The Divine Comedy of Pavel Tchelitchew - A Biography by Parker Tyler

This is a second-hand copy of the book The Divine Comedy of Pavel Tchelitchew - A Biography by Parker Tyler. 

Condition: This is a used book in very good condition. The dustjacket has shelf-wear with creasing and chipping - see photos. The dust jacket has now been covered in a non-adhesive PVC cover for its own protection. This is simply folded in place and is easy to remove without damaging the jacket. The rear free end paper has light foxing.

Publisher: Weidenfeld & Nicolson
Year: 1967
ISBN: 297179306
Format: Hardback with dustjacket
Pages: 504
Condition: Used (Very Good)

Pavel Fyodorovich Tchelitchew 1898 – 1957) was a Russian-born surrealist painter, set designer and costume designer.

His most significant work is the painting Hide and Seek, painted in 1940–42, and currently owned by the Museum of Modern Art in New York City.

Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster. After emigrating to Paris he became associated with the Neo-romanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Sergei Diaghilev and George Balanchine, among others.

Tchelitchew's works can be found in the collections of the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., the Courtauld Institute of Art in London, and the Philadelphia Museum of Art

Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell, and Gertrude Stein and the works Phenomena (1936–1938) and Cache Cache (Hide and Seek, 1940–1942). Tchelitchew designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939). He was known for camouflaging bodies and faces into geometric lines or landscaped forms on artwork. He used abstractionism and symbolism to convey both the outer and inner appearance of the object.