5 comments about The Art Book.

1. Small compact paperbook can take with me when traveling. Am enjoying the brevity, but not as much the small print type, but still very enjoyable book.



2. I love this book. It shows a beautiful example of the artists work in alphabetical order and a great short history of each artist. I discovered a lot of artists I wasn't familiar with. It's a great quick reference and easy/enjoyable reading. It's more than I expected! A must for anyone interested in art/artists.



3. A bargain at the cover price and even better at the prices listed here at Amazon. I have copies at both my homes and am always referring to it. Would that Phaidon could do the same for music and lovers of great literature.



4. An excellent mini art history book. It covers the majority of well known artists with a representative work. All this and the paperback is small enough to carry around. I present it to my students for special achievements.



5. This little book couldn't be any more straightforward or useful. Over the span of 500 pages, each page is devoted to a different artist, with one representative work by that artist and a short description of his or her life and work. At the end, an invaluable 6-page glossary provides short and informative descriptions of the major genres and schools of art (e.g., Fauvism, Constructivism, Expressionism, etc.) that don't require a PhD to understand, as well as explanations of common art materials and techniques (e.g., gesso, fresco, tempera, etc.). It's a great value, and much more inexpensive than almost any other art book this informative. Buy it now!

5 comments about Little Nemo: 1905-1914 (Evergreen).

1. After having only had the opportunity to read a handful of Little Nemo strips in the Smithsonian Collection of Newspaper Comics (another great book), I was happy to find that this was available. Even though the size of the pages are smaller than the original newspaper prints, I think this collection is definitely worth it, particularly since it's a fair price for so much material.



2. I discovered Winsor McCay only 2-3 months ago when reading the Sunday book review supplement in the San Francisco Chronicle. The column was about several different books and authors, however one of them was about the recently (July 2007) published Dream of the Rarebit Fiend (complete), edited, published, masterminded, etc. by the German Ulrich Merkl. I probably wouldn't have noticed the review but for a graphic showing several of McCay's sketches. It turns out that they were from the front cover of Merkle's book. They are, of course, illustrations from McCay's Dream of the Rarebit Fiend series. I was immediately taken with McCay's obvious genius and I immediately looked up McCay at my local library and checked out a copy of Little Nemo in Slumberland, the "Best of..." book edited by Richard Marschall. I was highly impressed by this and looked online and bought this Taschen/Evergreen version and at the same time the inexpensive but very nice reprint of the 1905 book published by Frederick A. Stokes of early Dream of the Rarebit Fiend strips.
   
   The Taschen/Evergreen (the book reviewed here), it turns out, has renderings of Little Nemo in Slumberland that are evidently taken from the same source as those in the Richard Marschall book I just referred to. The colors and even the occasional imperfections are the same, as well as the size. This volume, however, has many more episodes, over 400, probably. The Marschall has a few that are not in this, but they appear to be mainly late (after 1920) episodes, and are generally not up to the quality of the earlier work.
   
   Looking at the reviews of the Peter Maresca 2005 version of Little Nemo in Slumberland ("So Many Splendid Sundays"), I was highly impressed and I discovered that my library had a copy, and of course I checked it out. The full size presentation and superior production was so astonishing that I decided to buy a copy of my own, and it arrived yesterday. I'm still glad I have the Taschen/Evergreen because it has more than three times as many episodes as the Maresca (which has about 110 episodes) and it's nice to have that for continuity (there are often serial runs of episodes). This book is adequate to get the stories and conveys a lot of the majesty and McCay's genius, but having seen the Maresca it's hard to be satisfied with the 2:1 reduction and the inferior colors. They are certainly OK, but the Maresca is breathtaking.



3. This book is the quintessential collection of Winsor McCay's "Little Nemo" Sunday strips. Every single page is lovingly reproduced herein, guaranteed to delight the devotee and novice alike. I cannot and will not try to expound on the oft-repeated acknowledgment of McCay's brilliance. The focus here is the completeness of this compilation. It's all here, in one handy volume for all to see and be dazzled by. The only thing that could have been better would be full-sized reproductions (hint, hint). My thanks to the editors and everyone else who brought it into reality!



4. This is an excellent collection to own.
   
   The visuals in Little Nemo are excellent, leaps and bounds above what most filmmakers can do, even with technology and money.
   
