4 comments about American Flintknappers: Stone Age Art in the Age of Computers.

1. After reading the book, I was disapointed that it did not contain more "how to" flintknapping info.The author has written an excellent book on flint knapping methods.This book was very ' folksy' With too many anecdotal stories about knap-ins, and the modern flint knapping world,with almost no methods on flintknapping.Again ,not what I expected, and I wish I could have read my own review, as I would not have purchased the book.I gave the book a two star rating only for the photos of knapped peices.



2. American Flintknappers is an American classic. This book is an amazing journey through the strange subculture of American Flintknappers. From an
   anthropologists set of eyes. A journey through the past, of men who followed the way of the stone. From Ishi to flake over grinding, the whole experience is here and when you read it you will be there too. Ray Harwood, Western Lithics.



3. Very interesting view of the "inside" of the knapping circles..including knap-in's ...lots of great color photographs of beautifully knapped points in exotic materials, as well as close reproductions of American Indian points. Lots of photos of well known knappers, interesting statistics on knapping. Lots of really neat stuff if you are interested in knapping at all, you should buy this one.



4. John C. Whittaker never fails to capture the essence of scientifically studying modern day flint-knapping. This new book is a progression from his 1994 work on how to make stone tools. It is a leap forward in a fascinating area of archaeology and anthropology, especially when there is a growing concern for the depletion of silicate resources. Dr. Whittaker is a pure scientist who is always thinking of how stone tools can be scientifically studied, and is always innovative in his research approach, rendering his work successful and resourceful. It is also nice to see that Dr. Michael Stafford is well represented, a master flint-knapper whom I`ve had an opportunity to study under. Dr. Whittaker also has in his new book, raw demographic data from sociological surveys, continuing a tradition that he and Dr. Stafford started in 1998 with their research on Fakes. This sociological approach reveals a great deal of important data for student researchers, and should not be overlooked when writing on the subject of stone tools. This book has wonderful color pages in its' center and shows an amazing variety of raw materials commonly used by knappers. John C. Whittaker is fast becoming the leading professor on this subject, and deserves all the attention he receives. Great work John!

No comments about Betty Parsons: Artist, Dealer, Collector.

No comments about Painters and the American West: The Anschutz Collection.

1 comments about Petite Pattern Book - Check & Knit (Bnn Pattern Book Series).

1. Not my dream images, but I can use a few. I might need to change some color-ways as some are a bit odd..., nice, overall, but a little pricey.

5 comments about Art of Gundam Wing.

1. It has great poster-like images and screen shots, all of high quality. The original art is also superb. If you like Gundam Wing and want some extra art or if you want to draw something from Gundam Wing get this...and the technical manualGundam Technical Manual #1: Gundam Wing cause that thing has ALL the details about the machines and the story leading up to the show.



2. This is a great book! It's worth the money! If you know Gundam like I do then you'll love this book. It has pictures from the Endless Waltz as well as some from the earlier movies. The pictures are very colorful and quite creative. Each character is given a few pages of pictures. If you are familiar with the pics on the trading cards, they're there too! Also the covers of the movies are included. I highly reccomend this book to anyone seeking help on drawing the Gundam Wing characters or just looking for a peice to add to their collection!



3. This is a really great thing to buy for any GW fan. The artwork is beautifull.....amazing.....there aren't enough good words to describe it.....I'm very happy that I bought it.....



4. Hm... I happen to LOVE this book. I own it. Bought it at a different website (animenation.com) with a different cover, but it's the same pictures... And the pictures are great! There were quite a few I hadn't seen before (example 1: the one of Treize and Une's head from the side. example 2: one with both Milliardo and Zechs (Milliardo with his mask on) from the side and a full shot of Noin from the front). The whole thing is layed out very nicely. I give it... *drumroll* Ten out of ten thumbs up! Eh... Right. Anyway...



5. For all those die-hard Gundam fans who were disappointed with the three-volume manga, this will more than make up for it.

