4 comments about Best of Flair.

1. These facsimile pages from the twelve issues of Flair are a celebration of Fleur Cowles zest for creativity in the arts. The 338 pages must have been a challenge for the Hong Kong printers, they had to cope with various foldout pages, die-cut holes, different paper stock and bind in several short pages, two concertina foldouts and five sixteen page booklets.

   Sumptuous though the book is I feel that Flair is resting in its reputation. To my mind, having worked as a publication art director, the photos, typography and layouts are very conservative and do not show any particular innovative design. Other magazines and designers were much more creative in the fifties, 'Fortune' with Will Burtin, 'Glamour' with Cipe Pineless, 'Harper's Bazaar' with Alexey Brodovitch and 'Vogue' with Alexander Liberman. Certainly the covers with their die-cut holes (sadly only six of the twelve are included) and the bound in booklets were unique to consumer magazines at the time but I think that Flair should be remembered as a magazine concept rather than a magazine full of creativity.

   Fleur Cowles writes a short piece about the origins of Flair (handwritten in gold on dark blue paper) but does not give enough detail (I believe each issue involved several printers and binders) and as there were only twelve issues a list of all the articles should have been included. Another reviewer has commented that the high price (reassuringly expensive?) and the cloth covered box the book comes in reflects snob appeal, I agree but I'm still pleased to have a copy.




2. I first became acquainted with Fleur Cowles' revolutionary 'Flair' magazine during my childhood in the fifties. At that time the publication impressed me with its cultured blend of cosmopolitan sophistication and innovative design, although it didn't escape me that its pages also included a great deal of elitism, snobbery and self-congratulatory arrogance. Although I wasn't fortunate to keep any of the original issues, the magazine became a significant influence in the development of my literary and artistic tastes and in my life-long quest for beauty and elegance. For that I was grateful. So it was a joy to learn that a best-of compilation put together by Fleur Cowles herself had finally appeared. The original 1996 printing sold out before I could manage to acquire a copy and when Rizzoli recently published a second run I quickly got one. This edition has a foreword by writer-socialite Dominick Dunne. Now, is it really worth the rather steep price of [price]? Well... I think that for that kind of money the publishers could have managed to provide us with something much more substantial, for example: a slipcased set containing facsimile editions of all twelve original issues, rather than this comprehensive but ultimately limited look. A complete reprint would have given us the full impression of the range and period feel of a unique magazine, and at this price I think that they could have well afforded to do it. I understand that part of the reason for this expensive price tag is the snob appeal that has always been a part of the Flair mystique and that perhaps this offering is to be regarded as literary caviar for the more discerning (and well-off) among us. On the plus side I must say that the large-format book is lavishly printed, that the articles are indeed very well selected - containing not quite all but much of the best of the short-lived magazine - and that the presentation is very handsome indeed. Several of the covers are reproduced with their distinctive die-cuts and embossing and the book is housed in an elegant cloth-covered box. I still think it could have been more reasonably priced but there it is. Caviar lovers, enjoy it before it disappears again!



3. Get this book. Do anything you have to in order to own it. I paid $250 at the Art Institute of Chicago because I was afraid I would miss out...again. This is a collector's piece if you got the first edition. If not, don't hesitate. It is interesting, intriging, thought provoking, ahead of it's time....and not just for 'creative' types. Something good for everyone.



4. This is the most extraordinary book I've ever owned! I missed out when it was first published as a limited edition and I vowed that if it ever came back,I would grab one. Bravo to Rizzoli Publishers for re-issuing this hard-to-find classic!

5 comments about Athena and Eden: The Hidden Meaning of the Parthenon's East Facade.

1. I don't profess to know enough about Greek history or archaeology to say that the author is right on target; HOWEVER, his theory does fit the facts of Greek mythology and Biblical revelation.
   
   The author's premise is that Greek mythology is really the story of Creation, the Fall of Man, and the Great Deluge, except told from the side of Evil. There are a lot of photos of various aspects of Greek art to back up his theory, and he does a good job of explaining it in terms a novice can grasp. This work has piqued my interest and I'm going to have to do a lot of further reading.
   
   One thing the author didn't point out, but which I've theorized for years, is that the portions of Greek myth typically referred to as "The Clash of the Titans," was a perversion of the true story of Lucifer/Satan being cast out of heaven. I'd like to see Mr. Johnson chase that rabbit in the future.