   And Little Nemo was probably one of the ten most important comic strips of the early part of the 20th century.
   
   And this is a reasonably affordable edition that contains all (or at least claims to contain all) of the strip.
   
   That being said, I'm not sure that Little Nemo is really something that would hold the interest of a lot of contemporary readers, comic and otherwise. This was kind of a hard thing for me to write because it is an important work in terms of comic history.
   
   If you do plan on buying this, think of it as a reference book or a picture book (when I bought this at the comic store, the employee said it really existed solely for the art and, history aside, I'm not entirely sure I disagree with him). It is incredibly useful in that regard. In terms of an actual plot or characterization, don't really go in with high expectations. This is an attractive volume worth having on a shelf and consulting every few months but it isn't something that you are probably not going to read cover to cover.
   
   Little Nemo has little to speak of in terms of plot or characterization. And, like the Walt and Skeezix collection, racial stereotypes come in occasionally, something that would probably have flown in 1905-1914 but something that is unacceptable now (though I regret that the dislike of such things often comes at the expense of a reasoned view of the historical context).
   
   And I really wish that I could give this a better review due to its historical importance. Overall, it gets three stars but with a qualifier of some kind.



5. Little Nemo in Slumberland was introduced to America over a century ago, and these pages still have the power to astonish and touch anyone that reads them. The utter timelessness of this strip, both in artwork and vision, is the kind of testament to genius that very few graphic artists ever receive. Winsor McCay was such a genius and his major work, Little Nemo in Slumberland, is a vastly rich exploration of human dreams.
   
   What is it about Little Nemo that was so special? First and foremost, we have the pure draftsmanship of Winsor McCay. The man could (and with his imagination, often did) draw anything. Where a great deal of comic art from the time was somewhat static and stiff, McCay's figures had fluidity. His characters seemed to be caught in motion, captured in very difficult angles and postures to draw. McCay handled it all with incredible ease. When McCay drew Little Nemo climbing over a wall, it captured perfectly the struggle of a nine-year-old boy, fighting both his own small size and his pajamas. The man had a sense of perspective and composition that was nearly superhuman. He could portray an entire make-believe city, with shimmering towers and distant castles, in a single panel and give it a quality of detail and depth that barely seems possible.
   
   Secondly, of course, was the breadth of McCay's imagination. Sometimes little Nemo dreamt beautiful fantasies, sometimes disturbing nightmares (Nemo's journey toward Slumberland at times resembled Dante's journey through the nine circles). Suffice to say that the details of these dreams are simply mind expanding. One can only imagine the impression they made on a 1905 comic strip reader.
   
   Lastly, and for me most importantly, was the character of Nemo. McCay's portrayal of a six year old boy was completely spot on and timeless. Anyone that has ever had a boy child will instantly see their own son in Nemo, and this superb characterization was done more visually than with text or dialogue (if this doesn't make sense, have a look at the strip to see what I mean. Nemo's very posture suggests all the heartbreaking vulnerability and innocence of a young child). There is a subtle and complete sweetness that underlies the entire work that makes it emotionally memorable and captivating. The staggering beauty of McCay's panels often overshadows the fact that Nemo was nearly always the terrorized victim of his dreams. Yet no matter how hostile and threatening his dream world became, he never responded with anything but trust and hope (amazingly, this quality never seemed sentimental but always rang true - such was the power of McCay's art). It is the kind of work that has a place in both your heart and your mind.
   
   This is a very affordable and worthwhile edition of McCay's historic series. The colors are well reproduced, the paper stock is excellent, and the binding is superb. Lovers of the graphic arts should be very grateful to Evergreen for producing this well-done and reasonably priced book. I highly recommend it. ---Mykal Banta

No comments about Beginner's Guide to the Humanities, A (2nd Edition).

4 comments about 19th Century Art.