   Like the title says, this book displays a collection of pictures -- original ones or screenshots from the anime -- that is, simply, the art of "Gundam Wing." The book does a good job of fairly balancing the pictures of the five pilots as well as other important characters. For those who surf the web a great deal, many of these pictures will be recognized immediately. And many people might also notice that the pictures are a lot crisper, clearer, and cleaner than some found on fansites, which is alone worth the price of the book.

   However, there is also a good deal of pictures that have most likely not been found on the internet (although they probably will be soon because of people with scanners and a lot of free time). These pictures heighten the worth of the book, and the fact that they were drawn by the artists who worked on the anime makes it all the more satisfying. After all, where do the original artists take the time to add more of their talent to a collection of already-beautiful artwork?

   All in all, there was only once complaint I had, and that was that the book was a little short. The book is only about 96 pages of art, with a brief interview with the artists. Despite this setback, the book is definately a must-have for anyone who's ever enjoyed the artwork and wants to gloss over it for days on end. Try and say something like that about "Pokemon"!

No comments about In Focus: Hill and Adamson: Photographs from the J. Paul Getty Museum (In Focus).

5 comments about Preserving the World's Great Cities: The Destruction and Renewal of the Historic Metropolis.

1. It is a great survey book of some amazing cities. I tend to agree with what has been written. But just a word of caution, Tung's writing style will start to grate as every chapter ends with somewhat of a flourish. I think it detracts from his obvious love of cities and preservation.



2. In March of 1995 author Anthony M. Tung journeyed to 22 of the world's greatest cities in order to study how architectural preservation had failed and succeeded in some of the most artistically and historically significant urban areas around the globe. Having served for many years as a member of New York City's Landmarks Preservation Commission, Tung sought to understand how the complex issue of urban conservation was handled around the world and to gather in one book a body of very basic information about this practice.
   
   Until the 20th century, each new stage of architecture and construction referred substantially to previous stages; in Western culture, there was a "direct aesthetic line" connecting the architecture of classical Greece, imperial Rome, the Romanesque period, the Renaissance, the Baroque, the Rocco, and all forms of classical revival that followed, with even divergent traditions like French Gothic or English Tudor making use of common architectonic elements. Cities tended to be harmonious, each new generation of buildings blending with older buildings to a great degree.
   
   In the 20th century however, many age-old aesthetic traditions were abruptly discarded by a modern, new, jarring architecture, built often at vastly different scales than older buildings, of completely different materials, built with new methods, buildings that were consciously designed to have a complete lack of relationship with the previous continuum of form. In Cairo for instance skylines once dominated by domes and minarets of mosques are now ruled by looming massive hotels. Massive gray residential slabs now dominate the remaining parts of historic Moscow. In some cases, as in New York, new buildings were built over and around preserved historic buildings, making them appear toy-like and ridiculous. Further, these buildings of alien scale and design often hopelessly fractured any urban architectural harmony, often forever, as what was destroyed can either never be replaced or only replaced at great financial, legal, political, and economic cost.
   
   Older cities of handcrafted buildings, made of natural materials from the immediate environment of the city, reflecting the historical values and physical characteristics of unique urban cultures Tung wrote now constitute a "finite resource from a closed period of human cultural evolution." Much of the unique architecture of the world's great cities - ancient Roman ruins, the cross-cultural traditions of Singaporean pernanakan architecture, buildings that show a great "specialness of place" - is still in danger in many places of being replaced by a global monoculture, of older unique buildings being replaced by comparatively poorly constructed structures that are generic in design and that differ little in response to local environmental and social surroundings.
   
