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We all grew up in Saul Steinberg’s America, a place he envisioned for us in his drawings and cartoons for The New Yorker—none more famous than his iconic image of a New Yorker’s view of the world. In this eccentric and unpredictable memoir, one of the twentieth century’s most intellectually nimble artists shares his view of the world, of America and his place in it.
A Romanian by birth, restless by inclination, Steinberg lived a peripatetic existence. In Reflections and Shadows, he introduces us to his family—his uncle Moritz, a sign painter, and his father (also Moritz), a bookbinder whose small factory produced cardboard boxes and ribbons for funeral wreaths. He tells us how he dodged the police in fascist Italy in 1940 and how he came to America, where he became a citizen, an officer in the U.S. Navy, and the foremost visionary satirist of his time.
No one has depicted America with all its strengths and foibles more enduringly than Saul Steinberg. In this playful meditation, based on a series of interviews with Aldo Buzzi that has never before been published in English, and interwoven with more than a dozen drawings, Steinberg delivers a laconic hymn to America: its baseball, its diners, and its exhibitionism. “It is stinginess,” Steinberg writes, speaking of his art and method, “that holds us back.” But he had none of that: the personality that emerges from these pages is capacious, acutely discriminating, full of serendipitous curiosities, and consistently engaging.
- Sales Rank: #1668400 in Books
- Published on: 2002-07-02
- Released on: 2002-07-02
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 7.81" h x .62" w x 5.23" l,
- Binding: Hardcover
- 112 pages
From Library Journal
The artist who gave us all those great New Yorker covers reconsiders his life, from impoverished Romania to Mussolini's Italy to Washington, DC, in the Sixties. Buzzi transcribes conversations dating from 1977.
Copyright 2001 Reed Business Information, Inc.
From The New Yorker
It seems fitting that this most sphinx-like of artists should have his memoirs written by someone else. Buzzi, a friend since the two men were students together in prewar Milan, compiled these impressions from conversations recorded in the nineteen-seventies, and the result beautifully conveys Steinberg's aphoristic panache. "Art," says the man who made cartoons into serious art and perhaps philosophy, "precedes technique, just as the smell precedes the cake." Whether describing his childhood in Bucharest, flight from Fascist Italy, or life in America, Steinberg is full of superb anecdotes and quizzical observations, but there remains an evasiveness that reflects unease about the past. Tellingly, he says that he prefers not to revisit old haunts, instead asking friends to go and photograph them for him. On one occasion, he broke his own rule: "I was afraid of spoiling the memory, and I wanted to spoil it. And I succeeded."
Copyright © 2005 The New Yorker
Review
“America was made to order for Steinberg. In linking art to the modern consciousness, no artist is more relevant.”
—Harold Rosenberg
“Steinberg is our national treasure, his hand the hand through which the nation inscribes itself in order to discover its true soul.”
—Arthur Danto
“For decades he has been regarded as the best cartoonist in America....[His oeuvre is] the product of an intelligence so finely drawn, restless, ironic, insinuating and (at times) sadistic, so refracted in its own seemingly innocent maze of linguistic mirrors, as to suggest no ready parallels. The best of Steinberg presents you with a master. But a master of what? The short answer is: of writing.”
—Robert Hughes
Most helpful customer reviews
16 of 16 people found the following review helpful.
Musings on life and art
By mojosmom
Published after his death in 1999, this is a meditation based on a series of interviews of Steinberg by Buzzi. Beginning with his childhood and youth in Romania, through his wartime experience in Italy and his maturity in the United States, Steinberg muses with an acute visual sense, appropriate for an artist. The book is illustrated with his drawings.
His ideas about influences on art are insightful. as he describes early photographers "inspired by the paintings of Delacroix and Ingres", to his thought that Bacon "clearly derives from the Polaroid". I was intrigued by his suggestion that the use of industrial paints in American art occurred because of poor artists used cold-water flats as studios, "and to make them livable they had to scrape and paint the walls, doors and windows, and floors . . . and this led them to work on a large scale, to use industrial paints, such as gold or silver on radiators, new materials". His description of the New York City taxi cab of the `40's as created out of Cubist elements, of the automobile influenced by Constructivism, Cubism, and "Fernandlégerism" makes one look at cars in a whole new light.
The title, Reflections and Shadows, comes from a section in which he discusses how what one sees in reverse in a reflection (in a mirror, in water) or shadow is often better - sharper, more intense - than the original. "If you look only at the reflection, and not at the reflecting part, you see a gratuitous reality that exists for you alone. For fun I throw a stone into the upside-down landscape, and seeing that the lower part moves I almost expect the upper part to move too."
If I quoted all my favorite parts of this book, I'd be typing almost the entire thing, so you'll have to go read it for yourself!
13 of 13 people found the following review helpful.
Delightful little book
By Jon
The autobiographical musings of a New Yorker cartoonist told to his old friend, and filled with wit, humanity and philosophical gems. Stories of escaping from the fascist police in Italy, too lazy to brutally arrest people at the usual invisible ungodly hour. Or civic life in 1950s Washington, and the charming people who knew exactly how to be courteous and to dismiss those who didn't belong. Or the poor white in kentucky, like protagonists out of American fiction, whereas the bourgeoisie, respectable people, "always the same". And Magritte's discovery of multiple sources of light in a painting (sun, streetlamp, electric light inside a house, the moon, reflections of light. Or American gastronomy, in which "the taste of the nation are governed by the tastes of children".
3 of 3 people found the following review helpful.
Steinberg and Borges
By Lynn Hoffman, author:Radiation Days: A Comedy
This is the delightful little memoir of Saul Steinberg,
translated from the italian by John Shepley. Its great value
is that it is the closest we will ever come to reading
the work of one of America's great literary talents.
Now it's become a pretty commonplace observation that
Steinberg is as appropriate a nominee for the literary
hall of fame as he is for the graphic artists'. This is
the little book that seals the deal. It turns out that
Steinberg's aphoristically-turned phrases are as clear and
concise as his drawings. This book is sadly, all he wrote.
Steinberg did not intend this to be a personal disclosure-
he is a man who had his memoir written by somebody else. And
yet, it turns out that the very tightness of phrasing gives
the man away. What did he learn of Milan when he was there?
Not much. "My chief interest then was girls. .I was looking...
.to find myself through love."
There are a few drawings here, all of them small and printed
just well enough to make you wish they were printed better.
If you are amoung the unconverted and want to catch examples
of his drawing see the wonderful exhibit at the Morgan
Library in New York or one of the great collections
(my favorite is Passport). But for true believers, Reflections
is Steinberg's literary love song, a book that puts him in the
company of Borges.
--Lynn Hoffman, author of THE NEW SHORT COURSE IN WINE and
the forthcoming novel bang BANG from Kunati Books.ISBN
9781601640005
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