2 comments about Star Wars Comics Companion.

1. Despite the flaws mentioned by one reviewer, this book is a MUST HAVE for all STAR WARS fans. Yeah ... sure, it's missing some things, but what it DOES contain is awesome. Wild, colorful, fantastic art makes up for any flaws; besides there may be a second one to make it more complete.
   
   Highly recommended



2. I read the book from cover to cover and was surprised by all the information it contained, but I was more surprised(and dismayed)by what it DIDN'T have. There is no summary for the story "The Best Blades"(altough pictures from it are used), several sentences are missing from the summary for "Chewbacca", the summary for "Visionaries" has incorrect information, and the biggest dissapointment is that there is absolutely NO MENTION of the series entitled "River of Chaos"! Why the authors omitted it's entry is beyond me.

1 comments about Fun with Rock Painting Kit (Art Start!).

1. Grandkids absolutely love it - bought one first and had to immediately order three more. Plan to get more to have on hand for birthday party gifts. (grandkids are 7 to 13)

1 comments about Bunny Yeager's Bikini Girls of the 1950s.

1. Una excelente compilación del trabajo de Bunny Yeager. La reproducción de las fotografías es de una gran calidad.
   Lo único que se extraña es algún tipo de explicación sobre las fotografías y las modelos que posaron en ellas.
   Fuera de ese detalle, este libro es una excelente compra para los amantes de la fotografía vintage, el pin-up y de Bunny Yeager en general.

No comments about Auguste Renoir: Book of 30 Postcards (Postcard Books (Todtri Productions)).

No comments about A Field Guide for Female Interrogators.

3 comments about The Mansions Of Denver: The Vintage Years.

1. "The Mansions of Denver" is a must for anyone interested in the history of Denver and Denver's prominent families during the "gilded-age." There are plenty of photos of the mansions of Denver, both those that are still standing as well as those lost to the greed of fools with no sense of historic preservation.



2. This is the book many of us have been waiting for. I, and many of my friends, have wondered about the history of downtown Denver, especially Captiol Hill, and particularly about the Victorian mansions in the neighborhood that we heard had been torn down years ago. Not many people we talked to had any information. This book has it all. It covers all the big houses and major names in the development of early Denver. It tells how fortunes were made and lost, and what happened to the many mansions that were built with money from mining, oil, real estate, and ranching. While some of these gems survive, most notably the Governor's Mansion and the nearby Grant/Humphreys mansion, hundreds were lost to urban renewal in the 1960s and 70s. While Bretz laments their losses, he gives us a glimmer of hope that those that have survived will be with us a long, long time.



3. Denver is blessed with an abudence of Gilded Age gradeur and this book does a fine job of focusing on the best of these. The images are crisp and clean and the text is very enlighening. It is a shame that some of these homes have been lost, but having said that, Denver should be proud that so many are extant. Highly recommended to anyone interested in Denver or just fine residential architecture in general.

5 comments about Zen For Beginners.

1. Surprisingly, this volume in Documentary Comic Books Series from Writers and Readers publishers turns out to be a pearl of great price: a readily accessible, fun to read, History of Zen Buddhism. In a delightful series of line drawn cartoons (which the subject lends itself to) we follow Gotama Buddha through his magistral Life, Nagarjuna thru his teachings, Bodhidharma into China, Dogen back to Japan, and every major figure in between. The contributions of these great teachers and patriarchs are reduced to a few key sayings, koans, and concepts. In 160 pages, mostly pictures, the reader garners a coherent picture of the history, identity, meaning, and purpose of Zen, that would otherwise have taken the reading of many volumes, thick ones, to imbibe. This effort is a brief, informative recovery of the original face of Zen history and a wonderful teaching tool. My friend, the late Paul Reps, would have LOVED this slender masterpiece. Or, as Ikkyu puts it in the book:

   'And what is it, the heart?
   it is the sound of the pine breeze
   in the ink painting.'




2. If you like your religion serious and grim, this probably isn't the book for you. But if you are drawn to Zen Buddhism in part because of its warmth, humor, and apparent contradiction, it's an excellent place to start.

