5 comments about Master Pieces: The Curator's Game.

1. Stimulating book - took me back to days as an art student. Enjoyed very much.Purchased as a result of borrowing the book from the local library.
   Excellent.



2. Thomas Hoving was the director of the Metropolitan Museum of Art for a decade (1967-77). He presents the humble public with this shining book/game with obvious love and appreciation of its contents.
   
   He starts off by recounting how every week during the long coffee breaks at the MET, a select person would bring in photographs taken of certain details from various famous (and not-so famous) works of art. It was then the pleasure of the art buffs in the room to discern just where it was they'd seen those images. There were easy details, there were mind-bending details. They came to call this the "Curator's Game."
   
   Equally as entertaining are Hoving's assorted thoughts and interesting side-notes on the works. He never shies away from providing his own opinions. For instance the clue from a Renaissance piece on pg.28 reads that the artist's women "had a softness that his rival Michelangelo never achieved."
   
   The first half of the book has all of the details along with their respective clues. You'll find angels and men, dogs and instruments as it winds down to incredibly difficult background images. The second half houses all of the paintings from which the details were taken along with a brief description and examination of them. And don't fret, if you fear you won't be able to find them all, Mr. Hoving has been kind enough to provide us with an answer key.
   
   As has been written by others, this would make a wonderful gift. It also proved a great way to pass the time on a rainy day. Recommended for my part.



3. Former curator of the MET introduces us to the "classic" curator game of showing small samples (pieces) from famous works of art and trying to determine the artist and name of the piece. The curator who won (the master of the days pieces) would get a free cup of coffe for the week. We only get the satisfaction of knowing our art. Along with the satisfaction though is the honing of your art identity skills and an overall increase in your awareness of art. From Giotto to Hockney the 'test' covers 57 masterpieces from 700 years of western art. The pictures are used more then once so you really need to know your art to get them all right. The end of the book has a quick bio and review of the masterpiece.
   
   My only complaint would be the book is a little small, Hoving talks about using the book to study the details of the pieces yet some of the pictures are only 2x3 inches, makes seeing the detail tough.
   
   Strongly recommended for anyone interested in western art. As this book assumes a basic knowledge of art, I would not recommend for an art novice looking for an intro to art.



4. This is a wonderful book for art buffs and and novices alike. As Hoving says in the introduction, it's based off of a game that curators often played together at the Metropolitan Museum of Art. Each identification "challenge" comes with a brief biography of the artist and unusual fact/perspective on the piece or its depiction, and the book's unique format helps me remember (and want to share) everything I learn. It's great for dinner parties, long car-rides, or just curling up with on your own to sharpen your eye for art. It makes the perfect gift-- I'd recommend it to anyone!



5. Pick up this book for fifteen seconds and you won't put it down. It immediately got me involved with its "curator's game" of showing small details of great art-and then challenging me to match the details to a famous artist and the complete painting. Where had I seen those haunting eyes before? What story is being told by the reflections in the small mirror? When you turn to the complete paintings in the back of the book, and see how the piece fits into the masterpiece, you learn a lesson that will stay with you for a long time. The lesson: Look carefully at all parts of a painting instead of just standing back and admiring the work as a whole. It's true that "God is in the details," so this book encourages you to relish and delight in those details.

1 comments about The Jumbo Book of Art (Kids Can Press Jumbo Books).

1. great resource for art projects. I have used this book in my classroom for a few years and I have taken ideas and full projects from it. It is a great resource for the 6-12 age range.

No comments about Branding: From Brief to Finished Solution.

5 comments about Cities For A Small Planet (An Icon Edition).

1. There's probably a great truth in the fact that the last 50 years of planning have enrich few and impoverished many.
   Zoning is simple, clear, fast and economically definable, but it isolates the people who are destined to live there, and enslaves them to the use of car.
   Overlapping and dense urbanism is historically a step back, is more work for planners, more difficult to understand for the laymen and developers and will cost more, but it will ultimately favor humane contact, regenerate sense of community, diminish the slavery of people on machine and last but not least reduce pollution.
   We have to reconsider the word coined by the Polish American Architect Lubicz of Nycz: Urbantecture.
   Urbanism & architecture are very delicate matters, intimately tided they create the frame for the world we live in.
   This is a great book for planner, politicians and people, because everybody today is oblige to look at cities as sustainable places where life can prosper only in respect of nature.