   Why were older buildings replaced? War certainly plays a factor as might be expected, though by and large Tung feels that city residents themselves are responsible for building replacement. Sometimes older handcrafted buildings are replaced for what were laudable reasons, such as slum clearance, attempts to give the poor a better quality of life, though often irreplaceable but fixable buildings were demolished rather than rehabilitated. Some cities, such as Vienna, Charleston, and Amsterdam (which are detailed at length), bucked this trend, either saving old buildings or constructing new public housing with a conscious effort to maintain local architectural traditions. More often than not though making money was the goal; speculative real estate and construction in the name of progress fractured urban landscapes, as out of scale skyscrapers thrust into the London skyline and ugly hotels of poor artistry were erected in Cairo.
   
   Sometimes destruction or replacement of older handcrafted buildings seemed nearly unavoidable; Kyoto for instance, largely spared bombing in World War II, for centuries a city with buildings comprised of shoji (sliding walls of light wood frames covered by translucent paper) and tatami (rectilinear straw mats of standardized dimensions that covered the floors), were rapidly being replaced post-war by modern Western buildings that could more easily accommodate such innovations as modern plumbing and electricity. Tung related how this "culture of destruction" is being reversed, efforts in this regard aided by uniquely Asian views of preservation (often times ancient buildings are wood and are partially or wholly rebuilt periodically, the emphasis often in China and Japan on preserving the original form not as in Europe or America the original material) and permanence (Japanese buildings were traditionally built to withstand natural disasters and wars by being flexible and if destroyed by being easily rebuilt).
   
   Sometimes architectural preservation - or destruction - was dictated not by war or by progress but by ideology. The Third Reich demolished the landmarks of Warsaw as a punitive action against the Poles, Nazi architects purposely identifying key Warsaw buildings and purposefully destroying them (additionally many were destroyed in actual combat). As an act of defiance, Polish architects risked their lives (and quite a few perished for their efforts) to document this heritage before it was destroyed, hiding plans and documents during the Nazi occupation and then completely rebuilding the city as an act of remembrance.
   
   Tung recounted many successes in his book as well as failures. What are the common denominators in successful preservation? Clearly economic underdevelopment causes decay and destruction of historic assets. In a detailed chapter on Cairo, Tung discussed how the city's massive problems posed by skyrocketing population growth, extensive poverty, and an endemic culture of illegal settlement and corrupt, byzantine bureaucracy have caused residents to perceive conservation as a lesser priority and have created unique environmental challenges to the city's priceless Muslim architecture thanks to air pollution and a rising water table. Citizens of cities have to have in addition to the means of preserving the city a will to do so; while many of the historic districts of New York were listed and are protected thanks to the efforts of the residents of those areas, Venice, despite widespread international support, is decaying as fewer and fewer Venetians actually live in the historic city, not only affecting city politics and budgets as residents of the historic city lose clout to those outside the historic city but by simply not being present to provide such upkeep.



3. this book is a wonderful read. it should be a mandatory read for all city planners/architects. there is so much we can learn from the successes and failure of other cities' efforts in preserving their heritage.

   for most people, it's still a great treat coz' the stories of how these great evolves are just mesmerizing. the tale of the reconstruction of warsaw is a moving moment of human history. and the decaying of ancient cairo is tragic and upsetting. the author manages to tell these stories in a context relevant to all of us, as a city dweller or a visitor in a globalized world. he also makes us aware of the complex underlying forces behind the metamorphosis of these urban fabrics.

   i am looking forward to visiting or revisiting these great cities after reading this book. and i am eagerly waiting for a sequel that uncovers the stories of other great cities like prague, kathmandu, bangkok, shanghai, new delhi, sydney, buenos aires, havana, istanbul, barcelona...




4. For close to three decades, I've tried to understand why some cities preserve their historic and architectural fabric, while others destroy theirs. I now have a much better understanding about the political, social, and economic dynamics underlying preservation, or the lack thereof. Moreover, the author articulated some basics that no previous book ever did. Like, what is holding up all those building in Venice? And why did Warsaw, almost alone among cities ravaged in WWII, rebuild its historic fabric? The author not only answered my Warsaw question, but moved me to near tears in the process. (Why isn't this heroic story being made into a movie?) In short, buy this fascinating, informative book!



