3 comments about J.C. Leyendecker.

1. I just received my copy, and even though I paid too much for it through Bud Plant, I am completely happy with this book.
   
   It was interesting to find out that Leyendecker was one of Norman Rockwell's self-proclaimed idols. Rockwell modeled his work on that of the now little-known J.C. Leyendecker.
   
   It is also fascinating to learn that the strong handsome men that Leyendecker portrayed were modeled after his gay lover, Charles Beech. Today, Leyendecker's painting are highly sought after in the gay community.
   
   It is ironic that a whole generation of Americans looked at a gay man as a model of youthful strength and good looks. When will we recognize the contributions of gays and lesbians to our society? Without them, our world would be in black and white, rather in color.
   
   The "Leyendecker look" was that of a handsome, sophisticated, young man of the roaring twenties. Many of the men looked like our vision of the "Great Gatsby."
   
   Many of the illustrations were for "Arrow Shirts" and were the first examples of brand advertising.
   
   Having never encountered Leyendecker's work, I was pleasantly surprised at my discovery.



2. Having waited for YEARS for a good book on Leyendecker, the wait is over. We not only have one but two. I am very happy with this product. The reproductions are very good. While the book does catalog all of the artists covers (SEP, Colliers, etc), the result is well done. Typically, there are nine covers on one page and on the facing page is a repo of the actual artwork from one of the covers. I think almost all of the full page images reproduced are from original artwork, and not reproductions of magazine covers. Very nice. Sure... it would be great to have all of the covers shown in full page glorious color, but we dont and we wont. It still deserves five stars. There are many "sketches" in oil shown that were created as studies, many of which are stunning in and of themselves. Also shown are advertising illustrations. Great!
   Regarding the text, move on if your are looking for detail on the artist life. There is really nothing new here. There has always been little know about the artist and his boyfriend. Leyendecker was a profoundly private person, the result of which is that there is little personal information available. What is written is interesting, but of minor interest. Who is buying this book for the text? Please.
   It will be interesting to compare the two books. But as it now stands, this one is easily worth the price and five stars!



3. This is a wonderful collection of J.C.Leyendecker's artwork and a must own for illustrators and lovers of Leyendecker's art. It's quite worth the asking price. My only complaint about the artwork shown, is that so much of the Saturday Evening Post covers are just too small to appreciate like they should be, however, that's understandable as if they were four per page, then that would be one huge book.
   
   But the real reason I have a disappointement with the book is in the writing. That's why I didn't give it the full five stars the artwork alone deserves. If the authors could have only left their personal beliefs about Leyendecker's life out of the writing and focused on the historical facts. (To the author's, while I'm sure you believe that the "facts" you presented are facts to you, because you believe them, that simply doesn't make them facts to everyone else, whether you think it should be or not.) It's a shame when authors writing biographies place their own interpretations of another person's life down as fact. And that's what more or less detracts from the whole experience of the book.
   
   Other than that, kudos to well put together archive of Leyendecker artwork.

5 comments about Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium.

1. This book is truly infectious - in fact I accidentally purchased 2 and have already got a buyer for the other - all the way downunder in New Zealand!
   
   I say "infectious" because of the effect it is having on me - I want to try new things - buy new products - although here in NZ I have not yet sourced a supplier of Golden! Will find a way though.
   
   Nancy - this is a winner - and thank you Amazon because you bring the most amazing packages to my doorstep - all for the sake of art of course!
   
   I loved this book from the first 5 mins of reading it and truly I completed a painting - I think I've completed it - I may just have to "tweak" it a little more and add more layers - I marbled, I used the gel medium and even my husband had to agree - my butterflies almost flew off the canvas! Simply wonderful....



2. This is a great technique book for anyone wanting to take their acrylics to a new level!



3. This is a wonderful book full of new ideas for paint and mixed media, excellent!



4. WHEN A LOCAL ARTIST I KNOW, WHO ALSO WORKS AT MY FAVORITE ART STORE, TOLD ME SHE PAINTS WITH THIS BOOK AT HER FEET, I JUST KNEW I NEEDED TO TRY IT! I LOVE LOVE LOVE THIS BOOK. VERY HAPPY WITH THIS FIND! GREAT IDEAS AND USEFUL TIPS. I HAVE USED SEVERAL TIPS IN THIS BOOK WITH GREAT RESULTS, AND THERE ARE LOTS MORE TIPS TO TRY. I DON'T WRITE REVIEWS OFTEN, BUT THOUGHT I'D LET OTHERS KNOW THEY WON'T BE DISAPPOINTED IN THIS FIND. ENJOY!