2. I have accidently seen this book in Tampa Museum of Art downtown, and intrigued by its title, I bought it. Little did I know how revealing this book is.....
   
   I always pondered about the ancient fascination of womanhood, and modern condemnation of womanhood -- where and why it all changed?
   
   Well, the author nicely connects the ancient female divinity emphasis and the one the Bible gives in the garden of Eden.
   
   Indeed, because of Eve's choice to be seduced by the Serpent, humankind serenity of life ended. Later generation, perhaps out of deperation and mystic of new life birth, elevated woman again, and Athena (a-thanassos -- immortal) carries the symbols of woman 's fall from the garden, yet, in sense that through the Serpent she gave humanity freedom from God, and then presented a new connection through her outstretched hand.
   
   So strange why females were so elevated back then----Cybele and Kaabala connection (Muslim worship of black stone just like in Ephesus Artemis and black stone)...
   
   I am often shocked to see how ancient beliefs carry over to nowadays...
   
   D.Barbara Zapal



3. If you know who "the prince of the power of the air" is then you will probably find this book very interesting. I came across the book almost by accident on an Amazon list and found it to be very well reasoned and argued.
   
   The author's main idea is that greek myth and religion consists of a retelling of the story of mankinds origins (familiar to us through the first 12 chapters of the Bible) from a greek or humanist point of view. Wow, he got me right there!
   
   The book shows how many of the seminal events of human history such as the original sin, the murder of Abel, the flood etc. were depicted on the sculptures decorating the Parthenon. However, they have almost the opposite meaning and sentiment as the biblical depiction.
   
   If you are interested in ancient history and how it intersects with the bible you will love this book. I bought the author's second book Athena and Kain. It supposes to make the same basic points looking at a wider selction of Greek myth than found solely on the Parthenon. However, as many follow up books do it spends a lot ot time covering material from the previous book. That's ok if you have not read the previous volume but tedious if you already have.
   
   The book is also well illustrated.



4. The focus of Greek civilization, the Parthenon captures viewers imaginations even as it conceals its true meaning. In his ground breaking work, Robert Bowie Johnson, Jr. author of ATHENA AND EDEN: THE HIDDEN MEANING OF THE PARTHENON'S EAST FACADE demonstrates that when Athena is seen to be Eve, then Greek mythology becomes narrative art. Consequently, the marble sculptures on the east pediment of the Parthenon relate the story of the origin of mankind, matching the Genesis account in detail.

   Johnson asserts that scholars have previously been unsuccessful in identifying most of the figures in the east pediment because they have failed to connect Athena with Even and the story of Eden in the Book of Genesis. Through careful research, Johnson demonstrates that we do have the literature and art to serve as a source of reconstruction. Painstaking comparison demonstrates shows that the sculptures of the eastern pediment depict the Garden of Eden, the birth of Eve, the Great Flood. Furthermore, the goddess Athena, whom the Greeks worshipped as the one who brought the serpent's wisdom, is the same person the Book of Genesis calls Eve.

   Johnson, a West Point graduate, author, teacher and public speaker based his research on surviving sculptures, the ancient writings of Homer, Hesiod, Pindar and others, plus myths, vase art and the work of numerous experts. His controversial approach will certainly garner attention from all who are interested in the classics, religion, art, and mythology. Indeed, Johnson's unique perspective will provoke avid discussion among academics for years to come, yet is easily approachable by any who hold an interest in our origins.




5. Athena And Eden: The Hidden Meaning Of The Parthenon's East Facade by author and educator Robert Bowie Johnson, Jr. offers the non-specialist general reader a unique, accessible, and provocative look at classical artwork and human spirituality. Athena And Eden focuses on the majesty of the Parthenon and its mystical connection to the Book of Genesis. Illustrated with numerous black-and-white photographs of Greek artistic treasures, sculptures, and pottery, Athena And Eden is an original, seminal, ground breaking, unforgettable, and highly recommended perspective that will be of particular interest to students of Hellenic art, architecture, mythology, and religion.

No comments about The Art of Truth-Telling about Authoritarian Rule.

No comments about Packaging Makeover: Graphic Redesign for Market Change.

1 comments about Rembrandt Landscape Drawings (Dover Art Library).

1. These cheap reproductions only give the faintest indication that Rembrandt was aa genius with a pen and ink. Here his line work is reduced to mush and the washes are all grayed away into a uniform dullness. This is a very disappointing book. There may be some point to publishing a cheap edition, but in my opinion Dover would be better served by putting out a book with real quality rather than these bad prints.