5. What makes a city great? How do you preserve a great city? Why do you preserve a great city? Who can preserve a great city? As you finish this well crafted review by Anthony Tung of the evolving fate of 20 famous cities from around the earth, you feel the answers to these questions are within your grasp. A great city is a living manifestation of the society that built it over the centuries. It can be preserved by the dedicated and enlightened effort of those who live in it. Only they can develop it in a way that recognizes the changes of time without giving up their cultural heritage. Great cities are the architectural fabric of civilization, showing how it evolved in various parts of the world as societies developed within a particular regional environment. Its residents, if they can maintain their culture and heritage in the face of change can preserve it, supported by benevolent assistance from others when needed.

   This book makes clear that there are also common threats of destruction each of these amazing cities must face. Beyond the ravages of time, which can clearly be overcome in a stable situation, three become apparent in reading the stories of these great cities. They are destruction from war or by conquering invaders; deterioration as the original builders move out and are replaced by those who are poorer, less educated and ironically often subjugated by the original builders; and destruction to make way for more modern and impersonal buildings and infrastructure based on the influence of modern global society.

   I wish to thank the author for the journey he shared with me. When he was writing about those cities I have visited, such as Paris, London, New York or Mexico City, he captured the essence of their heritage in a way that rang true to my experience. When discussing the state of those I would like to see; Beijing, Kyoto, Cairo or Athens for example, his descriptions were again lucid and highly credible. They made me want to visit the city and try to comprehend its past and its fate for myself. Written in a style that makes you feel you are in these great cities vicariously, this book not only makes you want to visit them, but also to do your part to help preserve the heritage of the city that you call home.

5 comments about Popcorn Palaces: The Art Deco Movie Theater Paintings of Davis Cone.

1. The paintings in this book are so realistic that they look like photographs. The art work depicted is amazing. The detail of the paintings is outstanding from the theaters to the cracks in the sidewalks
   
   Along with the paintings there are stories about the theaters. With each painting the authors give the street location of the theater. The book doesn't really give a detailed history of any of the theaters other then generalizations like construction dates. The authors do a good job of detailing the history and popularity of the art Deco theater. While it doesn't go into depth it does do a good job of presenting it.
   
   The book also chronicles the rise of the art deco theaters in a way that makes you want to go out and find one and take in a movie. For me there is nothing like seeing a movie in one of these theaters to bring back the old time feeling of seeing a movie.
   
   Popcorn palaces is about the art Deco theater but it's main topic is the painter Davis Cone who painted all of the paintings. It talks about his style of work, the people who influenced his work and the preparation that goes into the painting. Each painting is discussed as the authors talk about how Cone was able to paint these stunning images and his mastery of paint, water color and canvas's.
   
   If you are interested in learning the history of the art Deco theater and marveling the incredibly realistic paintings of Davis Cone then this is the book to have on your coffee table to look at over and over again.



2. My husband's home town theater is on the cover! I have already given several books as gifts. The pictures are just beautiful!



3. Most people who appreciate the architecture of movie theatres are focused on the fantasy or opulence that the auditorium provides, but here a skilled artist helps us appreciate the facades of some 80 Art Deco styled cinemas across America by means of extraordinarily detailed images in paint. It is always a pleasure to welcome an artistic achievement to the body of work in this subject, and this handsome volume produced in the long format (11 inches long by 9 inches high by one half inch thick) and printed in wonderful color on satin-coated paper stock, with color photos on both film-laminated hard covers, will be a welcome addition to most libraries. Even the end papers and chapter heads are dyed a happy yellow to set the tone of the book. Unlike "Silent Screens" which is in the same format, "Popcorn Palaces ..." is nostalgic without being depressing, even though the writers make clear that many of the subjects have passed away and continue to do so. In that sense, this too is a `necrology' of sorts. It is completed with a detailed Index and Bibliographies of the artist and his art, as well as theatres.