5. I took a demo from Nancy, and then a one day workshop..she is very good at imparting information, and showing samples. The book is an encyclopedia of great and useful information about the products she uses in her work. It is well laid out, easy to use with the spiral binding, and has examples of each technique that ought to be easy to grasp by even a novice.

5 comments about How to Draw What You See (Practical Art Books).

1. This book was purchased for an out of state school. It was delivered but I have no idea how good it is.



2. This is another excellet guide that I added to my reference bookshelf when taking up drawing at a late age. It is good to read through once, then return to review specific chapters when you are working on projects. At least, this is the way I use it. I would rather not follow an approach step-by-step .. but rather get a good notion on how to get started and go from there.
   
   But, this book helps and supports this approach greatly.
   
   Leon



3. I have owned this book for 10 years. My children and I all learned the basics of drawing from this book. I was so excited when I followed the steps and was able to draw a realistic face! I would recommend this book for anyone wanting to learn drawing.
   Cyndi Martinez



4. I am an artist and I also teach drawing. I find this book very informative. I teach the basics in pencil drawing and this book shows wonderful demonestrations. Since the authur was an art teacher it's written for class room or individual use. The book's first printing was 1970 and is still well used from what I've read. I highly recommend this book for all art students. My students enjoy what I bring to the classroom from this book.



5. This book is not for novice artists. I'm a Middle School art teacher and was looking for some new ways to TEACH drawing. I have "Drawing on the right side of the brain" and use many of the exercises in it with my students. This book doesn't even come close in my opinion. I didn't take anything from it that I could remotely use in the classroom. Reminded me of my college level drawing classes with professors that just threw a bunch of concepts out without *teaching* how to actually DO.

5 comments about Art & Fear: Observations On the Perils (and Rewards) of Artmaking.

1. I am reading this book now for the third time and have purchased many copies for friends - a must for the bookshelf of anyone on a creative journey.



2. Art & Fear was first published about 15 years ago. Since then it has become a classic and is a must read for any artist serious about their work. There is a chapter that will speak directly to you as an artist, regardless of your current circumstance.
   
   The topics are written for any artist regardless of medium or area of artistic interest. Whether you are a beginning artist or an old hand, this book is for you.



3. (This is Frank's wife writing.)
   My daughter who is a struggling artists recommended this book to us. It's short, but packed with good thoughts about making art and coping with one's fears about the process. It's not only helpful for artists in dealing with their thoughts about why they make art, but also to their friends and relatives. The explanation of the essence art vs. craft (a topic that has long interested me) is excellent. The writing is clear and accessible. There are examples of how real artists in various genres have dealt with the basic problems of making art. The book works for both the professional artist as well as the amateur, regardless of medium.



4. By naming the fears that artist experience, and giving simple and direct answers to those fears; David and Ted have given artists a tool to name their own fears and overcome them. The book had a profound impact on me and how I approach my work as a potter. I owe a lot to having read this book, in the confidence I gained, and the risks I am willing to take becasue of their writing. I have already recommended it to friends, and have it on display in my gallery. It is the best book on Fear that I have read, outside of the Bible.



5. I just graduated from art school, major in design & illustration. I've found this book amazingly helpful. I'm not that kind of person who like to read self help book...but this book is just wonderful. Things i've learn from this book: the right attitude of making art, determination over talent, the importance of communication between you and your art, small goals get you going, making art will expose your inner self...etc.
   
   Highly recommended book for designer and illustrator.

5 comments about Meggs' History of Graphic Design.

1. This book was in amazing condition. It arrived 2 days prior to the expected delivery date. I am absolutely satisfied with the seller and product. THANK YOU!



2. This is an excellent textbook and well worth the price. It's more like a history of art and culture.



3. I purchased this book for my Graphic Design history class. The book is well written and it is very informative.



4. i bought this product as new. i could tell the book had not been or had hardly been opened b/c of the sound it makes when you open a new book. the pages are clean and crisp. it was only the book jacket that protects the hard cover that had a few marks on it, but overall i'm very happy with it. =)



5. After using all the editions, the latest isn't up to the late Phil Meggs' standards. In its attempt to
   be concise and concept oriented, it omits much cultural and marginal information that was
   interesting and flavorful. This edition is not as delicious as the others. I'm thinking of switching
   textbooks for my students.

1 comments about Giorgio Morandi 1890-1964: Nothing Is More Abstract Than Reality.

