3 comments about Islamic Art and Architecture (The World of Art).

1. Bought this book for my daughters Art class. It had all the information she needed. As alway amazon delivered quickly, with no delays.



2. As a beginner to the world of Islamic Art and architecture, I recently completed reading this book and found it a good introduction. It covers the development and major themes in architecture, ceramics, figure painting and calligraphy (textiles to a smaller extent) of Ummayyad, Abbasid, Fatimid, Saljuq, Atabegs, Mamluks, Islamic Spain and Morrocco, Ilkhanids/Timurids, Safavids and the Ottomans.

   Islamic art and architecture of the Indian Subcontinent (eg Dehli Sultanate or Mughal India) is not covered at all in this book.

   It has a good sampling of pictures in colour of especially major architectural monuments. I think the strength of this book is especially strong as an introduction to Islamic architecture. Its coverage of the other areas is not bad either.




3. This book has an unbilievable combination of detail, broad coverage of various topics, ability to keep attention concentrated due to a great way the book is written. Illustrations were both artistically beautiful and helpful in understanding the topics covered. I am in love with this book and, after library reading it, I am ordering it today!!!

1 comments about Why Our Schools Need the Arts: 0.

1. It is wonderful to have some current documentation of the importance of the arts in people's lives. During this
   time of high pressure testing, it is comforting to be aware that there is a view to what has really made our country progressive. The creative minds of Edison, Ford, Kamen, Gates, Jobs, etc. could never be summed up with rote test scores. Here's a good test question, "What other country has been the home of as many creative
   minds as the U.S.?"

4 comments about Photo Portfolio Success.

1. This is a gem of a book for the driven pro photog. If you think you've created a good portfolio, or are creating your first, get this book and hunker down for some serious soul searching! A very good companion volume is Selina Oppenheim's Portfolios That Sell. In many ways their approaches are the same, but different - a good mix; a second opinion is not only helpful, but allows you to step back and decide for yourself how to best represent your work.
   
   These two books, along with personal and client factors, resulted in a professional epiphany of sorts for myself and had me looking at my library of images in a new and exciting way. The result was expensive in both money and time, causing me to lighten my wallet by roughly $2500 and spend around 6 weeks straight working until three and four AM with three to five hours sleep night after night.
   
   What did I end up with? Three rockin' portfolios: Commercial (with tear book) and Portraiture, both in 13X19, custom, screw-post portfolios with name and logo laser etched onto the covers. And a 20-piece, conservation-matted Fine Art collection at 18X24, with logo-embossed, handmade paper separators in a personalized Pina Zangoro Boro carrying case, for beating down the doors and wowing my regional galleries. Oh, and a new 17-inch wide Epson 3800.
   
   And the response? First, it's only been a couple weeks, and of course it goes without saying that the pictures are the meat-of-the-matter. That said, it's obvious to me from the response so far, that across the board, whether it's a local advertiser searching for a fresh eye, a regional gallery evaluating your sense of style and detail, or a twenty-something couple wanting a portrait to hang in their new home, a sleek, professional presentation breaks the ice. Their demeanor toward you is transformed. Their body language belies a new openness in examining your work - you've passed the first crucial test of "first impression."
   
   Has it worked? Well, within the first week I have one new commercial client, done two new-family portrait sittings and have a three-month exhibit scheduled in a five-star, high-end hotel. Whether this kind of immediate gratification continues to be a "Success" as Kaplan puts it, or "Sell" as Oppenheim states it, is anybody's guess. But one thing is for sure, and that is the boost of self-confidence a high-end presentation gives to your self-esteem and self-perceived power when you enter that always vulnerable position of playing "seller" to a prospective "buyer" whom you've never met.
   
   One closing note. These books will be of no avail to you if 1) you're not prepared to spend some money, 2) you're not prepared to lose some sleep, and 3) you're not prepared to take a long, hard, unsentimental and honest look at your images. Be prepared to re-invent yourself and your vision.
   
   Carry on... I went out for a sunrise shoot this morning and I think I've got a shot in there that's just beggin' to be worked over in Lightroom and printed on a nice, fat piece of Arches textured-matte! I've got some product to shoot for a client in the morning, but today I'm a Fine Art Photog ;-), even if they say the difference between a Fine Art Photographer and a Family-Sized Pizza is the Family-Sized Pizza can feed a family of four. hehheh



2. As photographers, we live and die by our portfolios. They are our resume, our advertising piece, our list of references.
   