1. I'm not an artist, I'm a historian, with a special interest in physical social and cultural history: Costume, domestic architecture, social mores, all that stuff. Photography is the obvious source for that, at least from the Civil War on, but an artist's interpretation can also be very useful. For those reasons, I learned early in my career to pay attention to the Realists, especially Bingham, Breton, Millet, Tissot, Eakins, Degas, Whistler, Winslow Homer, John Singer Sargent, and some of Monet and Manet. While studying that lot, I also developed a taste for the Pre-Raphaelites and the later artists of myth and dream, like Burne-Jones, Leighton, and Alma-Tadema, who don't get much attention these days. I lose interest when I get to the Post-Impressionists like Seurat, Van Gogh, Gauguin, and Munch, however. (So sue me.) All of which is to say that the authors, both of whom are NYU professors in the fine arts, have done an excellent job of surveying the entire century in which all of the above had their careers. The discussions cover not only artistic influences but political and familial factors as well as relevant biographical details. There are more than 500 illustrations, though fewer than 90 are in color, and many of them are rather small -- which seems inadequate for a coffee-table-sized art book. And, frankly, I'm puzzled how any survey of the 19th century could completely ignore Frederick Remington and Charles Russell. Otherwise, it's an excellent book for slow perusal.



2. Note: Your "helpful" votes are appreciated.
   
   Nineteenth-century art has a wonderful depth to it, and this book has almost a hundred full-color pictures and some 400 in black and white. The quality of the book is fantastic. This is a must for anyone interested the 19th century painting.
   
   I love pictures that tell a story. Look at the mystery and story on the cover of this book. It's full of other wonderful paintings ane well-worth the price.
   
   If you like black-and-white engravings from the 19th century, get "A Celebration of Humanism and Freethought," by David Allen Williams. This book is full of rare 19th century engravings that match its quotations from the Humanist perspective--a beautiful art book that has been overlooked because of it's title.
   
   Click here to see the images: A Celebration of Humanism and Freethought



3. Price and service were excellent! The book arrived within 2-3 days; thank you.



4. Whether you're familiar with Dr. Janson's previous work or not, you'll immedately recognize the quality and value of this book. The information is very well organized, divided into four sections based on time periods. Each of those sections is divided by the type of art (paintings or sculptures). With more than 500 illustrations (89 in full color), the book is not only an excellent source of reference, but also just plain interesting reading. Many of the stories are fascinating, encouraging the reader to dig even deeper. The details are impressive, particularly with accurate journalism being a relatively recent concept. Obviously, the information could only have come from extremely knowledgeable sources. Excellent book for art lovers on any level!

5 comments about Cartoon Modern: Style and Design in 1950s Animation.

1. Fantastic book! This book is well written and is amazingly interesting. A must read for anyone interested in 50's design.



2. I absolutely love 50's (and early 60's) animation styles, so based on the other reviews here I eagerly awaited this book. It was a huge letdown.
   
   First of all, the majority of content here is biographical information about the artists who created this art. As such a nice piece of scholarship and research, and giving these artists their just rewards is a Good Thing. But that's basically all there is.
   
   Yes, there are some images, even quite a lot, but the artwork isn't large or arranged in a manner to make any sense (other than as biographical material). There are a few tantalizingly good images, but the vast majority are small, rather pedestrian and, oddly enough, not particularly indicative of the style of the period.
   
   The author sets great store by "unconventionalism", but in point of fact the art of the 50's and 60's did become conventional -- it became its own convention. And this kind of historical perspective is sorely missing here, in large part due to the way the material is organized (it's strictly a studio by studio look -- no timeline or growth of the art is presented in any way. Each studio is given a page or two, and the studios are listed alphabetically).
   
   If you are into cartoon history *facts* then this book will be a goldmine of information for you. If, like me, you are more interested in the visual aspects of the art then I'd strongly recommend skipping this and spending the money either renting or buying some of the cartoons from that time period that are available on DVD (contrary to the author's opinion, much of the stuff IS available: once again, his bias towards the unconventional means that he overlooks the majority of work of that time period).



3. If you are a cartoonist, or animator, or aspiring to be either one, this is the book to have. Hurry before it's out of print!!!