1. This is the catalogue for the current Morandi exhibition at the Met in NYC. It basically follows a strict chronology after two introductory essays, one attempting a reassessment of the artist's oeuvre in the light of the many studies that have been carried out in recent years and of his influence on contemporary art (no longer limited to abstraction)and the other dwelling on the visual sources that inspired the painter (Cézanne obviously, but also the Douanier Rousseau, Corot, Chardin to name but a few). These two essays are particularly interesting in that they provide in-depth information on the technique and working process of the artist and also on the somewhat paradoxical recognition of Morandi as a great master in the 1950's, at a time when abstraction was the dominant trend.
   
   The book is then divided into five distinct periods, first displaying wonderful commented illustrations of the works pertaining to each period, and then followed by various essays (on the debatable influence of Piero della Francesca, on Morandi's etchings, on the critical reception and the market in Europe and the Americas, on debunking the myth of a reclused closed-off artist, on Morandi's famous saying that "nothing is more abstract than reality"). The book ends with a short text by Umberto Eco describing his discovery of Morandi's art, followed by transcripts of interviews of the artist.
   
   This is probably the best artbook I have ordered this year (and I have ordered many!). The text is riveting, the illustrations (more than a hundred still-lifes and a dozen landscapes, all in full color) could not be better and some close-ups even give you the impression of holding the actual painting in your own hands.
   
   Highly recommended.

5 comments about Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice.

1. A beautiful and most informative and well written book. I would recommend it to look at or learn from.



2. This is the most inspiring art book I've purchased in a long time. Full of insights and observations and instruction, not to mention stunning high quality color images on every page. This book has introduced me to artists I hadn't heard of, namely Jacob Collins and especially Walter Murch whose atmospheric oil paintings of common and overlooked objects has encouraged me to paint the more common objects that fascinate me. I'm taking my time working through this delicious book - I also purchased Juliette Aristides equally inspiring book 'Classical Drawing Atelier'. This is a vital addition to the serious artist's desk - don't leave it on the shelf!



3. WHAT CAN I SAY ,THAT HAS NOT BEEN SAID ALREADY. A FANTASTIC READ, AND SIMPLY EXPLAINED. A BOOK THAT YOU WILL WANT TO READ OVER AND OVER AGAIN.CLASSICAL AND YET INSPIRATIONAL TO ITS COVER.



4. The two things I got the most from the book were compositional theories, theories I didn't know existed but have proven to be very helpful, and direction for practice and study. With the exception of graphics training and a couple workshops, I'm self taught. Though I have had much success in both ability and sales I have always wondered what the old masters did to learn their craft and I think this book has shown me. As this book implies it is very sad that thousands of years of accumulated artistic knowledge and beauty was completely tossed out the window a hundred years ago in the name of so called liberation. I feel artists and our culture in general have been greatly deprived as a result. This book will hopefully help resurrect what we have lost and what was stolen from us.
   
   In my opinion I still think the best book on the concepts of painting is Alla Prima by Richard Schmid, however Alla Prima does not have much focus on composition; this book does. Alla Prima focuses more on direct painting where this book teaches more of the steps on slowly developing the skills to become a great artist. I don't think it gives as many of the straight forward artistic concepts as Alla Prima does but unlike Alla Prima it gives great exercises to work on. Like anything else I think the person who purchases this book has to put these exercises to creative practice and hard work. You cannot become a better artist just by reading it; you have to set up your own atelier program and get to work on it. Though a lot of the book is about art philosophy and history but I think if a person seriously puts the ideas and exercises into practice it will be of great help in growing as an artist.



5. This book is an essential addition to the bookshelf of any serious representational painter or student.

5 comments about Keys to Drawing.

1. This book is a great intro to drawing. It really helps to teach you how to 'see' what your trying to record on the paper. I got it for a class and will be keeping it afterwards as a reference.



2. "Keys to Drawing" is my favorite drawing instructional book. I found it here on Amazon and checked it out of my local library to see it before I ordered it. I have a short attention span and lose interest if a book doesn't engage me pretty quickly. I was immediately engaged by the simple, clear instruction and effective, challenging projects. This book got me drawing within minutes. I re-checked it twice from my library and had to order a copy for myself!
   
   I love the format of this book, with the emphasis on drawing and not just talking about drawing, like so many instructional books do. I also appreciate the many examples in the author's loose, easy style. This is one of the first books I've picked up that didn't intimidate me with detailed, advanced portraiture. The progression and pace of this book were very comfortable to me. I'm extremely pleased with the results I'm seeing in my drawing.



