LUC TUYMANS

Häftad bok. Phaidon. 2003.

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Tuymans' monochromatic palette and his choice of subject matter - domestic interiors, commonplace objects and family portraits - link painting with post-war filmmaking and amateur photography. The sources of images on many of his canvases give his work a brooding violence. Although modest in scale and sensitive in execution, his work is powerful in its haunting evocation of lost lives and repressed histories.
• In general, Tuymans' works are painted in groups for each show and with the venue and the exhibition space in mind. For example, when he represented his country in the Belgian Pavilion at the 2001 Venice Biennale, Tuymans produced a cycle of works based on the murder of the first post-independence Prime Minister of Congo, Patrice Lumumba. Other works in the cycle show images of copies of African sculpture - a statue in a Belgian restaurant, for instance - and images from the Belgian Royal Museum's African collection. These works raised issues about colonialism and post-colonialism but also came at a time when a parliamentary commission was investigating the links between the Belgian government, the royal family's policies and the death of Lumumba.
• The surfaces of Luc Tuymans' paintings are monochromatic and frail, as if recuperating from a long illness. In the long-standing tradition of Flemish and Spanish still-life painting, they represent domestic scenes or commonplace objects such as a pillow or a cake. These still lifes resonate, however, with a sense of the uncanny. Hovering beneath the surface of Tuymans' quiet paintings are deep-seated anxieties that rise to the surface in his depictions of faces or parts of the body.

"Amongst other recently published monographs, the revised and enlarged edition of Phaidon's Luc Tuymans, from its Contemporary Artists Series is opportune as it is just in time for his major show at Tate Modern in the Summer of 2004. Indeed Tate will find it difficult to match the breadth and scale of this book in any exhibition catalogue it may choose to produce. Tuymans is rapidly gaining ground as the successor to Gerhard Richter as the History Painter of the late 20th Century, and this book, which amounts to a catalogue raisonné as nearly every one of his paintings is reproduced, goes some way towards confirming his reputation." ― Andrew Wilson, deputy editor of Art Monthly.

"The combination of intelligent analysis, personal insight, useful facts and plentiful pictures is a superb format invaluable for specialists but also interesting for casual readers, it makes these books a must for the library …"―Time Out.

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