4. Cartoon Modern by Amid Amidi is a book who's time has come. As an artist
   and a baby boomer, this book brings back warm memories of my youth sitting
   in front of the T.V.(back then Cartoons only happened on Saturday.)
   So these images have a fond connection to a developing mind at an age
   that soaks it all in, from English ONE to Gerald McBong Bong. Just a note,
   I do have 3 of the original Gerald McBong Bong and find genius in the
   illustrations, so timely, to have all these illustrations and works of art
   is like having bell bottoms popular again! I have been trying to find
   other Gerald McBong Bong tapes at flea markets, yard sales, etc. So how curious
   to see Gerald McBong Bong in the stores again. I bought two different D.V.D.s
   my fingers and opened it up and all the wonderful illustrations were turned
   into a over intense experience of the story, packed with friends and parents, noises,more friends,all packed
   into a 1/2hour show. This tells me two things, our children need more attention
   grabbing, multi-tasking everything, which means when we were children , T.V.
   had been out for just a few years and there were no computers, hi-def,
   cell phones, I Pods, e mail, in fact I don't think the first computer game "Ping
   ,pong was , but years away. This book is wonderful in it's simple ,
   but great art and illustration, when life was not so erratic. I also want
   to let the cartoon fans know that this book is packed with tons of color. I always want a read a review that lets me know there is color ,
   I am a colorist, in my art, and I do think we may see some of these cartoon
   images in bits and pieces in our art today. It's a good thing.



5. This book is so much more than I thought it would be. An incredible source of art, artists and companies, this book is an essential for those who respect animation in general. Incredible reference for the price!

2 comments about Philip Guston Works on Paper.

1. The book is based on a major Guston exhibition in Europe a few years ago. Each of four critical essays is followed by a series of about 20 to 40 full-page plates relating to the preceding essay's theme or perspective. This format allows for better insight into Guston's work than a typical chronological format for instance. All except the last essay have smaller illustrations also complementing knowledgeable text.
   
   Guston's work displays "expressive range and changeability" more so than most other modern artists, including Pollack and de Kooning to whom he is often compared. Nonetheless, these works on paper show the whimsy, humor, exploration of forms, and recurring underlying sense of menace which have made Guston's paintings distinctive. The whimsy, almost obsessive dissection of forms, their depth, etc., are threads which link--though do not unify--Guston's paper works (and paintings) from his early days in the latter 1940s and early '50s when he radically used "naked line as a vehicle for the most brittle compositions" through to his maturity with "the compilatory, the cumulative that conveys the sense of involved objects."
   
   Guston's unpredictable, imaginative works are rooted in his "restlessness, self-doubt, and a mania for hard work, [which set him] off in search of the unknown and undiscovered in hopes of being able to lend these qualities pictorial expression." No one can doubt that Guston achieved such pictorial expression. The instability--though not to the point of disintegration--of the personality was the matrix of the art work. More than almost any other modern artist, even Francis Bacon, Guston's complex, fertile psychology was the source of his work.
   
   The mainly critical essays bring in psychology and occasionally biography for a multidimensional understanding and fitting appreciation of the drawings and Guston as an artist. The collected 166 works on paper (76 color) covering Guston's career from the mid-1940s (earlier works were excluded) with the critical essays relate the significance of such works in the development of this artist's creativity.



2. This book illustrates a traveling exhibition (Germany, Denmark and the Morgan Library in NY) on a part of Guston's work that was already studied at the Moma, 18 years ago. From the early works to the last drawings of the late 1970's,including some of his beautiful oils on paper from the early 1970's, all the aspects of the artist as a draughtsman are tackled in an enlightening text, served by beautiful images. This is a high-quality publication, with many works still in private hands and never shown before . Strongly recommended.

5 comments about Andy Warhol: Giant Size.

1. Bought as a gift for a 21st birthday. Will be a memory that he can keep for a long time with a personal message on the inside front cover.
   
   Great gift idea! Would highly recommend



2. This is a real great (and large ;-) ) book with beatiful reproductions of Andy Warhol. My children love to go through it. It was also for sale on the Warhol exhibition in the "Stedelijk Museum" in Amsterdam last year.



3. My daughter is 24 years old and she is an aspiring artist. Andy Warhol is her very favorite. I got her this book for Christmas and it is her most favorite thing. She says that the detail that it has is facinating and compelling. One word of advice though...it is one HEAVY book so make sure that you are in a comfortable place to support it while you are reading.



4. Definitely worth the money!
   
   I've recently got into andy warhol and this is the second book i have by him. The book has stunning portraits/photographs/art thats what i love about andy warhol everything is unique and different.I wasn't sure what to expect with this book however i'm glad that I purchased it.
   