   Thus there is a need for a really, really good book on how to craft a portfolio. And John Kaplan delivers with this book.
   
   This book is an example of what I think that all photographic books should aspire to, its' subject is specialized, it sticks to topic, and it provides useful advice.
   
   In many ways this book breaks many of the rules that I usually don't like. For example, Kaplan puts many, many address of sources in this book. Usually I would complain that such information belongs in a magazine, not in a book, but somehow they work here. Perhaps because the subject is so specialized.
   
   What I like about this book:
   
   1) Specialized subject, covered well.
   2) Covers all types of portfolios, print, online, CD & multimedia, slide...
   3) LOTS of resources. This book will not age well, because of this, but it is a valuable resource right now... suppliers, album manufactures, workshops, it's all here. Want to publish your work as a book? The resources are here for that, too.
   4) Interesting sidebars, much like Ketchum's book. Consider: "Are you truly serious about your work" and "The ethics of captioning".
   5) STUNNING images. Tell me the image on page 21 doesn't make you want to give up the studio and become a photojournalist.
   
   What I don't like about this book:
   
   Not much really, just a few points.
   
   1) For example, under the sidebar "Web Design Don'ts" Kaplan advises 'Avoid Using Black Backgrounds'. I don't know about you, but EVERY single 'WOW' photographic website that I go to has in common a black background. This is an example of someone who came up in the print era trying to be a web expert... but don't worry about it, John, even Babe Ruth didn't hit 1000%.
   
   2) Readability is above average for photographic books, but that's a pretty low benchmark to shoot for.
   
   Still, buy this book. Worth the money, worth the read, worth the room on your photographic library shelf.



3. In his new book, "Photo Portfolio Success", John Kaplan has created the most comprehensive, current, in depth and honest book for photographers who may be hoping to get their foot in the door, for those where the door is already open, and even the lucky ones with an all-season pass in the competitive and rewarding field of photography. This book debunks every myth you thought you knew and tells it like it is from the very top people working in photography today. A literary device using pull-out quotes from top photographers, editors and even New York photo agents subtitled: "Your Biggest Mistake", and "Your Best Move" also gives the reader more honest guidance of what they really need to know to succeed in an often cutthroat business. Here's a nugget from Detroit Free Press photographer J. Kyle Keener: "Don't show something in your portfolio that you can't do consistently." It's honesty like this that helps photographers get to the next level. Kaplan's book scales several mountain ranges with advice every sane person really needs to know if they want to keep a roof over their heads in making a living at photography.
   In 13 chapters, this book covers all the bases and genres of photography and everything you need to know to get a running start. Photojournalism, wedding photography, freelance and commercial work, nature and wildlife, fine art photography and the extremely important areas of marketing and self-promotion are all covered. Detailed yet easy-to understand methods of building your own web page to promote your photography business are included. Necessary links to various companies providing presentation material like portfolio cases are also here. The book is well designed and beautifully illustrated with examples of some of the finest photography being done in the world today.
   I think the really nice thing about this book is the underlying encouragement that Kaplan offers the reader throughout. Reviewing as a professional photographer myself, Photo Portfolio Success gave me a renewed sense of vigor and honest assesment of where I need to go in this crazy yet wonderful career of photography.



4. There are alot of photography books out their to try to help people in different aspects of photography. But this book is backed with a punch. Author John Kaplan has a Pulitzer Prize to back his knowledge of the many different aspects in the photo business. This book cover it all, from wedding to nature photography Kaplan has brought to the pages some of the greatest photographers currently working. Kaplan even includes hands-on editing tests to test your knowledge. Every photo in the book is a example of the best in the business. Every photo school whether photojournalism or fine art should have this book in the classroom. Kaplan shares secrets that has made him an industry leader. This book can give the reader an edge over the competition by giving solid examples and information to help every photographer get in touch with whatever organization is avaliable to that aspect of their business. Finally a book for photographers everywhere. Don't be without this content driven book. Content is the key here, every picture example is extraordinary and inspiring. Everyone can learn more-so start here.

4 comments about Color Your Own Modern Art Masterpieces.

1. I bought this book for its completeness and thoroughness, the very nature of which provide variety, for use in an applied study of color theory for people who work with color and are not necessarily graphically/two-dimensionally oriented. The line drawings are well done and "relevant," in that they are neither of the color-by-number variety nor are they too broad and general drawings of shapes.
   