   The authors make it clear from the start that although they have studied Zen for many years, they are students, not enlightened masters. For some writers, this would be a liability; their humility transforms it into an asset: their willingness to admit their imperfect knowledge make this much more approachable than other Zen books I have read. They impart a fair bit of basic information, while also conveying the flavor of something that "cannot be described in words [...] an experience more basic than the level of conceptual thinking."

   The book, like other books in this series, is a quick but broad introduction to a complex topic. If you are looking for a serious, detailed reference book, look elsewhere. But out of the dozen books on Buddhism on my shelf, this is the one I first loan to friends who are curious about Zen.




3. This work by Blackstone and Josipovic is an adequate introduction to Zen Buddhism with some nice history. When it gets into practice and study is where I stumbled. In the discussion of the koan, the authors read off a few that I am familiar with, but then this one, which I found strange they would include it:

   "One day he [Choa-chou] fell down in the snow and cried out "Help me up, help me up!" A monk ran over and lay down beside him. Choa-chou got up and walked away. (If you can guess who learned what in the above situation, you are doing better than the authors). pg 100

   I felt the authors should have left that out, for it made me suspicious of the rest of the book. A fun book otherwise and good for someone who knows a little more about Zen than just a beginner, for they will have a more refined view.




4. I am just a beginner in the study of buddhism.After reading "Buddha For Beginners"( a book in this series),I thought this book would be a good next choice. I was wrong! Although the historical text was informative, the text about theory and teachings was mostly quite confusing. The art work was not good.The illustrations' humor was witless and sometimes in poor taste. Had this been the first book I read about buddism it may have been my last



5. I really enjoyed reading this book. The reading went quickly, because there are pictures as well as words to express ideas. The illustrations were well done, and usually quite humorous. The book does not go into any serious dogma, just explains at a very basic level what Zen is and where it came from. I'd recommend this book to anyone; I can't pick out anything I didn't like.

No comments about Art and Architecture: A Place Between.

3 comments about Art and Beauty in the Middle Ages.

1. This is a fascinating and enjoyable survey of the approaches to and embodiments of beauty in the Middle Ages through the 13th century, which is when the Middle Ages gave way to the High Middle Ages (which culminated - or bottomed out, depending on how you look at it - in the Protestant Reformations). Great theologians and mystics such as St. Thomas Aquinas and St. Bernard of Clairvaux are dealt with, as well as lesser figures such as Hugh of St. Victor and Abbot Suger. Theology and mysticism, architecture and music, science, philosophy and even love poetry are brought together as Eco paints (no pun intended) a highly detailed exposition of the ways in which beauty shaped the lives of those in the medieval era.
   
   It is, in many ways, a tour through a land that is as strange as it is wonderful. The entire world - every created thing - was, early on, *seen* as a symbol that was to be read just as the Bible was read: with a sense that it existed not just as it was, but as something beyond itself too, pointing ultimately to God, for God had created it. Nature is understood to be what sociologists and philosophers would now call "enchanted": filled with mystery, depth, existential and metaphysical meaning. The rise of Aristotelian metaphysics (re: science and philosophy as a single entity - they weren't separated back then) is what eventually quashed this such that the world was no longer see as a cosmic spiritual thing so much as a created thing that could be studied as having its own laws. St. Thomas Aquinas, "the Angelic Doctor", did much to push this view and it eventually one out. The medieval era looks curiously modern in this regard.
   
   Although the rise of Aristotelianism may have done much to encourage the development of what is now called "modern science", there were other forces at work, particularly those of stone and glass: the medieval churches. In France, in the 12th century, a priest named Suger designed and oversaw the building of the greatest church of the medieval era: the cathedral of St. Denis. St. Denis is today known as Pseudo-Dionysius, a 5th or 6th century monk whose writings were written under the name of Dionysius the Aeropagite, the first convert of St. Paul. Denis/Dionysius's mystical writings on the light of God were heavily influential on Abbot Suger and as he designed the cathedral, he saw to it that the stained glass and windows allowed the light to filter into the building such that the very experience of the aesthetics would be like an ecstatic experience of God.
   