   You also might want to check out "Men - Andy Warhol"



5. Fantastic pictorial book...worth every penny. If you are a fan of Warhol, this is the book to own. Great prints of Andy's work from the 50s, 60s, 70s and 80s - including rare prints. You won't be disappointed - it is all here. The dimensions are impressive at 17" x 13" x 2 1/2", and it makes for a beautiful coffee table book that you will be proud to display. The pictures are sharp, both in color and b&w, and many are full-page, including pics of Andy and Edie. Outstanding!

5 comments about 1,000 Music Graphics: A compilation of packaging, posters, and other sound solutions (1000 Series).

1. This book is a "must-have" for any contemporary music enthusiast -or- at the very least, anyone who appreciates good cover art. The collection obviously represents zillions of hours of research by people who know what to look for and where to find it. Clif Stoltze designed this book with appropriate restraint so as to showcase the artwork but included plenty of zing to make for a ultra-hip book. The cover concept, with its inserted disc that actually spins, is striking, and I predict that this book will be a collectable before long. I'm advising everyone I know to scoop one up before they're gone.



2. this is one of the best recent comps of music-related graphic/image design.
   it's a little jammed-up in the page layout, but that way Rockport gets in
   more images for our delight. bravo!!



3. As a lifetime lover of music and music graphics, this book is an incredible archive of the current state of the art. It's jam-packed, and few descriptions are offered (there really is no room). But instead what we get are clear, clean images printed as large as they could possibly be due to the publisher's format restrictions. In a way, I consider having fewer words as an asset. The design of the book lets you get lost in the individual jewels of the collection.
   
   Stoltze Design put together a great set of work, fresh and inspiring, created by some well-known designers and artists; but just as many unknown or obscure. The gig posters were some of my favorite works.
   
   This book delivers, and it will inspire as a reference for graphic designers and music fans alike.



4. 1,000 Music Graphics is an utterly astounding collection of exceptional music packaging, posters, and paraphernalia by top notch designers and firms from all over the world. Page after page of colorful, conceptually rich and imagination-inducing music packaging left me feeling inspired and motivated to break out and do something entirely new and great. Soundly curated, the book includes packaging and such for a diverse range of musicians and music genres, with a handy index in the back, and an insightful introduction by the author, Clif Stoltze.
   
   This book is a worthy abundance of amazing work that's well beyond visually satisfying...it's enlightening design-wise and it also opened my eyes and ears to several musicians I had not yet heard (I soon found myself listening to samples on iTunes!). Don't think twice about owning this book - it's special and also makes for a wonderful gift for anyone who loves design and music.



5. This book is just packed with great music design, mostly packaging, but also lots of ephemera like posters. It's just too bad the book design is weak. The pages are a little claustrophobic and busy; often, the samples are seemingly crammed into each page.
   
   It's also too bad that none of the release info is included (i.e., artist, title, label, and year), unfortunate for the musicians, many of whom are unknown and/or independent. Yes, you can sometimes figure it out from the designs, but not always.
   
   But because of the quality of the actual work presented here is really solid for the most part, it's still worth a look.

5 comments about Magic Eye Gallery: A Showing Of 88 Images.

1. I really love these books. I am fascinated by the technique used to get the 3-d affect. I have everyone out.



2. This book is packed with more images than any other I own, and more vivid colors. I have a lot of favorite pictures, and I love that there are varying degrees of difficulty and depth so theres something for everyone in this book. My only regret is that I cant frame a couple of them as abstract art on my walls. If your looking for an all inclusive book of Magic Eye visual art, this is definately my top choice and top recommendation.



3. (3.5 stars) I've always been a huge fan of Magic Eye images, and I wanted to find a large collection that might keep several grandchildren busy and having fun during the winter holidays. This collection of 3D images, however, proved to be something of a disappointment. Though there are several hidden pictures that are clear and very professionally done (an image of football players and one of an eagle hunting, for example), about twenty-five percent of the images are either unclear, ill-defined, or uninteresting as subject matter.
   
