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The Song Cave

Paperback, 5.5 x 7.5 in. / 204 pgs.

Pub Date
Out of stock indefinitely

D.A.P. Exclusive
Catalog: SPRING 2014 p. 142   

ISBN 9780988464339 TRADE
List Price: $20.95 CDN $29.00 GBP £18.99

Not available

To read one of Trevor Winkfield’s marvelous essays is like strolling through a museum with a witty, erudite, independently minded friend whose sharp, unorthodox observations make you see the art on view in an entirely new light. Whether his subject is a Vermeer portrait, a late Braque “Studio” or a Myron Stout abstraction, there is no one better at conveying the experience of close looking. Winkfield, whose criticism benefits from his keen painter’s eye, is also a master storyteller, wise in the ways that artists survive neglect and achieve breakthroughs. This narrative flair is especially evident in his essays on art’s grand eccentrics such as Richard Dadd, John Graham and Florine Stettheimer. With this book, Winkfield takes his place among the very select company of great artist-critics.

Raphael Rubinstein



Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009

By Trevor Winkfield.

The painter Trevor Winkfield--born in Leeds in 1944 and residing in New York City since 1969--has been a sought-after contributor to publications such as Arts Magazine, Art in America and Modern Painters for two decades. Editors have long trusted his unique sensibilities and relied on his capacity to usher in fresh understandings of art. Take, for instance, Winkfield’s pure excitement and audacity at weaving the work of the proto-Surrealist author Raymond Roussel into an essay on Leonardo da Vinci’s "Last Supper." Unapologetically the writings of an artist, not a critic, in Georges Braque & Others, Winkfield engages some of the greatest names in art (Vermeer, Chardin, Signac, Ryder, Dadd, Brancusi, Cornell, Duchamp, Johns and of course Braque, among others)--asking questions, seeing the details and sharing the obscure facts that only an artist like Winkfield could notice and convey with such great charm.
Trevor Winkfield was born in Leeds, England in 1944. After studying painting at the Royal College of Art under Peter Blake and Carel Weight, he moved to New York City in 1969. Winkfield’s paintings are exhibited regularly, most recently at Tibor de Nagy Gallery in New York. His conversations with Miles Champion about his early life have recently been published as How I Became A Painter (Pressed Wafer). His other publications include Trevor Winkfield’s Drawings, In the Scissors’ Courtyard, Trevor Winkfield’s Pageant and a translation of Raymond Roussel's How I Wrote Certain of My Books.

Publisher's Weekly

These 19 assembled essays give an artist's eye view of some of the best paintings in Western history. Winkfield, a painter himself, walks the reader through the canvas as if it were a real space, pointing out details the casual observer might miss…. art-lovers will be charmed by his lyrical writing and delighted by the bounty of information peppering the text.

Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009

STATUS: Out of stock indefinitely.



BEST OF 2014: Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009

BEST OF 2014: Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009

As 2014 wound down, Herbert Pfostl, Curator and Book Buyer for the New Museum Store posted a suitably brilliant 'Best Of' list on Facebook. We couldn't help but notice quite a few of our own titles on the list, and so we asked Pfostl to elaborate on individual titles. Below is is spot-on review of The Song Cave's 2014 treasure, Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009. Stay tuned for more!
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Trevor Winkfield

Trevor Winkfield

Speaking of the featured image, "The Painter and His Muse" (1996), in Pressed Wafer's new release, How I Became a Painter: Trevor Winkfield in Conversation with Miles Champion, Winkfield calls the painting "a kind of sop to the popular misconception that the artist's vivid imagination must be the result of something else—some external stimulus. All the techniques I used to construct the painting were of the dumbed-down variety; in fact, the whole enterprise might be seen as a confirmation of Duchamp's scathing observation, 'stupid as a painter.' As far as I can recall, the composition began with cobbling together stray elements to form the easel, which led to the legless eagle, following the Rousselian path of phonetically stepping from 'easel' to 'eagle.'" In celebration of How I Became a Painter and The Song Cave's equally anticipated new release, Georges Braque & Others: The Selected Art Writings of Trevor Winkfield, 1990-2009, Winkfield will appear in conversation with Champion Tuesday, April 15 at McNally Jackson. continue to blog