2. "Cities for a Small Planet give me the reassurance that there are influential people trying to reduce the destructive impact of human activities on the world. The case study of Curitiba, Brazil is particularly inspirational.
   
   Author Richard Rogers looks for ways to make city centers more sustainable and points out the importance of public space within a city. He makes a case against single-use developments, the sprawl of the suburbs and the need for automobiles. I can't help but to wonder, though, about the average family living in a suburb in their own house with a backyard garden, two dogs and a cat. Those average people are quite happy to be away from the city centers, from the panhandlers and predators, from unsafe feelings while riding public transportation, from the sounds of police sirens and honking horns. Will dense sustainable city developments change that?
   
   Not everyone is cut out to live in dense cities. A more appropriate question (at least in the United States) might be, "What can we do to make our suburbs more sustainable?"
   
   Just an aside: I found the font size of this book to be a bit on the small side, and the captions under the pictures to be small to the point of near unreadability.



3. It is a good book, small but with lots of information. It introduces in a simple form the urban problems of the world and tries to focus in it's solutions. After I read it I showed it to teachers at my school and they now quote it in class.



4. Unusual and very well thought-out propositions for the architectural/urbanization problems that arise today as society everywhere struggles with increasing overpopulation. EWspecially noteworthy is the inclusion of small town issues, a topic normally overlooked by other architects/scholars who write on urban planning. Some interesting research, and of course the intriguing sketches and drawings I associate with Rogers, Foster, Piano, and all thoes other postindustrial architects. It's a small little book that is great for reading on the plane. Usually something not too common with architecture books.



5. After reading this book, I wanted to pack my bags and head to London to study with Richard Rogers. His observations on the importance of balancing population, resources and the environment is right on. He identifies the need for compact cities, but seeks to reinvent the dense city model to be a cleaner, greener, more integrated place. Rogers pays specific attention to positive social changes that compact cities can make, and he addresses the importance of regionalism to acheiving sustainability goals. Also, he explains how proximity allows for creative reuse of resources and efficient building design. The book is unique; Rogers makes concrete suggestions and offers actual examples of ways to acheive sustainability.

5 comments about Caravaggio: Painter of Miracles (Eminent Lives).

1. We purchased "Caravaggio: Painter of miracles" in preparation for a tour to ITALY dedicated to the works of Caravaggio that we found in Rome, Naples and Florence. It was an excellent preparation.
   Excellent sketch of Caravaggio's life, and overview of his opus. The author's clear and aggressive prose fits Caravaggio to a T. The text was easily read and exciting in it's coverage of things Caravaggio.
   I recommend the book to any person interested in Caravaggio and I intend to pursue other works by the author Francine Prose.



2. Francine Prose's "Caravaggio: Painter of Miracles" is part of a series of short biographies called "Eminent Lives" in which famous authors write about great historical figures. The aim of the series is not be produce scholarly or definitive works; instead it is to offer the reader a gateway into the works and importance of the subject to inspire further exploration and thought.
   
   Francine Prose is best-known as a novelist. She offers in this book an elegant short guide to the great Italian painter Michelangelo Merisi da Caravaggio (1573 -- 1610). Caravaggio's story is one of the most romantic and tantalizing in art. He moved to Rome as a young man of 21 and established his reputation as a painter of importance, turning early in his career to paintings of religious themes. But Caravaggio's life was tumultuous, violent, and brutal. He was never without his dagger, even when he slept. He brawled and fought and consorted with the low life of Rome, and was forced to flee the city after killing a man in a dispute that involved a bet over a game of tennis. In exile, Caravaggio continued to live violently, to flee from place to place, and to paint masterpieces. Prose captures the tension between Caravaggio's tortured life and his artistry. She writes:
   
   "The life of Caravaggio is the closes thing we have to the myth of the sinner-saint, the street tough, the martyr, the killer, the genius -- the myth that, in these jaded and secular times, we are almost ashamed to admit that we still long for, and need. .. Each time we see his paintings, we are reminded of why we still care so profoundly about this artist who continues to speak to us in his urgent, intimate language, audible centuries after the voices of his more civilized, presentable colleagues have fallen silent". (p. 13)
   
   Prose did not get me very far into Caravaggio's life. She is much more successful in describing the paintings, which she does in good detail for a short book. The book includes 11 color plates of some of Caravaggio's masterpieces, from the beginning to the end of his career. Prose has helpful things to say in helping the reader to understand these works and the circumstances of their creation -- she helps the nonspecialist learn to look at and respond to a painting. I found her especially good in discussing Caravaggio's paintings of the "Calling of Saint Matthew" -- where she eloquently shows the artist depicting a conversion experience -- and its companion work, "The Martyrdom of Saint Matthew." Prose also discusses well many paintings that are not reproduced in the book. In order to get the most from these discussions, the reader will need to find these paintings in another source -- this book has as its goal, after all, encouraging further exploration of Caravaggio.
   
