1 comments about The Sphinx on the Table: Sigmund Freud's Art Collection and the Development of Psychoanalysis.

1. A very chatty read going from Freud's birth in Moravia to his escape to London from Nazi-ridden Vienna. I don't think the author makes a strong case for Freud's art collection leading to the development of psychoanalysis. I think the art collection developed as Freud began to publish and treat patients with psychoanalysis. His classical education at the Gymnasium made him familiar with mythology, and I think this led to his collection of antiquities.

No comments about Liam Gillick: Proxemics Selected Essays, 1988-2006.

No comments about The Genius of Rome 1592-1623.

No comments about Primitive Art.

No comments about Essential Official Handbook of the Marvel Universe - Update 89, Vol. 1 (Marvel Essentials).

No comments about With Love: Artists' Letters and Illustrated Notes.

4 comments about Fountain Pens : United States of America and United Kingdom.

1. After writing Fountain Pens of the World (ISBN 0302006680) Andy reprises his position as the preeminent authority of an endangered writing instrument. The chronological and authoritative description of every major manufacturer is interlaced with some of the most beautiful and actual size photography of pens you'll ever see.
   
   This volume is a work of art and effort of a true aficionado, the most comprehensive history of Sheaffer Pens you'll ever see is inside this book, the choice to break the history of Parker into the USA and UK versions is the mark of a purist.
   
   Beautiful heavy stock paper ensures this volume will endure in your collection for decades.
   
   Andy Lambrou's reputation is well deserved, and this is another work of art from the master.



2. Andreas Lambrou has once again produced an authoritative text on fountain pens. It is relatively comprehensive and has spectacluar photographs and line drawings. This is an excellent guide to learn the history of fountain pens and to identify fountain pens. While there can be no doubt that Mr. Lambrou cares very much about fountain pens, this does not come through in his prose style. Writing is straightforward and clear, but does not connect fountain pens to social history, industrial design, or the just plain joy of writing. Inclusion of several pages on the work of Classic Pens, Mr. Lambrou's own firm, which are of limited interest is a questionable decision.



3. This and other Lambrou books have been described as invaluable references for the collector. I agree, for the most part. The photos and line drawings in this volume are excellent and the text gives detailed history of each manufacturer's models and variations within models. What is missing is a value guide for the pens listed. I'm sure the most serious collectors find such information unnecesary, but I believe that newer or more casual collectors would find pricing benchmarks useful as they muddle through eBay and other auction sites.



4. For the novice and experienced collector both, this book is Andy's finest yet. By dividing out the US and UK manufacturers, this book provides even greater detail and scale images, as well as historical reference of vintage and modern pens from all of the significant pen makers of the last 100 years. The images (both photos and line images) are the best available to-date, and an invaluable reference to the serious collector.

1 comments about Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords.

1. Dada? Neo-Dada? Mono-Ha? Sots Art? If you find yourself utterly confused by art terms, timelines, and general overall descriptions of art movements since the 1940's, Art Speak is a great book to have. Robert Atkins of Village Voice fame, has put together a dictionary/mini-encyclopedia of "ideas, movements and buzzwords" touching on everything of note that evolved in the art world from WWII through 1989. The books opens with a timeline 1945-1989 detailing and comparing (in capsulized form) major world and art events, giving the reader/student an idea of the corellation between history and how art evolves and intertwines with it. The remainder of the book is an alphabetical listing of art movements with descriptions and snazzy graphics. It isn't a huge text book with intensive essays and pages and pages of commentary on each style, but it is a great set of "Cliff Notes" for those trying to find a jumping off point to learn more about that slippery entity called art. I highly recommend it.

1 comments about The Absolute Bourgeois: Artists and Politics in France, 1848-1851.

1. T J Clark early in his career, exhibiting the thorough research, keen eye, and conversational yet erudite prose of his later work. Think of this as a warm up for The Painting of Modern Life. What I enjoy about Clark's writing is how he can be both cautious and bold in the same paragraph. This book will make you wish you had paid more attention in that modern european history class.

3 comments about Hatshepsut: From Queen to Pharaoh (Metropolitan Museum of Art Series).

1. This is one of the best books that I've seen on the art, symbolism and life in Ancient Egypt. Set within the reign of Hatshepsut, a royal wife and queen who transformed herself into Pharaoh, it looks at the lives of royal women from the images and personal artifacts that have been left behind.
   