No comments about Modern Perspectives in Western Art History: An Anthology of 20th-century Writings on the Visual Arts (MART: The Medieval Academy Reprints for Teaching).

4 comments about Chris Ware (Monographics Series).

1. I had hoped this book would have more about Chris Ware, but most of it is the author's boring observations about comic art and his theories about what Ware is drawing. I would much rather read about the subject's childhood, and especially the details of his time in art school and in Austin. Instead there's endless verbiage in the Scott McCloud vein. A few interesting reproductions of Ware creations I hadn't seen before are included, but not much else is worth recommending.



2. This monograph was chock full of finely reproduced Ware art not just stuff from his comics, including some photos of his sculptures I had not seen before. The copy the author included as a comentary on the art helped translate the pathos of Chis Ware's art. I think you will enjoy this monograph if you are a Chis Ware enthusist or just a casual fan.



3. This book focuses on the evolution of comics, where Chris Ware fits into that evolution, and especially Ware's proficiency as a graphic designer. Working with a medium still ignored by most and cast off as a childish one, Raeburn gives us a view of Chris Ware's work from a professional design standpoint, and proves that it is well-deserving of such an analysis.



4. I am a big fan of the work of Chris Ware, so I thought this book would really give me a greater depth of understanding of his work.
   What is there is quite good, but it is also very short. Only the first 30 or so pages have text that discusses Ware. The rest of the book features images of Ware's work; the great majority of it has already been published in his semi-regular comic, and is familiar to anyone who buys that regularly.
   Many of the images try to fit a full huge Ware piece of art, often 11 x 17 inches or so onto the size of this book's page, much smaller, so you can't even read the words or make out the details. Also, the book uses huge white margins, so the images could have easily been made larger and more legible.
   There are some unusual images of Ware's work, including a remarkable wedding invitation he designed for friends of his. But again, it's rather small, and details are lost.
   Ware's own hardcover datebook does a better job at looking behind the scenes of Ware's published work.
   This is by no means a bad book, and it has worth, but I wish it had been longer and designed with a little more care.

1 comments about Racinet's Full-Color Pictorial History of Western Costume: With 92 Plates Showing Over 950 Authentic Costumes from the Middle Ages to 1800.

1. "Racinet's Full-Color Pictorial History of Western Costume," by Auguste Racinet, is a marvelous collection of illustrations that record trends in European clothing. The cover and title page boast that the book contains 92 plates showing over 950 costumes from the Middle Ages to 1800. The copyright page notes that this book is a selection of plates from the 6-colume "Le Costume Historique" published in 1888.

   Depicted are costumes from France, Spain, Italy, Russia, and other nations. Many different types of people are depicted: soldiers, clergymen, nuns, noblewomen, peasants, etc. The plates of military dress are particularly interesting; in addition to showing knights' armor and other clothing, the illustrations also show many different weapons. Horses in regalia are shown in addition to human figures. Also depicted are musical instruments.

   The pictures include both individual figures and scenes depicting costumed figures in social interaction. Some famous people, like Elizabeth I of England, are depicted. There are some really colorful and ornate items, like elaborate ladies' headdresses. I really liked the illustrations of kilted Scotsmen. Along the way are some curious sights, such as a bizarrely dressed and masked Venetian penitent. Overall, this book is a marvelous and educational visual feast.

No comments about Look! Body Language in Art.

2 comments about Tuscany Artists' Homes.

1. This is an excellent book - its full of glossy pictures and good literature on various Artists home's scattered across Italy - having previewed it previously in a store I was very impressed with the rustic and eclectic mix of antiques, curios and bric a brac that the home owners have used to decorate their homes,having just bought a home in Tuscany myself I found the book a great source of inspiration in how I might decorate my own place ! !



2. I was very excited to receive this book but not too thrilled after I had looked through it. The book is virtually all photos. There are no discussions of the artists whose homes are pictured. Alot of the homes shown don't give any ideas to inspire one towards a particular decorating style at all. Alot of the photos are of an artists studio many of which are dull and lacking in color. Even the art shown is usually in a pre-art form and not fully completed by the artists. There are alot of photos of odd looking pre-sculptural forms that perhaps only an artist would appreciate. This book...honestly seems like a way to cash in on the zest people (including myself) have for all things Tuscan. Don't throw your money out on this book. I gave two stars which is extremely generous for this book.