vence countryside in the background. When Senior Editor Cranston Jones had the cover story and the color pages of Chagall's work ready to go to press and the last points were being checked, the master decided that the experience was "one of the great events of my life." Having recently received...
Although Gelber is better at making points than creating people, his concern is with the autotelic personality whose life is as self-contained as a work of art, and who regards all other lives around him as tubes of paint to be squeezed onto his emotional self-portrait. In consequence, the sex battle becomes a war of egos. But Gelber's hero is concerned about being self-concerned, feels guilty about not feeling guilty, and this suffuses the play with moral pathos-even while it is being abrasively funny...
Artist as Analyst. A spate of recent shows has established that contemporary portraits are two-way mirrors. Larry Rivers makes a collage portrait of Pop Artist Jim Dine on a metal storm window. Raise the bottom half, lower the top pane, and presto, a different Dine peers through. Pop Artist Andy Warhol tries to beat the penny-arcade snapshot by silk-screening the image many times over. Reginald Pollack found he had painted himself into a corner; his Self-Portrait (opposite page) shows his face surrounded by images of the girl he was then courting. She outnumbers...