   This brought him into conflict with St. Bernard of Clairvaux, "the Difficult Saint", who is best known for his four-volume commentary on the Song of Songs. Bernard was unarguably the greatest and most influential figure of the 12th century, and he thought that the great burst of enthusiasm for aesthetics in Abbot Suger's cathedral was perilously close to idolatry. In a certain sense, neither figure won this dispute for the beauty of cathedrals has been with us ever since, without the highly developed sense of theological aesthetics articulated by Abbot Suger being understood by those who marveled in - and at - the cathedrals as "houses for God".
   
   And yet, the vision of beauty permeated theological and mystical writings that dealt with the vision of God and the resurrection of the dead. The very notion of beauty was found throughout much of medieval thought - which was oftentimes theologically rooted, but not always - and it is to Eco's credit that he can so deftly maneuver between theological and philosophical writings on the one hand, and their embodiment in architecture on the other. The vision of God was the summit of the medieval spiritual journey, and this even resulted in the painting of pictures of Jesus as being physically beautiful - a sign of no small level of devotion.
   
   This book is a fascinating read whose short length is by no means matched for its insight and familiarity with both primary and secondary sources. Students of history (whether sociological or intellectual), theology and mysticism, and art will benefit from the lucid work. Casual readers will benefit from it as well, and likely find themselves looking at light - and all that it brings to sight - just a little differently as a result of reading it.



2. An extremely important book that answers marvellously our prejudices against the Middle Ages. It explores in great details their literature and philosophy to show how people understood beauty then. He sees three phases. First the aesthetics of proportion in direct connection with the greek mathematical heritage and the biblical teachings about the wisdom of the creation by God who projected his own balanced vision and essence in every single creature. Second the asthetics of light which reveals a more sensorial and even sensual approach to beauty in the fact that light and colors are beautiful at first contact and felt as such without any reflection. Finally the aesthetics of the organism that sees beauty in the fact that a complex composition is the creation of perfect balance among all the elements that are themselves balanced in the same way at a lower level. The second great approach is that of allegorical and symbolical beauty. For philosophers and theologians beauty was to be found in the meaning of things and meaning was to be found in the allegorical and symbolical value of every element considered because for them nothing existed that did not represent the higher level of divine nature, divine perfection. Even a representation of the devil can be beautiful if it shows perfectly the ugliness of the beast in him. Yet Thomas Aquinas reveals his deeper sense of beauty in the fact that he provides this concept with a certain amount of autonomy. This autonomy had been in the air for many centuries but he is the first theologian to accept it as an important element in his evaluation of beauty. We find the same dilemma with art. At first art is nothing but what is produced by the manual work of people. But through poetry on one hand, and groups or corporations of artists on the other, the aesthetic value of artistic work is captured at least partly. Yet the book has aged a little bit over the last forty years or so. It does not consider enough the practical and material level of things. The existence of poetical tournaments in important pilgrimage cities like Le Puy in France, the constant use of music and singing (and the specialization of some monks in that field), the training of architects and sculptors in some abbeys to build the churches of their abbeys or their priories. It also does not see that some practices, like poetry, is in perfect continuation of what it was in the celtic, nordic and germanic traditions : the poet was on his way to becoming a druid, or singing epics was part of the know-how of a good warrior, or a celtic god was nothing but a good craftsman in one trade and a good poet and singer, etc. The global evaluation then is slightly defective. This leads him to concentrating on gothic cathedrals and neglecting the romanesque period that built thousands of little marvellous gems in villages with sculptures, paintings, etc. The romanesque period is thus undervalued and the gothic re-orientation is over-valued. The pesrpective is then defective. Finally he takes the present conception of art and beauty too much into account to assess the conceptions of the people in those days. Even when dealing with art history we must not, never, look back at things to assess them but always compare what follows to what has come before. In this case he should have compared medieval art - exclusively - with roman art et celtic-nordic-germanic art without forgetting that the chirstianization of the Roman Empire and the Germanic invaders also brought a complete shift from what was done for the free elite of a fundamentally slave-society to something that was supposed to be done for everyone within the church, the liturgy, but also mass events like pilgrimages, fairs and carnavals, or the famous Masses of Fools or Danses Macabres. It was, in our world, the first time ever the whole society was associated to cultural and artistic activities that were integrated in general social life not as an entertainment or a decoration but as something meaningful, even if we can consider the necessity for that meaning to be religious or articulated on a religious dimension as being a limitation. And these elements were quasi-permanent since situated in all the churches and taking place at all religious occasions, as well as non-religious occasions. We will then note that Troubadors were a regression when they were playing and singing only for the noble elite, though from Eco's point of view they were progress since they introduced a new conception that was closer to our modern conception of poetry. From the slave-owning elite, to mass christian pedagogy, and then to the new noble feudal castle-enclosed elite. From refined feelings going along with the barbarity of circus games, slavery and gladiators, to the massive culture of the Peace of God and God's arts and beauty going along with the barbarity of some warmongering local or not so local barons and other nobles, and then to the refined troubador music and poetry for the castle-protected nobles going along with the continuation of the religious oriented arts for the people abandoned by the poets and the musicians. Maybe the Middle Ages were looking for a uniformized society too much, but it is a selective elite practice that came out of it for the superior social class of the nobility. The Middle Ages is a period that tries to manage its contradictions in a balanced way hence shifting from one elitist contradiction to another elitist contradiction. Umberto Eco misses this last point.
   