   Personally, I prefer to color on a smaller scale with prismacolors, just for fun (and do academic experimentation with color just for fun), and like to have a lighter line than black indicating the shapes and color areas, as it shows through the prismacolors. The paper is, however, thick enough to be painted on with opaque paints. For my purposes, then, I scan these, reduce them in size, and then lighten the black to a light grey.
   
   This review started out as a shocked response to a post below, in which the reviewer states she/he had been "looking forward to using this with . . . art students" and didn't give it 5 stars because it didn't "provide a brief intro before each piece:"
   
   Her/his review was mitigated by later posts from "amiemv" and The First Lutheran Church "Bookfairy" who got it right: the information is there, the teacher should have the background already and be able to provide the connections by integrating it into lessons/lesson plans.
   
   These are reinforcement activities and/or enrichment activities when applied in an educational setting. For home use, they are those same kind of activities as well as springboards to finding out more about the artists. It is not an illustrated book, as that first reviewer might want; it is a collection of images made ready to color and to be used by people who have a use for those images for reasons of their own.
   
   For that reason, no introduction to each artist is provided; it is assumed that people buying this book would already have that knowledge or would be motivated to find out the information.
   
   A generic introduction to an artist and a coloring sheet for one of his/her pieces is no more than busywork if they are employed in the "art" classroom or in the general classroom for an "art activity" without connections to other knowledge bases being made, the least of which is the background knowledge of the artists and pieces being a part of the teacher's understanding, or a part of research assigned to accompany the busywork.
   
   As mentioned at the start, these can be used as springboards to the exploration of design elements, color theory being an application I have found for them, the details of which are too long to go into here.
   
   However, in response to that surprising 4-star post, I went on to suggest a use to which one of the images might be put in the art classroom, in the hopes that it would stimulate her/him to think more about how to use these, rather than see a fault in the lack of text. The "you" in the paragraphs below are, then, the personal "you" directed toward that poster; the content, however, of the use to which one image in the book may be put, is addressed to the general "you," as in the more formal "one" or as a substitute for the passive voice.
   
   If anyone does apply this lesson plan, please contact me and show me some process images and finished product images.
   
   This is a very fun activity to use in the classroom; I have used it in varying forms from 5th grade on up (I wouldn't go into the pointillism detail for students below high school level; other images with other ways of producing color -- even artist-specific in terms to technique (van Gogh and oil pastels, for example) and color selection -- would be more appropriate, and the research step might be a presentation by the teacher after the initial "free-style" approach, dealing with the artist's focus, followed by the grid/scale activity as reinforcement of that artist's choices in technique, color, paint application . . . .)
   
   Here is what belongs more in this review than as a response to that post, and remember, don't take pointed comments personally: they are specific responses to one particular reviewer, and meant to be helpful:
   
   For some ideas on how to apply artists' coloring sheets in the classroom, see back issues of _School Arts_ (your school library should have them; if not, at least one school in your district will have them), and by all means, secure yourself a subscription to this number one art educators' resource.
   
   Just for one example, if you were to use George Seurat, would you introduce him as a pointillist and then suggest the students follow suit? Would you hand out the sheets first and have them color them, pin up the group, and then assign them research on Seurat after completion? Would you then, after completion, ask them to do another, using what they learned? Who knows.
   
   What I would do, after completing individual images and pinning them up and having them do research, is explain the concept of pointillism and its relationship to the impressionist's concepts (light, changing light, and perception of light and color), grid and cut the coloring image up into squares, one for each student (or two -- depending on the number of students you have; if you have a lot of students, perhaps you would need to grid and cut up more than one copy and divide the class into two or three teams for this project). After the grid is cut, glue each square to the center of a square white paper or a 5" x 7" white index card and pass them out to the students, along with a blank white square 4" to 6" big. Then you will ask them to duplicate, in pencil line, the abstract image they have on those small squares on the larger square. When they have done that, tell the class that they are to color the abstract image they have using pointillism to make the colors.
   
   When everyone is done, have them paste their squares onto a heretofore unveiled master grid (one for each team or for the class), making sure the top is up and the letter and number match the letter and number on the master grid. You will have a large pointillist painting of "Sunday Afternoon on the Grand Jatte," which is the image in the book, I believe.
   
