  
 If contradictions make for interesting people, Frank Lloyd Wright (1867–1959) was surely one of the twentieth century’s most fascinating Americans. Wright the modernist was also Wright the romantic, iconoclast, and champion of the individual, and the products of his contradictory sensibility offer a sassy repudiation of his European contemporaries’ chilly modernism. His genius for architectural synthesis revolutionized his field; more than a century after his earliest solo commissions, Wright’s designs have become so entwined in the vocabulary of American architecture that we take his radical innovations for granted.
Wright loved to draw, and his skill is legendary. “To this day I love to hold a handful of many colored pencils and open my hand to see them lying upon my palm, in the light,” he wrote at the age of sixty-one. Draftsmen and apprentices helped to transform his ideas into presentation and working drawings, but Wright’s genius energizes each one.
Drawings of four of Wright’s most significant buildings are represented in these notecards.
Contains five each of the following notecards:- Solomon R. Guggenheim Museum, New York, 1943–1959. Perspective; graphite pencil and ink on paper.
- Edgar J. Kaufmann Residence, “Fallingwater,” Mill Run, Pennsylvania, 1935. Perspective; color pencil on paper.
- Crescent Opera Civic Auditorium, Baghdad Cultural Center, Baghdad, Iraq, 1957 (project). Presentation drawing; ink and color pencil on paper.
- S. C. Johnson and Son Research Tower, Racine, Wisconsin, 1944. Presentation drawing; sepia ink on paper.
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Twenty assorted 5 x 7” blank notecards (5 each of 4 styles) with envelopes in a decorative box. Click on the small picture to see the cards. ISBN 978-0-7649-5036-0.
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