   Dr Jacques COULARDEAU



3. Umberto Eco's best efforts are probably contained in this rather labyrinthine and meandering effort to codify Thomistic philosophy. Thomism doesn't have a philosophy of the "aesthetic,' a notion wholly alien to the medieval mind. So Eco has to kind of create such a notion from a plethora of Thomas' writings. Fortunately, Eco does stay on track, even if he creates and follows tangents widely, by staying focused on the contribution ART (vis-a-vis "aesthetics") offers to modern sensibility.

   Frankly, if one wants a better understanding of Medieval attitudes toward art, Emile Male's "Gothic" is incomparable. Male's work is a tour d'force and a "must" for anyone seriously interested in medieval art.

   Even Jacques Maritain's "Art and Scholasticism" does a better job of presenting Thomistic views on art and beauty. The same can be said of Josef Pieper, who has written many books on art and the scholastic mind.

   Eco, who made a name for inviting deconstruction into the Italian worldview, is better skilled at directing his attentions to that field than the medieval notions, concepts, and theories of art and beauty. If one wants a more concolidated assessment of the "philosophical" underpinnings of scholasticism's attitude toward art, simply read Aristotle. The scholastic view isn't much different, except that it is differently deployed in a manner consistent with Male's "Gothic."

   This book bored me.

4 comments about Aboriginal Art A&I (Art and Ideas).

1. Over the past two decades, Aboriginal art from Australia has been gathering momentum as a major international art movement. Christie's, Sotheby's and other auction houses hold regular, successful sales of paintings and artifacts produced at Aboriginal settlements across Australia. Major historical figures such as Rover Thomas and Emily Kngwarre can command several hundred thousand dollars for a single painting. Even though indigenous people make up less than three percent of the population, their art in recent years reportedly accounts for about half of the total dollar value of all art sold in Australia.
   
   The appeal of Aboriginal art to non-indigenous collectors is many-sided. On a purely aesthetic level, the work is multi-layered and vibrant. Western eyes familiar with Abstract Expressionism and other post-modern art movements have a conceptual bin in which to place Aboriginal painting. Those who dig beneath the surface appeal discover that many of the paintings record the creation myths of the Aboriginal people, documenting how the land was created by mythical Ancestors during the Dreamtime. Unlike much abstract western art, which concerns itself with technical issues - "flatness" or "shininess" or "color saturation" - Aboriginal art is about something complex and sacred that's been passed down from generation to generation for tens of thousands of years. Collectors with a political bent can take satisfaction in knowing that works purchased from reputable galleries and community art centers provide money to economically downtrodden indigenous settlements while helping to validate the importance of Aboriginal culture.
   