   Alternately, after they have made the line drawing that duplicates the layout on the uncolored line square, you may have made a color copy of the painting in the exact size and scale of the line drawing, and you can grid and cut this out into squares that exactly match the little black and white ones, and then you can hand out color squares pasted on index cards for the class to duplicate in pointillism: it will give them a starting point. Better yet, you could color in one of these yourself, matching Seurat's colors exactly, but in prismacolors, blended in the traditional color pencil blending technique. Then you could cut this (or those, if you need more than one for your class size) into squares and have the class duplicate the colors on their larger white squares, using pointillism to give the impression of the colors there.
   
   If you are teaching art, you should have a working knowledge of all the artists and works in this book, from only your three general Survey of Art History classes: Prehistoric through Pre-Renaissance/Early Renaissance/Renaissance, Renaissance/Baroque through beginning of 20th century, and 20th Century/Contemporary Art History. These classes would have been completed before you received your B.A. in Art or in Art Education. If for some reason* you managed not to take them, go back to a community college and take them just for yourself; the knowledge you gain from these classes will serve you well in all fields throughout your life.
   
   As to devising lesson plans, you should be able to pull these out after your two practical Art Education classes, in which you have had practice devising lesson plans. These classes would have been completed in your fifth year, before your student teaching.
   
   *(some reason being perhaps being having taken Art Appreciation as a substitute or a specialized area of art history, Women's Art, for example, or even attending a school with a lack of oversight and stringency in standards)



2. I was looking forward to using this with my art students, and it is a really interesting way to introduce them to art pieces. The only reason I didn't give it 5 stars is because I've seen other books provide a brief intro before each piece that talks about the artist... not this one.



3. There are 30 different modern art masterpieces represented here, so it is definitely worth the price. All pieces are shown in color on the front and back covers, and each individual page has the name of the artist (years of their birth-death), title of the work, date created and type of medium used. So, it's educational and fun. I recommend it for all ages. Some of the artists included are: Picasso, Miro, Klee and Mondrian.



4. This is a fantastic resource for any children's art program. Whether you are writing your own lesson plans or connecting art with literature. This inexpensive resource is a must for your collection.

1 comments about Art Forms From The Ocean: The Radiolarian Atlas Of 1862.

1. Radiolarians are a total blank to the majority of people, yet these remarkable builders of glass houses (microscopic to be sure) abound in the world's oceans. Ernst Haeckel, the Nineteenth Century German biologist and supporter of Darwin, wrote the most comprehensive monograph on the group in his Radiolarian Atlas of 1862, which is still in use today. The illustrations have never been surpassed and so it is certainly a boon for microscopists that the plates have now been republished in all their glory as "Art Forms from the Ocean: The Radiolarian Atlas of 1862". In many ways I wish that the text would have included descriptions of the radiolarians illustrated and their distributions, but that probably would have been of little interest to the general public. Instead there is a discussion of Haeckel's life and work, especially of his involvement with radiolarians and other microscopic marine life.
   
   Still, for the price this is a real bargain, and I thus recommend this book just for the plates to any amateur or professional biologist who is interested in the micro planktonic organisms of the ocean.

5 comments about Colored Pencil Portraits.

1. After having spent a great deal of money and time on other books which tend to just showcase only the artists work with little to no value to the budding colored pencil artist, finding this book made ALL the difference. My technique and understanding of the use of colored pencils for realistic painting has blossomed and I credit it to the extensive use of this book.
   
   It is not only a fine book on the techniques used by Ms. Kullberg, but it also encompasses the ENTIRE piece, from structure and form of the background to the tiniest of details on the face, hands and clothing. I cannot sing of its praises enough.
   
   If you are seeking a book on portraiture, you could not spend your money more wisely. I recommend this book above any others for presentation--it's like having an art teacher there whenever you need them!



2. I have taken a workshop by Ann Kullberg she teaches colored pencil so clearly that even I learned something. I have read this book and one of her other books. Colored pencil painting done by showing the importance of layering colors in creating shapes with depth and richness in colors. I've since used what I learned from Kullberg in my other painting mediums. I've got nothing but praise for this book!



3. Colored Pencil Portraits
   I have been a non-professional artist for over 50 years, and I do primarily portraits of people and pets. This book offered very thorough help. For example, the author showed how to create your own guide for skin tones using the brand of pencils she uses. It made it very easy to create the same effects.
   