   Two "glass" images are simply the 3D version of the flat image. Five pages contain "no image" at all. Two mazes appear, but only one can be solved--the other has two dead ends at the beginning. Other questionable images include two jet planes with a target site superimposed, making the picture appear confused, a chariot race in which the chariot is unclear and the driver looks like a triangle; and Saturn with its rings where the bottom half of the planet is so hard to see, that the image look like a ranger's hat. Some images of little interest include those of yin and yang, a tapestry weave, an ugly cone, a cube, a car driven by a wolf, a ball seen through mesh, op art, symbols for male and female, four puzzle pieces, and penguins (not polar bears) in front of an igloo (?!?).
   
   I really enjoy this series, but this selection was not interesting to my audience, who felt that many images were just too much work for an image of little interest. In total, I found fifty-seven of the eighty-eight images to be acceptable to good, and two are excellent. Thirty-one, which I marked in the corner so people could skip them, were inferior and detracted from what could have been a terrific collection. n Mary Whipple



4. Magic Eye Gallery: A Showing Of 88 Images
   by N.E. Thing Enterprises
   
   I am pleasantly surprised that this treasury of eighty-eight colourful random-dot stereograms is still around. The publisher is apparently the leading pioneer in this field. I thought the 'craze' had faded towards the end of the nineties.
   
   Personally, I am also fascinated by random-dot stereograms. My first exposure to them happened when I attended the PhotoReading workshop in 1992 & then reading Andrew Kinsman's wonderful book, 'Random Dot Stereograms', about the same time. Besides books, I have also amassed a large collection of posters & post-cards in the same genre.
   
   My personal stance towards random-dot stereograms is that they help to demonstrate the two specific phenomena of human perception i.e. binocular disparity & stereoscopic vision.
   
   Although they are great fun to play with, I find them very educational in understanding - & appreciating - how the brain really works! In actuality, each of your two eye balls take in sensory data independently from each other. To see a random dot stereogram, your two eye balls must work together as a coordinated team to sustain a soft focus (or unfocused gaze). In other words, it takes two eye balls to tango!
   
   For some people, random dot stereograms may be difficult to see (especially during the first attempt) when compared to conventional visual illusions found in 'Can You Believe Your Eyes' & 'Seeing Double' by J Richard Block respectively.
   
   I often notice that many people can see the colourful random dot stereograms more readily than the black & white ones!
   
   For your further visual entertainment, I would like to suggest the following collections, also published by N E Thing Enterprises:
   
   - Magic Eye: A New Way of Looking at the World;
   - Magic Eye Vol 2;
   - Magic Eye Vol 3;
   - Magic Eye: A New Bag of Tricks;
   
   To conclude this review, I can only say that when you can readily see random dot stereograms, irrespective whether they are in colour or black & white, you will be able to understand & appreciate the power of 'splatter vision' practised by secret service agents, army snipers, fighter pilots, martial artists, fast readers, animal hunters & nature observers.



5. This book it TOTTALLY amazing. it has a hidden 3-d image inside a 3-d backaround. I do not even no how they do it without 3-d glasses. It is so easy to use to when you get used to it. later on you will just start starring into random pictures. You may think that is stupid but even though it sounds boring it, you will be sitting down starring at one picture for so long. You will love the stunning 3-d effects. I started getting into this by buying a 3-d spongebob book. It didn't include 3-d glasses so I borroed them. Then I tyhought myswell have some fun wlile I have the 3-d glasses so I searched the internet for pictures that need 3-d glasses. I found so much. Then I learned the cross eyed one. I get that one. Then i learned the parrelell trick. That was o.k. Then I found a wierd site in my search results. It said "magic eye". I looked at it. Then the next day I hatdto give the glasses back. I was sad. I looked at that site again [...] I noticed it did not need 3-d glasses and there was only one image of it instead of 2. I looked into it. I did not believe it at first. I thought it was fake. To see if i was right I printed one out. I looked at the directions. I got fustratted because I couldn't see it(it was saturn). right befor I was about to put it down I saw a big 3-d circle made of stars. Then a ring sorrounded it. I was amazed

1 comments about Materials, Process, Print: Creative Ideas for Graphic Design.

1. Materials Process and Print provides a great library of resources for any designer to draw from. Not only do they give an in depth description of the processes available, but they show examples of those processes in use. I've referenced it for a number of projects already and have gotten great results.