Jenny Saville

New York: Rizzoli, 2005. Hardcover. Good (Ex-Library, indicated by a sticker on lower spine, top-front cover and rear pastedown; boards are edgeworn/bumped/scuffed/smudged; textblock edges are smudged; inner hinges are cracked; interior is very clean, but with light toning at the periphery; illustrations are bright.). White boards with mounted color illustration and black lettering; 172 pp.; richly illustrated in color. Featuring commentary by historian and art critic Simon Schama, this monograph features Jenny Saville's entire artistic output to date. 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the critically acclaimed young artist and features all of Jenny Saville's paintings to date-including many previously unpublished.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.