   She also gave quite a bit of space to explaining how to do a background, and showing good and bad examples of how to place the main subject within the "frame" of the background. Many full color examples of what she is trying to explain make the book enjoyable and easy to understand the points she is making.
   
   All in all, this book is well worth buying if you do portraits--or would like to.



4. For those interested in the colored pencil medium, this is a descriptive reference for portraiture creation.



5. When I recieved this book, the first thing I did was skim through it entirely. It is very informative and well written, going into excellent detail in technique and color theory for the medium of colored pencil. After settling down with enough time to properly read it ( although the chapters are detailed enough that it is not necessary to do so), I also found that the techniques explained incorperate very well into my own personal style of drawing. It will definatly remain, as a great reference, in my studio for years to come! I recommend this book to anyone who loves colored pencil or those that have no idea just what a colored pencil can do.

5 comments about Designing Design.

1. This title is exactly what you expect from the cover, it is absolutely amazing inside. Clean, conceptual work that ranges from product design to printing techniques. Its very Japanese aesthetics, the interiors are well designed and beautiful. This is a book that will inspire even the quiet.



2. Not only a beautiful book but also a great collection of images and essays, a strong contribution to the field of design literature.



3. The Book has a different approach when it comes to design, and its not the mere use of the banal connotation that design has become, but the art of designing and undertaking projects with special sensibility which is explained in its pages. The author shows through different examples of his work, when designing how he engage his projects in a more significant way. Simplicity and common sense.
   The eastern perspective and its way of life is strongly reflected in a very palpable philosophy which is the guideline throughout the book. Truly special lecture.



4. DESIGNING DESIGN is quite possibly the most beautiful book on design ever published. Not only is the content illuminating and intelligent, allowing the world to gain an appreciation for one of the truly unique voices in the design field - that voice being the Japanese master Kenya Hara - but also in keeping with the subject, the book itself is a paramount of elegance, simplicity and superb creative force. This is a white book, a volume of information and illustration that embraces the purity of white as the matrix upon which everything blossoms and emerges.
   
   In an introductory essay by John Maeda the author states `Kenya Hara is a complex man. He views the world through his many lenses of seeing, tasting, smelling, erasing, evaporating, and all the forms of construction and deconstruction.' And after those appropriate words this pristine book opens into the genius that is Kenya Hara. `Verbalizing design is another act of design....To understand something is not to be able to define it or describe it. Instead, taking something that we think we already know and making it unknown thrills us afresh with its reality and deepens our understanding of it.' What follows on the pages are images of page design, paper, bowls of white cabbage leaves, signs, images of Swatch watches that come down through projected air onto any surface presented, unique signage for public spaces, soft ice cream shapes, furniture, spaces, lamps, posters - any object that requires rendering is treated and discussed in concept and philosophy by a man of great wisdom as well as endless creativity. The illustrations accompanying the text are clean and as well placed on the page as any creation by Hara. This is a seemingly endless array of fascinating subjects.
   
   For the non-designer reader, the reader fortunate enough to open this book without the prejudice of traditional design information, this text contains powerful philosophical concepts. `The human brain likes anything that entails a great deal of information. Its extensive capacity waits eagerly to perceive the world by completely exhausting its great receptive powers. That potential power, though, remains today in a state of extreme constriction and is a source of the information stress we're all under.' Hara approaches this conundrum by dividing his book into sections that approach answers to these problems: RE-DESIGN, HAPTIC (Awakening the Senses), SENSEWARE, WHITE, MUJI (Nothing, yet Everything), VIEWING THE WORLD FROM THE TIP OF ASIA, EXFORMATION (Rivers, Resorts), and finally WHAT IS DESIGN? This book is meant to be absorbed slowly, portion by portion, and then to be read again once the reader understands Hara's contributions - quiet yet majestic though they be. The text reads very well (thanks to the superb translation efforts by Maggie Kinser Hohle and Yukiko Naito) and while the information is complex, the writing style is comfortably conversational.
   
   This is an important book on many levels and should be required reading for all students of design, practitioners of design, and for everyone whose eyes are influenced by astute observation. Brilliant! Grady Harp, December 07



5. A plain white cover with some black text in Helvetica. That's the dust jacket cover of a design book? If I'd judged the book solely by the cover I would have missed what is actually a quite unique and wonderful book about design.
   
