Jenny Saville

Jenny Saville

by Gagosian Gallery
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Jenny Saville by Gagosian Gallery

At thirty-two, Jenny Saville has had a career most artists twice her age would envy. In 1992, the year she completed her studies at Glasgow School of Art, her graduation exhibition sold out. Most notably, one painting was bought by Charles Saatchi and, since then, her international reputation has grown at a rapid and steady pace.Jenny Saville is described as a "New Old Master" for the technical proficiency of her oversize nudes that have earned her comparisons to Rubens and Lucian Freud and universal praise from critics and art historians alike. For the conceptual underpinnings of her work, she has been hailed as one of the most interesting artists of the last decade. Her work has been shown alongside that of Damien Hirst and the other Young British Artists in the acclaimed and seminal survey of new British art Sensation at the Royal Academy (London, 1997) and the Brooklyn Museum of Art (New York, 2000).This is the only monograph devoted to the critically acclaimed young artist and features all of Jenny Saville's paintings to date-including many previously unpublished. This volume is being published in association with the Gagosian Gallery in London. The power of her brilliant and relentless embodiment of our worst anxieties about our own corporeality and gender is what distinguishes Saville from other paint-obsessed representers of the naked human body. To my eye, no other artist in recent memory has combined empathy and distance with such visual and emotional impact. -Linda Nochlin, Art in America, March 2000

Product Details

ISBN-13: 9780847827572
Publisher: Rizzoli
Publication date: 11/08/2005
Pages: 160
Product dimensions: 11.08(w) x 12.30(h) x 0.97(d)

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Jenny Saville 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Jenny Saville is a big painter! Probably one of the few painters in history whose career was launched at her finals show form art school, Saville has established herself as one of the more exciting figurative artists of our time. Right up there with Francis Bacon and Lucian Freud in her ability to splash daring observations and passions on huge canvases, she has already establish a 'look' that is unmistakable. Not that Saville was the first painter to dwell on the massively/morbidly obese female (Freud's 'carcasses' were startlingly new, Haneline Rogeberg has painted the full figured female for years, etc), but her superimposition of surgical alteration and disease states together with the painterly style of describing flesh are startling and awe inspiring. Placing multiple figures together ('Fulcrum') or conjoined or simply overloading the capacity of a sitter's stool emphasizes the magnitude of her thoughts on her very large canvases. Many people are grumbling about the design of the book and the paucity of completed works and to an extent this is reason for concern. The four essays may be old to those who have followed her career, but to those to whom Jenny Saville is a discovery these four writings do add depth to understanding her skyrocketing rise to fame. It is terrific to see photographs of the materials in her studio that have inspired her paintings: drawings, surgical photographs of liposuction, trauma victims, deformity correction, disease states, transgender patients and notes all add to the atmosphere of the studio where she works. Perhaps the next monograph, and there surely will be one as Saville continues to grow and mature, will give us more new work. Until then at least we have a large book that congregates the bulk of her work and for that we should be grateful! Recommended. Grady Harp