   Prose finds Caravaggio's greatness lies in his honesty, directness, and naturalism. She stresses how is works communicate directly with the viewer. Prose also emphasizes how Caravaggio used common people and places and the tough street life with which he was familiar in his paintings, including the use of rough laborers, common dwellings, gypsies, and prostitutes. Caravaggio's work combined elements of violence and low life with deep spirituality as he explored the mysteries of faith, conversion experiences,loneliness, and martyrdom. Caravaggio's brilliance as a painter, and the highly modern tension his work suggests between the spiritual and the mundane, are reasons why many people will continue to be fascinated by his work.
   
   Prose's book doesn't capture fully the reasons why Caravaggio's work continues to live and to move people. But her book will encourage reflection upon and further exploration of the work of this great and troubled artist.
   
   Robin Friedman



3. Francine Prose writes well and with a light ironic touch but this slim volume adds little to what we already know about Caravaggio. At a little over 100 pages and with only a handful of color illustrations the book amounts to little more than an extended essay of Ms. Prose's reactions to Caravaggio's major works. There are very many better books showing the paintings and Prose doesn't go into the camera obscura technique that Caravaggio undoubtedly used, giving his paintings an almost photo-realistic representation of his subjects.
   
   That Michelangelo Merisi da Caravaggio was a brawler with a passion for picking fights worthy of "Fight Club" who combined erratic behavior with some sublime paintings is hardly an insight. A much better treatment of the life and psychology of the artist appears in Peter Robb's 1998 "M: The Man who Became Caravaggio" which curiously is unreferenced by Prose.
   
   Although Prose notes that Caravaggio broke away from the stylized poses and unearthly lighting of the mannerists, I don't think she clearly explains his genius.



4. This was a good book because it made me curious about Caravaggio. I subsequently bought another book that was a much more thorough biography of Caravaggio.



5. A great little book that covers what is known about a true bad boy of art, a tormented genius that challenged the accepted art of his time and changed the direction of painting, not something lightly done in those times. For this he was applauded, sought out, paid very well; he respond with bad judgment and madness. This book hits all the highlights and story points a non-art professional would want with being bogged down in too much 'art philosophy' that books on artists sometime drop into making it hard for an amateur to wade through. This is an excellent intro to Caravaggio. You should read this and then follow it up with The Lost Painting: A Quest For A Caravaggio Masterpiece, the amazing and true story of how one of Caravaggio's lost paintings was found in the 1990s.

3 comments about ArtSpoke: A Guide to Modern Ideas, Movements, and Buzzwords, 1848-1944.

1. I learned about this book during a docent training class I just took. Since it was deemed a reliable source by the museum's staff, I thought it would be one I could count on to help bone up on new exhibits that come to the gallery.
   
   It provides informative overviews of art movements, styles, and historical moments like Nazi Art. It does not provide explanations of media processes. For instance, I was hoping to find a quick definition of the mezzotint printmaking process, and couldn't.
   
   I would recommend this for any art lover's reference library.



2. This was one of my most indispensable reference books for my art history courses.



3. Modernism, Modern--now I undnerstand the difference! And so much more about twentieth centnury art. Students and experts both will finnd this invaluable. Atkins is a genius in the way he gets these complicated ideas across that I never understood in art history class. Great pictures and chronology, too.

2 comments about Artists Communities: A Directory of Residencies that Offer time and Space for Creativity (Artists Communities: A Directory of Residences That Offer Time & Spa).

1. A comprehensive guide to art residencies in the United States - complete with application due dates, residency fees, etc. Highly recommended!



2. It was very helpful, I hope that I get to experience these locations.

5 comments about How to Identify Prints, Second Edition.