   In this excellent book, Howard Morphy uses art scholarship, his experience in the settlements, and a deep empathy to place Aboriginal art firmly within the context of modern Aboriginal life. The book shows how art making is a part of ritual practices used to summon and honor the Ancestors who made the world. Art - whether it's done as rock paintings or sand drawings, body painting, wood carving, or the application of ochres to bark or acrylics to canvas - is a way of animating the past by making it come alive in the present. Only designated clans or individuals have the right to perform certain rituals or tell certain Dreaming stories. Art becomes a way of asserting and establishing those rights, as well as a way of establishing rights to the land where the dreaming story occurs. Their art also enables Aborigines to open up a dialog with the dominant European culture in a way that expresses and asserts the value of their belief system.
   
   A significant part of Morphy's achievement is granting us access to the rich body of inherited myths, rituals and symbols that Aboriginal artists draw upon to create their art. Like all great religious art, the best of this work expresses eternity in the context of a present moment. Aboriginal artists such as Uta Uta Tjangala, Paddy Sims, and John Mawurndjul, like the Italian Renaissance masters, allow us to experience something sublime. A number of women artists have also created major bodies of work. Dorothy Napangardi, Judy Watson, and Eubena Nampitjin, for example, use sweeping lines and bold colors to tell their Dreaming stories and to express personal visions of everyday bush life. In the works of the great Aboriginal artists, we are witnessing the expression of an enduring vision that has triumphed over time and, since the arrival of the Whitefellas, extremely adverse social circumstances.
   
   Morphy covers the evolution of this art from the Wandjina and Bradshaw rock art done thousands of years ago through printmaking and photography produced today by young urban Aboriginals. He also discusses the historical and cultural circumstances that led to diverse artistic expressions on bark and wood across Arnhelm Land, and is informative on the multiplicity of painting styles that evolved out of ritual practice in the central and western deserts. He provides us with a broad and sympathetic look at artists from southern Australia, where greater exposure to European settlers led to greater suffering and cultural disruption. The concluding section on art produced by urban Aboriginals is convincing in its assertion that even though it differs from the "traditional" art produced in the settlements, it still says something important about the Aboriginal experience.
   
   The book is lavishly and expertly illustrated, and the reader will be struck by the sheer variety of forms and methods of artistic expression. The most rewarding way to see this art is to travel to the places where it's being created and meet the artists who do it. If that's not in your budget, the best public collection of Aboriginal art in the Unites States is the Kluge-Ruhe Collection, which is housed at the University of Virginia in Charlottesville. (Howard Morphy is associated the Kluge-Ruhe Collection and helped to assemble it.) If you read the book, then stand in front of some of these paintings, you will tap into one of the world's oldest continuous cultures while simultaneously experiencing the "shock of the new." As Howard Morphy amply demonstrates, the effort richly rewards you at multiple levels.



2. This beautiful reference book is full of beautiful photography of aboriginal art and Howard Morphy has researched this subject in great depth having lived with tribes in Arnhem Land. A great resource for those studying for degrees in Anthropology and Art History.



3. This book is not your standard art history, by any means. It is the story of how the Aboriginals coped with the European indruders. They had much experience dealing with strange people from overseas but nothing prepared them for their encounter with Europeans. They were at first completely baffled and also almost wiped out. The people of Tasmania were literally completely eliminated--the last native of Tasmania died in the second part of the 19th century.
   Using their wits and their art, they were finally able to get through to the Europeans, to make them understand and appreciate the beauty of their whole culture, to gain the Europeans' respect and admiration. Initially dismissed as rude doodlings of savages, Aboriginal art is now esteemed world wide.
   The author takes great pains to explain how the Aboriginals' art prevades their whole way of life and how knowing their cultural ways makes understanding their art possible and visa versa. The book is fascinating, beautifully written and structured and its sometimes grim but finally triumphant story makes for wonderful reading. It is hard to put down once you start it. It must be of interest to all sorts of people, not just art lovers.



4. Aboriginal art having always been a great influence on my own artwork ......., I looked for weeks to find a book of this caliber. This book by Phaidon press features gorgeous reproductions in full color, history and observations of Aboriginal culture, and art interpretation written in a friendly, engaging manner. If you want to learn more about Aboriginal art, you really couldn't do better than to start here.