   Within the 144 pages the authors, Messrs. Kinerk and Wilhelm, succeed in giving a good history of the rise of these theatres and also a story of how the talented artist Davis Cone found his subjects and brought them to life. Unlike "Silent Screens" and other efforts, this publisher selected experts in theatre history and architecture (one of them a member of the Theatre Historical Society of America) to create an authoritative and factual text to frame the pages of artwork.

   To be sure, the book is really about the artist, Mr. Cone, and his `photo-realistic' style and achievements; so the book is not primarily about the theatres, yet it does usually list the name, date of construction, address, architect and the date of the painting of most of the theatres. This thoroughness does give the book an historic value, even though most of the theatres are not individually profiled apart from those facts. It is not a `theatres book,' but a book about paintings, which happen to be of theatres and the remarkable artistry and foresight of one man: Mr. Cone. As the authors bring out, however, the subject was not a whim, but an integral part of the artist's life and sympathies.

   Within five chapters the authors cover the artist, the era, the style, the technique, and the "Epilogue - Curtain Call," for the era which created these charming examples of Americana has passed. If we confine ourselves to only examples of the Art Deco style, one could find no better mirror to the past of such cinemas. Perhaps in future Mr. Cone will stretch to also record those non-Art Deco theatres in larger cities. The only criticism an architectural historian might make is that there is no exposition of the interiors of these mostly smaller, neighborhood show houses, but then it must be admitted that few of them had really notable interiors, and getting permission to photograph interiors can be very difficult as the photographers of "The Last Remaining Seats" have disclosed in an article about that book. These paintings are not of the `palaces' of the big cities, but these fantastically detailed paintings do capture the significance of the facades and their marquees to the smaller urban landscapes.

   For those who want more history plus the artistry of architectural interiors, there are other books (all here at Amazon) such as: "The Best Remaining Seats ..."; "American Picture Palaces"; "Great American Movie Theatres"; and "American Theatres of Today" among others. Each of these captures in photos the wonderful era of such fanciful designs, but none of them feature the "Hyperrealistic" stylings of masters such as Mr. Cone. May his paintings inspire the saving and restoration of many of these examples of our theatres heritage, for then I believe that the artist will be truly rewarded for his work.




4. The paintings contained in this book are truly excellent. The fact is there are too few to really justify a whole book. Having seen another hundred fine examples of theaters in this country I am dismayed that so few are represented. The book leaves me longing for more . I wish the artist had included some of the fine interior spaces of these deco palaces. If you love theaters buy this book but also take the time to visit one in your area for the full experience.



5. This book is great for nostalgia of the old single movie theaters that are lost to the multicomplex theaters of today! All ages will find this book intertaining to look at. The art work of Davis Cone is very realistic and I find myself looking over every inch of the picture for little details. A book you can easily look at again and again and find something new, just like good movie picture.

5 comments about Van Gogh's Table at the Auberge Ravoux: Recipes From the Artist's Last Home and Paintings of Cafe Life.

1. This lovely book, a perfect blend of art and cuisine, will satisfy any reader, from the most casual van Gogh fan to the most discriminating foodie and/or art historical specialist. As the subtitle indicates ("Recipes from the Artist's Last Home and Paintings of Café Life"), it's is partly a cookbook, featuring recipes from the Auberge Ravoux, a 19th century inn in the town of Auvers-sur-Oise where van Gogh lived the last seventy days of his life, and where he died.
   