   The cloth-bound cover itself is also all type, but now white type embossed into a white cover--not the most readable (though you can read it) but in a way the essence of this book--minimal, elegant, playful, clever and thought-provoking.
   
   This understated and often witty approach is a refreshing antidote to the frantic overkill that constitutes much of the commercial design we're bombarded hundreds of times a day.
   
   Like the cover, the text can be mysterious. When I first read the preface I balked. But I was intrigued and read it again and this time, it was surprising and beautiful.
   
   "To understand something is not to be able to define it or describe it. Instead, taking something that we think we know already and making it unknown thrills us afresh with its reality and deepens our understanding." It's almost as if he's talking about a Claes Oldenburg sculpture which takes a common object and shows it to us in a gigantic size that makes us see it in a new light--yet the designs and ideas featured in the book give us this new perspective right on a printed page.
   
   You're not going to see innovative typography in this book (though the book itself is beautifully designed, typeset and produced). But you are going to see stunningly understated photography and a Japanese approach to design that can be an inspiration everywhere in the world.

5 comments about Books Unbound.

1. I bought this book after reading all of the wonderful reviews of it. I've been making handmade books and I have several other books on the subject and wanted to add another to my idea arsenal. What a disappointment this book is! I won't make a single project, and although I read the book cover-to-cover there is nothing I'll take with me. If you are interested in making paper art sculptures to display (and collect dust), then this book may be perfect for you! If you are interested in making BOOKS that are practical and useful and actually resemble BOOKS then look elsewhere.



2. There are not enough positive words in the dictionary for this book. It's far better than I anticipated.



3. I bought this book thinking that my granddaughter(7) and I could use it to guide us in making books, but the designs were elaborate and artsy. I sold it on e-bay shortly after I received it.



4. Absolutely Michael's best work to date and the book only he could do justice to. This book really has it all and is not only perfectly written with THE most concise instructions that one could hope for and anyone can follow ... each project becomes more exciting than the last.
   As an author, project designer and workshop instructor, working with my amazingly talented husband Opie, we truly believe the success of a how-to book depends on the quality of instruction given and this book is like having Michael with you, 24/7.
   The entire book appeals to us on every level and I particularly love the range of creativity shown in the alternate endings. Every project is eye candy and i'm totally blown away by both the Sky House and the Story House books. If you have an interest in bookmaking, paper, sculpture or just appreciate beautiful things in general, then this book is a definite must-have. Highly recommended by Linda and Opie O'Brien, authors of Metal Craft Discovery Workshop.



5. My book shelves are full of books on bookmaking. Many repeat the usual instructions for traditional bindings, sometimes with a little twist or inovation. However this book takes inovation a giant step forward. I have made matchbook drawers and pyramid boxes before but Michael Jacobs sent my imagination reeling. His creations are so exuberant and so inspiring but not beyond the capabilities of an average crafter. The illustrations and instructions are well laid out and easy to follow. This book is a "must have."

5 comments about Art for Dummies.

1. I liked his anecdotes a lot and I agree with his overall philosophy about art, but agree with others on the shortcomings.



2. My husband and I are planning a trip to Europe with our teenaged kids this summer, and I had hoped to refresh my very faded memories of the Humanities class I took in High School, and get useful info that I could convey to my kids regarding the art we will be touring this summer. Unfortunately this book is not really helping. The descriptions are all over the place - for each art style or era or artist, he highlights selected works, maybe two or three, as good examples - but rarely shows a photo of what he is describing, and when he does the b/w photos are uselessly small and grainy. It is not helpful to me to say, for example, that the two most important examples of Uppity-Up style can be found in Turkey and Egypt - and then not show the photo of them. When will I ever get to see those? It's a big deal for us to go to London! Forget the Nile! Rather, I'd love to have a listing of more accessible examples, with references to the best but inaccessible pieces in case I'm a real globe trotter.
   
   Another gripe - he spends a great deal of time early in the book telling us that the stereotypes of art are false - it's not pretentious, it's not accessible only to the rich, it's not hard to get the "meaning" from a piece, etc. Then the rest of the book is written in a very dry, scholarly style. He tells us we have to travel all over the place to see the best stuff. He also seems to brag about the pieces of art that he has had access to that most people in the world will never be able to see. What's the use of that? If that's not pretentious, I don't know what is.
   
   This book is not scratching my itch, and certainly is not helping me find ways to educate my (bored with art) teenagers.