1. Bamber Gascoigne's "How to Identify Prints" is a comprehensive, yet detailed analysis of the various types of works on paper. As other reviews indicate below, it covers the entire field of works on paper. For appraisers, dealers and collectors, it is a "must have" for your reference library. As an appraiser, I agree with another review on the book that indicates that the book is a little light on woodblock prints. However, woodblock printing is complex enough to support its own books, especially when discussing Japanese Woodblock prints.
   
   Even with the brevity of the woodblock section, this book is still the best overall print reference book I have seen. It uses a logical approach to educating the reader, and allows him or her to progressively expand his or her knowledge as they work through the book; it builds a foundation, and then adds to that foundation. I only wish I had discovered the book years ago when I was just beginning to learn about prints! For beginners to connoisseurs, this is a fabulous reference book.



2. This book is found in the printrooms of most galleries and print collectors as it is a precise and concisely written text which explains the complex processes of printmaking. It clarifies the sometimes baffling differences between printing families and the creative techniques involved in making a print such as the subtle visual difference between an etching and an engraving. The book is illustrated throughout to assist the reader to identify printing techniques, characteristics and attribution marks used in Old Master prints through to those made in contemporary times. This reference text would appeal to anyone fascinated by prints and provides a new vocabulary for those who want to know more about the interesting visual variations possible in the world of the print.



3. I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes.
   
   This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations.
   
   I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are.
   
   I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print.
   
   //wiredweird
   
   PS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.



4. Back in print and updated in a new paperback edition is Bambar Gascoigne's classic How To Identify Prints, first published in 1986 and enjoying ongoing acclaim as an essential resource for any involved in identifying prints, whether they be woodcuts, lithos, or etchings. Some ninety techniques - manual and mechanical alike - are described to round out an accompanying history of prints. A lasting, classic work essential to any art library and many a general library reference collection.



5. Now in an updated and expanded second edition, How To Identify Prints: A Complete Guide To Manual And Mechanical Processes From Woodcut To Inkjet is a superb reference and self-teaching tool for discerning between manual prints, process prints, and screenprints/non-prints, whether the print in question is monochrome or color, and whether it is relief, intaglio, or planographic. 272 illustrations, 40 of which are in color, highlight the meticulous attention to detail in this excellent manual, which also covers essential aspects of printing history and the craft of printmaking. This new addition is revised with insights concerning how increasingly sophisticated yet inexpensive cheap printing processes such as quality inkjet and laser prints affect the process of identifying and evaluating printed images. A "must-read" for anyone collecting authentic prints or pursuing a career involving the identification of prints.

1 comments about Mapping the Terrain: New Genre Public Art.

1. In Suzanne Lacy's Mapping the Terrain: New Genre Public Art, authors espouse continuity and responsibility through community-based public art works, collaborative practices among artists and their audiences, and the engagement of multiple audiences through empathy and appreciation. Their sense of new genre public art builds on exposure, deconstruction, and rejection of modernism's constructs and myths. Throughout these essays terms such as "community", "consensus", "truth", "good", and "multiple voices" are used to propagate a genre of public art that is dematerialized and progressive. Yet, it is not realistic to assume that consensus and community will always be progressive forces. This book raises more questions than it answers. Such as; can an artist go too far in the direction of consensus and community? Isn't there danger in not recognizing the tensions and conflicts within any group interaction (small community) for the sense of consensus (common good). Do the multiple voices include those that do not label the project "art?" Do these, and other public art projects have the potential to fall back into the modernist trap of being seen as a fraud, a hoax, or a loss of craft, in which audiences are insulted? Are these projects art because an artist was involved, and what happens to that role if the artist is simply a conduit for other voices? Can the artist speak for communities from which the artist does not belong (is it better to utilize local artists from within the communities)?

2 comments about American Encounters.

1. I am an art history graduate student and a longtime art lover and this is the American art survey book that I have been waiting for. It is well-written, full of beautiful images and expands the traditional boundaries of the historical narrative of American art. It surprised me with fresh insights that I've found to be thought provoking and inspiring. This book has a permanent place on my bookshelf.



2. This is a splendid, rich investigation of American art and culture. Filled with unusual images from architecture, popular culture, "high" art, and all forms of American design, across race and social class, it engages the reader in the puzzling tapestry of our intricate culture, tracing influences that will surprise both newcomers to this field and those for whom this book will offer a welcome development of American art history and American Studies.