   Each chapter takes a look at aspects of Hatshepsut's reign and life, as well as the architect Senenmut, who may or may not have been her lover, but was also her most trust confidant -- and to whom she turned the education and care of her daughter, Neferure. One section that was of particular interest to me were the displays of women's lives and those of children, a topic that usually gets overlooked. There are exquisite pieces of jewelry, goldwork and tiny statues -- one of a small child, no longer than a pinkie finger, and holding an unbloomed lotus blossom, was particularly poignant. Along with precious objects there were also everyday items from mirrors, toiletry objects, small jars used to hold cosmetics and oils, to boxes and games, and several very fragile pieces of furniture of exquisite craftsmanship. All of these are shown in the catalog, each one with a detailed description and what it was meant to be used for.
   
   Another aspect that I really enjoyed was how Hatshepsut changed the artistic styles that were in use in Egypt, and how it influenced later depictions of rulers. Icongraphy that shows her wearing male attire, false beard and holding symbols of regal authority are throughout, as well as the unusual temple that she designed and built at Deir El-Bahri where she intended to be worshipped and remembered throughout eternity.
   
   The essays are clear and managed to be free of most jargon which would drive away most armchair archaelogists and non-specialists. The book is laid out in beautiful detail and design, giving plenty of room for the reader to savor each object and the type and layout in a pleasing format. Despite the hefty cost at 45$US for the paperback, and 65$US for the hardback editions, it is well worth the price.
   
   In short, if you can't get to one of the locations where this exhibition is showing, this massive and exquisitely produced catalog is the next best thing. The photographs and drawings are very crisp and clear, the writing is informative, there are extensive notes and it provides a lovely experience for anyone interested in the power of women in the ancient world, or Egypt at the height of power and conquest.
   
   For those who are interested in such things, this exhibition was shown in San Francisco in late 2005/early 2006, will continue at the Met until August 2006, and will continue on to the Kimbell Art Museum in Fort Worth, Texas from 24 August to 31 December 2006. I do suggest that if you can, do try to see this. It's worth it.
   
   Highly Recommended.



2. Think of early Egypt and you think of King Tut and Cleopatra. Those two, however, are not the sum total of Egyptian history. This book is basically a catalog of the collection regarding Hatshepsut a most interesting woman. She was the daughter of a king, and was married to her half brother. Upon his death the kingship transferred to his son by a secondary wife with Hatshepsut as regent for her nephew. Later she became co-ruler and king in her own right. Got all that?
   
   The collection, made over many years included numerous pieces that were deliberately smashed about twenty years after her death. Because such fragments were not of value they waited until recent times when they were patiently assembled into the statues that they are today. In addition the collection contains hundreds of objects produced during her reign. The items are described by some twenty-five noted Egyptologists in addition to the three authors.
   
   The book is of large format and profusely illustrated with perhaps 400 pictures, about half of which are in color. This book will remain after the exhibit is gone.



3. Once again the Metropolitan Museum has enriched the history and art of Egypt books with the publication of this very impressive catalogue that accompanies the exhibition 'Hatshepsut : From Queen to Pharaoh'. While many other museum exhibitions have been inundated with people attending the King Tut behemoths, this exhibition focuses on Hatshepsut, daughter of King Thutmose I, and wife and half-sister of King Thutmose II, who in the mid-15th century BC gradually acquired kingly status and power for herself. Her reign was twenty years in length as a woman pharaoh.
   
   The catalogue that accompanies this traveling exhibition is beautifully designed and is full of extant drawings and objects that demonstrate her influence on history, culture, monumental art, and architecture of the late 17th and early 18th Dynasties. The writing is of the highest order and divides the book into "Setting the Scene," "Hatshepsut and Her Court," "Hatshepsut's Building Projects," "Decorative Arts," "The Proscription," and "The Aftermath." In addition to the written information, the catalogue has superb reproductions of jewelry, pottery, furniture, reliefs, and statuary. Then, sadly, the writing includes detailed descriptions of the demolition and desecration of the important monuments from Hatshepsut's reign.
   
   Here is a moment in history brought to life by a group of fine curators and writers, suggesting that as much as we think we know about the past, there are always surprises to be brought to our attention by the museums of the world. A fine book, this. Grady Harp, March 06