3. The book is well organized, and presents material in a conprehensive, easily understood manner. The illustrations are useful, and not intimidating. The subjects of the drawing exercises are interesting and varied. The author seems to work right along with the student in this book, and anticipates some of the problems that arise in drawing. The author's remarks are encouraging for individuals interested in drawing at any level of expertise. I appearance of the book prior to purchase, but it is more than I expected. The book's size is neither too large nor too heavy to use in a small space or to carry along.



4. Over the last six month I have been buying a number of instructional book on drawing/sketching for reference. I have found this one to be one that I continue to go back to to review approaches to getting started. I would recommend it as a good guide for a beginner -- either to drawing or to starting with charcoal and graphite.
   
   Leon



5. i like the philosophy of this book..not only concentrating on technical details, which is boring for someone like me who only takes drawing as a hobby. also, this book is not too general. there is some essential points stated in each chapter, with fun 'project' accompanied, to provide concrete example and opportunity to practice. quite good!

5 comments about Ways of Seeing: Based on the BBC Television Series.

1. Sure, it was written in the 1970's, sure it's full of Marxist theory, sure it's over-confident in its theorizing. But so what? This is a great book! I use it in my high school Theory of Knowledge class and in Art History too. The kids "get" Berger's ideas (outdated though they've been called) and it's always a great discussion starter!



2. this product was delieved in a short time. A+ for that. but i give it a C for the quality of the book. yes its a used book but i think they could have selected a better looking book. over all B



3. Even though "Ways of Seeing" is a flawed book in many ways, it is so seminal in the development of post-modern image making that it must be considered essential reading in critical theory.
   
   The book is based on a television series. The book itself is only 176 pages. The print is all in a bold, sans-serif font. The authors are quick to claim that the book was made, not written. The pictures used to demonstrate the points are small and in black and white.
   
   The book is based on the theory that the interpretation of western art evolved out of the power and finance structure of western civilization. Inevitably books that describe the world primarily in economic terms, as an arena of conflict and a battle by the rich for dominance of the poor, are referred to by some as Marxist and I have no doubt this book has been so described.
   
   The book has seven chapters, four of which are written and three of which are reproductions of art works without words. The theme developed is that the way people view art is strongly affected by the power structure of the society.
   
   I must confess that the three chapters that were solely illustrated were difficult for me to engage, both because of the size of the images as well as the difficulty of following the thread which I felt ran through the pictures even though I was not able to decode the message.
   
   The first chapter is based on and explicates the work of the critic Walter Benjamin in his essay, "The Work of Art in the Age of Mechanical Reproduction". Unlike Benjamin, who sometimes seems torn between the loss of the aura of the original and the benefit of mass accessibility, Berger seems to believe that real benefits will derive from the reproduced work of art, if the viewer can sweep away the lenses of the past through which he might view the work.
   
   The third chapter deals with the role of art in the commodification of women and the fifth chapter examines the role of oil painting in the reduction of people's world view to a matter of money. (Burger only excepts the work of a few artists, like Rembrandt, from this view.) The final chapter is based upon the use of images for marketing.
   
   This work is important because, if it did not shape the outlook of post-modern art, it was at least in the vanguard of recognizing the roles of the art that preceded post-modernism, and led to the rejectionist point of view.
   
   Berger is clear in emphasizing that the way we view art is filtered through the prism of culture in the sociological sense, although that certainly was not ground breaking in critical theory, even at the time of first publication. On the other hand, here was art criticism first presented on what was then a new media, television. Even the book format, such as using a bold-faced font throughout the book, appealed to the avant-garde.
   
   Burger would substitute art, not as a tool to help preserve an economic and power system, but rather as a way for the consumer of art to enrich his own life.
   
   I suspect that artists other then post-modernists may not benefit very much in their work from reading "Ways of Seeing". On the other hand, if you have a serious interest in critical theory, even though you may reject Berger's thesis, you must read this book.



4. "Ways of Seeing " has become so universally available, so overused (especially in academia), and so often quoted, that it's refreshing to read the reviews of so many intelligent naysayers here. "Ways of Seeing" is perhaps mistitled in that it really proposes only one way of seeing works of art, which is as artifacts in the history of capitalism. It is propaganda, and like most propaganda, it heavily skews the evidence in favor of it's main argument, which is basically that European art from Raphael to Picasso is just a tool for enslaving women, non-Europeans and the working classes. (Warning: Berger is a real kill-joy. If you read this book and imbibe it's themes, be prepared to never innocently enjoy your favorite old masters again!) However, I would advise anyone with a serious interest in art criticism and theory to get a copy, fill the margins with notes, consult the original sources, and decide for herself/himself how well it stands up. To give just one instance of how sloppy Berger can be, I would invite the reader to consider whether he bothered to learn anything about the art of perspective drawing before indicting it as ideologically tainted, and then trashing it, all in two short paragraphs.