3. I've always enjoyed looking at art, but not only had trouble with expressing my feelings, but also understanding what was going through the artist's mind when they created their masterpiece. Mr.Hoving uses wit and charm to guide his reader through a very extensive lesson in art history: from the very first cave paintings ,to the Renaissance, to Modern Art. You will also learn a lot of tidbits about art history, and about all of art's major players (e.g. Raphael, Hugo, Picasso). He even teaches you how to select art to start your own collection!
   I'd still say that the best way to learn to critique art, is to go to a museum with a friend/parent that knows their stuff, and just have them "think outloud" when they are viewing the paintings. You do eventually want to go from: "Wow that painting of that lady is pretty," to "by giving her a coy look coupled with a slight smirk, the artist was clearly trying to convey the 'I know you want me, but you can just keep dreaming,' attitude." ;) And that kind of critical thinking is a skill that can be acquired with lots of real world practice--which no book will be able to provide you with.
   Note: I had to lower my review slightly after reading about the errors pointed out by the professors. That is indeed embarassing.



4. Did you skip art history 101 in college? Do you enjoy visiting museums but when you are not with your curator pal, you are utterly clueless as to how to optimize your visit? Fortunately, this book can help!
   
   Art for Dummies is written in a very easily digestible style by the former director of the Met in New York and former editor of Connoisseur magazine. It essentially lays out the different art periods, highlights those works of art that are considered most famous and of the greatest importance (note: rather subjective as always...) and even goes so far as to display these works in color pictures. If you are a burgeoning art philomath, you may find this book a good tool for moving up the learning curve.
   
   There are also good tips on how to get the most out of a museum visit and a helpful bibliography with online material. After reading this book one will easily be able to answer the following queries without a dumbfounded look on one's face:
   
   -What are your three favorite works of art and by whom?
   -What are the 10 best museums in the world?
   -Where is Rousseau's Sleeping Gypsy housed?
   -Where was the Venus of Willendorf found?
   -What work of art did the first woman pharaoh build?
   
   A special nonlocal thanks to the friend that purchased this book for me!



5. I am a big fan of the Dummies series of books (I've read Mutual Funds for dummies when I was new to investing, anticipate purchasing Wine for Dummies, and have also read Personal Finance for Dummies), the pictures are nice, the it is easily digestable and worth the price.

   I like the little tips that they suggest. For example, the author suggests litte tricks the "pros" use when visiting museums. For instance, if one is short of time, simply make a first stop to the museum's gift shop where most often, pictures of the museum's best exhibits are on the post cards. This tells you the best that the place has to offer and gives you the heads up about what not to miss if you can't see everything.

   I thought that was a nice little nugget of information...

5 comments about The Artist's Muse: Unlock the Door to Your Creativity.

1. Don't feel stuck, or unsure of what to do next - get this book into your hands and get creating. Joyful, fun and inspirational. If you are prepared to push past your own boundaries and fears and have some colourful fun, this book will really bring some new ideas to your work table.



2. Wonderfully inspiring book to get the creative juices started! I was in an artistic slump and this book really gave me the jump start I needed to get back to creating more intuitively. I highly recommend this book to all levels of artistic experience, beginner to advanced.



3. The Artists Muse: Unlock the Door to Your Creativity
   
   This is an awesome package of book and cards, chuck full of ideas enough to keep you busy for years! The book is beautifully illustrated, full of challenges, thoughful quotes, and work assignments with all the elements of a piece of art. The 3 decks of ideas & instructions is visually beautiful with color and imprints so you MUST open them. And when you read the content, no Muse could continue to sleep in boredom. There are personal invitations to embark into an adventure for your own inner growth in the Cirles of Growth, Doors of Awareness or Windows of Opportunity. It is a sure cure for the doldroms! What fun for yourself or a group of friends.
   
   Patricia Eastman



4. I buy books for one purpose. I want to be inspired. Inspired by the knowledge, wisdom, exploration, talent and sheer delight of what others are doing and have done. This book is full of inspiration. If you don't find inspiration in the book (and I know you will) you will be nearly pushed to your creative space by the force of ideas you will gain from the innovative and brilliantly designed deck of creativity prompts. There is nothing else like it, but then there are few others like the talented author, Ms. Stroud.



5. I recently bought this book and my first few look-throughs have shown a fun book with lots of ideas to spark your creative muse. I am looking forward to having time to play with the ideas presented. A good book that will actually get used!