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　　“Gee, Joan, if only you were French and male and dead.” —New

York art dealer to Joan Mitchell, the 1950s

She was a steel heiress from the Midwest—Chicago and Lake Forest

(her grandfather built Chicago’s bridges and worked for Andrew

Carnegie). She was a daughter of the American

Revolution—Anglo-Saxon, Republican, Episcopalian.

She was tough, disciplined, courageous, dazzling, and went up

against the masculine art world at its most entrenched, made her

way in it, and disproved their notion that women couldn’t

paint.

Joan Mitchell is the first full-scale biography of the abstract

expressionist painter who came of age in the 1950s, ’60s, and ’70s;

a portrait of an outrageous artist and her struggling artist world,

painters making their way in the second part of America’s twentieth

century.

As a young girl she was a champion figure skater, and though she

lacked balance and coordination, accomplished one athletic triumph

after another, until giving up competitive skating to become a

painter.

Mitchell saw people and things in color; color and emotion were

the same to her. She said, “I use the past to make my pic[tures]

and I want all of it and even you and me in candlelight on the

train and every ‘lover’ I’ve ever had—every friend—nothing closed

out. It’s all part of me and I want to confront it and sleep with

it—the dreams—and paint it.”

Her work had an unerring sense of formal rectitude, daring, and

discipline, as well as delicacy, grace, and awkwardness.

Mitchell exuded a young, smoky, tough glamour and was thought of

as “sexy as hell.”

Albers writes about how Mitchell married her girlhood pal, Barnet

Rosset, Jr.—scion of a financier who was head of Chicago’s

Metropolitan Trust and partner of Jimmy Roosevelt. Rosset went on

to buy Grove Press in 1951, at Mitchell’s urging, and to publish

Henry Miller, Samuel Beckett, Jean Genet, Jack Kerouac, Allen

Ginsberg, et al., making Grove into the great avant-garde

publishing house of its time.

Mitchell’s life was messy and reckless: in New York and East

Hampton carousing with de Kooning, Frank O’Hara, James Schuyler,

Jane Freilicher, Franz Kline, Helen Frankenthaler, and others;

going to clambakes, cocktail parties, softball games—and living an

entirely different existence in Paris and Vétheuil.

Mitchell’s inner life embraced a world beyond her own craft,

especially literature . . . her compositions were informed by

imagined landscapes or feelings about places.

In Joan Mitchell, Patricia Albers brilliantly reconstructs the

painter’s large and impassioned life: her growing prominence as an

artist; her marriage and affairs; her friendships with poets and

painters; her extraordinary work.

Joan Mitchell re-creates the times, the people, and her worlds

from the 1920s through the 1990s and brings it all spectacularly to

life

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　　Patricia Albers is the author of Shadows,

Fire, Snow: The Life of Tina Modotti. Her articles have

appeared in newspapers, art journals, and museum catalogs. She has

curated many exhibitions, among them Tina Modotti and the Mexican

Renaissance. She lives in Mountain View, California.

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媒体评论

　　"Electrifying. . .Patricia Albers emulates Mitchell’s

painterly mission to conjoin "accuracy and intensity" in this

transfixing and justly revealing portrait."

—Booklist (starred)

　　"Patricia Albers vividly chronicles the artist’s journey from her

wealthy upbringing in Chicago to her defiant student days at Smith

College, and as a young painter at the Art Institute of Chicago. .

. Vibrantly written and carefully researched. . . Albers constructs

a fluid, energetic narrative of Mitchell’s complicated life and

work."

—Publishers Weekly

书籍介绍

“Gee, Joan, if only you were French and male and dead.” —New York art dealer to Joan Mitchell, the 1950s

She was a steel heiress from the Midwest—Chicago and Lake Forest (her grandfather built Chicago’s bridges and worked for Andrew Carnegie). She was a daughter of the American Revolution—Anglo-Saxon, Republican, Episcopalian.

She was tough, disciplined, courageous, dazzling, and went up against the masculine art world at its most entrenched, made her way in it, and disproved their notion that women couldn’t paint.

Joan Mitchell is the first full-scale biography of the abstract expressionist painter who came of age in the 1950s, ’60s, and ’70s; a portrait of an outrageous artist and her struggling artist world, painters making their way in the second part of America’s twentieth century.

As a young girl she was a champion figure skater, and though she lacked balance and coordination, accomplished one athletic triumph after another, until giving up competitive skating to become a painter.

Mitchell saw people and things in color; color and emotion were the same to her. She said, “I use the past to make my pic[tures] and I want all of it and even you and me in candlelight on the train and every ‘lover’ I’ve ever had—every friend—nothing closed out. It’s all part of me and I want to confront it and sleep with it—the dreams—and paint it.”

Her work had an unerring sense of formal rectitude, daring, and discipline, as well as delicacy, grace, and awkwardness.

Mitchell exuded a young, smoky, tough glamour and was thought of as “sexy as hell.”

Albers writes about how Mitchell married her girlhood pal, Barnet Rosset, Jr.—scion of a financier who was head of Chicago’s Metropolitan Trust and partner of Jimmy Roosevelt. Rosset went on to buy Grove Press in 1951, at Mitchell’s urging, and to publish Henry Miller, Samuel Beckett, Jean Genet, Jack Kerouac, Allen Ginsberg, et al., making Grove into the great avant-garde publishing house of its time.

Mitchell’s life was messy and reckless: in New York and East Hampton carousing with de Kooning, Frank O’Hara, James Schuyler, Jane Freilicher, Franz Kline, Helen Frankenthaler, and others; going to clambakes, cocktail parties, softball games—and living an entirely different existence in Paris and Vétheuil.

Mitchell’s inner life embraced a world beyond her own craft, especially literature . . . her compositions were informed by imagined landscapes or feelings about places.

In Joan Mitchell , Patricia Albers brilliantly reconstructs the painter’s large and impassioned life: her growing prominence as an artist; her marriage and affairs; her friendships with poets and painters; her extraordinary work.

Joan Mitchell re-creates the times, the people, and her worlds from the 1920s through the 1990s and brings it all spectacularly to life.