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| | | | Moby-DickBy Herman Melville. Illustrated by Alex Katz.
 A sumptuous edition of Melville’s epic tale of hubris and obsession, gorgeously illustrated by Alex KatzIn 1948, while enrolled in an illustration course at Cooper Union, Alex Katz (born 1927) created 27 pen and ink drawings inspired by Herman Melville’s 1851 novel Moby-Dick; or, The Whale. Katz, who had first read the book at 13 years old, was drawn to its experimental and digressive structure. Moby-Dick “doesn’t really have a beginning, a middle, and an end,” he notes; rather, “it’s a big form.” The artist’s whimsical illustrations capture this quality while expressing the early formation of his now highly recognizable style, celebrated for its elegant formal economy. Katz later returned to maritime motifs with a series of work based on his trips to Maine that began in the mid-1950s.
Like Melville’s literary attempts to elude representation, Katz’s drawings attempt to represent the unknowable. “The great Leviathan is that one creature in the world which must remain unpainted to the last,” Melville writes. “True, one portrait may hit the mark much nearer than another, but none can hit it with any very considerable degree of exactness.”
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FORMAT: Hbk, 9.25 x 6.5 in. / 684 pgs / 29 b&w.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $49
GBP £30.00
ISBN: 9781949172430
PUBLISHER: Karma Books, New York
AVAILABLE: 10/20/2020
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: Out of stock
TERRITORY: WORLD | D.A.P. CATALOG: SPRING 2021 Page 11 | PRESS INQUIRIES
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| Moby-Dick Published by Karma Books, New York.
By Herman Melville. Illustrated by Alex Katz. A sumptuous edition of Melville’s epic tale of hubris and obsession, gorgeously illustrated by Alex Katz In 1948, while enrolled in an illustration course at Cooper Union, Alex Katz (born 1927) created 27 pen and ink drawings inspired by Herman Melville’s 1851 novel Moby-Dick; or, The Whale. Katz, who had first read the book at 13 years old, was drawn to its experimental and digressive structure. Moby-Dick “doesn’t really have a beginning, a middle, and an end,” he notes; rather, “it’s a big form.” The artist’s whimsical illustrations capture this quality while expressing the early formation of his now highly recognizable style, celebrated for its elegant formal economy. Katz later returned to maritime motifs with a series of work based on his trips to Maine that began in the mid-1950s.
Like Melville’s literary attempts to elude representation, Katz’s drawings attempt to represent the unknowable. “The great Leviathan is that one creature in the world which must remain unpainted to the last,” Melville writes. “True, one portrait may hit the mark much nearer than another, but none can hit it with any very considerable degree of exactness.”
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