5. Ways of Seeing is about looking at art, if you get right down to it. However, it is about looking at it from a political point of view, or a cultural point of view, or a gender point of view. He takes a few different actual art pieces and writes about each of them, taking this sort of thing into account.

5 comments about The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren.

1. Nicely told, and the story's completely new to me. Gives very nice historical background details and good observations and comments on paintings. Excellent historical photos illustrating the text. Fun book.



2. I like to read widely in non-fiction, especially in art history and history, but I'm no expert; so I often consult the reviews of other readers. In that spirit, I want to recommend this book I recently finished.
   
   The Man Who Made Vermeers tells the story of an ingenious art forger working in Holland prior to, during and just after World War II. I bought this book because I enjoy reading historical biographies, particularly of "unknown" people living during times of momentous upheaval.
   
   Van Meegeren's life is fascinating and the author of the book gives his readers keen insight on the artist-forger's motivation, mindset and aesthetic savviness. But, reading this book has left me with not only with an interesting biography to consider but also with a far greater appreciation for the political context of life in 1930's-1940's Europe.
   
   For me, it's Lopez's ideas about how forgeries generate their own appeal to their contemporary audiences and how an individual's political ideology pervades his actions and words, regardless of what might seem to be an apolitical activity - painting forgeries for money. The author's analysis provides a lot of meaty food for thought about politics and societies more generally and I look forward to any other books Lopez might write.
   
   Finally, I want to add that the author's congenial writing style made this book a genuine pleasure to read, so even if you aren't sure you are interested in Dutch art history, you will definitely enjoy the experience of reading this book - and come away wiser for it.



3. Jonathan Lopez presents an insightful look at the mind of Han van Meegeren, as explores his Nazi sympathies, manipulative tendencies, and general deceitfulness. Lopez seamlessly weaves the story of Nazi rule in the Netherlands, and the tale of World War II, into van Meegeren's biography. While Lopez's work is certainly scholarly, I did not find it to be "above my head" (as an individual without a strong background on Vermeer and Dutch painting in general) nor, frankly, was it "dumbed down" for uneducated readers. In short, I highly recommend this book; it is a page turner from beginning to end!



4. What's really terrific about this book is the way that it sets the story of Van Meegeren's forgeries within the personal biography of the forger and the history of the period. In fact, I'm starting to think that this is the way that art should always be looked at, because I suddenly saw these fake Vermeers in a completely new light. I've heard people ask how anyone could have been fooled by these pictures, but through really simple side-by-side comparisons, the author makes it totally clear that the paintings really looked like the pictures that people of the time saw around them. So Van Meegeren's early forgeries (which look a LOT like real Vermeers) also resemble movie posters from the 1930s, and his late forgeries (like the famous one he sold to Hermann Goering) resemble Nazi propaganda pictures.
   
   As a side note, I also just want to say how impressed I was with the way that the author clearly did a huge amount of research, but made the book a really engrossing one to read. None of that academic stuff that you find in a lot of books about art. But at the same time, treating the subject in a very serious way. And it's a very serious topic. Van Meegeren held truly despicable fascist beliefs, and his forgeries expressed them.
   
   I found the book totally eye-opening. I definitely recommend it!



5. I like mysteries, intrigue, politics, and history. I picked up The Man Who Made Vermeers because it was one of the best sellers in my local bookstore. One of the salespeople told me that customers who read crime fiction had been buying it, and I can really see why. The book presents an excellent understanding of Han van Meegeren, the Dutch artist who sold a fake Vermeer to Hermann Goering during World War II.
   
   It turns out that Van Meegeren was a fascinating figure--much more interesting than I would have thought. Because Van Meegeren had fooled Hermann Goering, he became a hero in the Netherlands after the war and he presented himself as kind of a patriot. But it appears that swindling Goering was more or less an accident. Van Meegeren didn't have an axe to grind with Goering. In fact, he had been an admirer of Hitler and fascism since the movement began, and had even painted work on commission for the German occupying forces.
   
   What you really get to see here is the criminal mind at work. While other books about Van Meegeren have taken his story at face value and presented him as a hero, Lopez convinced me that this man was no hero at all. The book offers real insight into the psychology of a fundamentally duplicitous individual who capitalized on one of the darkest moments in world history...