   But don't be misled. This is not just another pretty coffee-table book with yet more pretty color reproductions of "The Café Terrace on the Place du Forum," etc. This is a work of substantive scholarship, but presented in such a way as to be accessible and enjoyable to anyone. The second half of the book, including the recipes, is authored by culinary historian Alexandra Leaf (in cooperation with chef Christophe Bony), who contexualizes the recipes in a larger discussion about van Gogh's time in Auvers and culinary customs of the time. The first half is authored by art historian Fred Leeman, former chief curator of the van Gogh Museum in Amsterdam. His essay, "A Private Life in Public Places," discusses van Gogh's biography, but primarily from the view of his time spent in restaurants and cafés, so it's not the usual story that's been recounted so many times. In addition to discussing more well-known van Gogh paintings like "The Café Terrace on the Place du Forum" or "The Night Café," Leeman also includes lesser-known paintings and drawings that specialists will be happy to see and non-specialists will enjoy learning about. His analyses of the works are clear and persuasive, sometimes offering alternative datings and interpretations. Julia Galosy, who worked with Dominique-Charles Janssens, the current owner of the Auberge Ravoux, in restoring the inn, also contributes a wonderful essay on that specific café and its history. All the authors rightfully avoid the tabloid sensationalism that unfortunately pervades many published treatments of the artist (including those written by evident non-specialists in a lame attempt to make a quick buck).
   
   Handsome illustrations of nearly every van Gogh work mentioned (including some that are rarely illustrated), archival photographs, and lovely photographs of the contemporary incarnation of the Auberge Ravoux and its cuisine, add to the stand-alone value of this book. For those who are interested, there are endnotes in the back of the book, leading readers to specific citations in van Gogh's letters and elsewhere, and a brief but comprehensive bibliography.
   
   On a side note: I purchased and read this book a few months ago in preparation for a visit to Auvers-sur-Oise. My plans included a luncheon at the Auberge Ravoux and a pilgrimage to Vincent's lonely attic room. Reading this book, including Mr. Janssens' forward, was the perfect preparation for my visit. Sitting in the cozy atmosphere of the Auberge and enjoying a three-course luncheon (including the Marinated Herring and Salmon from p. 110, a plat du jour of chicken fricassee [not in the book], and the positively sublime Chocolate Mousse Saboyan from p. 130) was a wonderful experience that I will always treasure. A different experience, more spiritual and moving in character and even more memorable, was the actual visit to Vincent's room upstairs. Mr. Janssens and his associates are to be commended for their dedication to Vincent's memory through their work at the Auberge Ravoux, and the authors and publisher of this book are to be commended for diffusing that work in book form.
   
   While at the Auberge Ravoux, I purchased at the gift shop one of the "torchons" (table linens) embroidered with the name of the auberge (pictured on p. 109). Both it and this book share a place of honor in the van Gogh section of my personal library.
   
   Bon appetit!



2. The Grandmother's Apple Cake recipe in this book is my favorite recipe on Epicurious so I bought the book hoping the other recipes would be as good. Wow! It was so beautiful and interesting and so much more than a cookbook that I gave it to a good friend as a Christmas gift and ordered another.
   
   This is really half art book, half cookbook. The book is co-written by an art historian (mostly the first part, which recounts Van Gogh's last days, spent in the hotel, when he churned out 70 paintings in 70 days) and Alexandra Leaf, a food historian, who together with the chef at the hotel (which exists to this day) includes recipes for dishes Van Gogh ate. They're fantastic. Highly recommended.



3. It's entertaining and educational. I really enjoyed. Great gift idea.



4. I have enjoyed reading the historical and personalized view of Van Gogh's stay at the Auberge Ravoux. The recipes appear to be ones that can be enjoyed. My husband surprised me with the chocolate mousse the other night and it was the best I have ever eaten.
   Compliments to Alexandra Leaf!



5. Van Gogh's Table At The Auberge Ravoux isn't just an art book, though Van Gogh's paintings form its foundation - it's also a survey of recipes from his last home, providing an intimate portrait of his world and culinary appreciations. Recipes are from the cafe and boarding house where the painter lived his final days, and provide intriguing views of dishes and art.

2 comments about Historic House Museums: A Practical Handbook for Their Care, Preservation, and Management.

1. In historic house museums, the author provided useful information and tips for the operation of a small museum on a shoestring budget. The authors extensive experience in the museum industry is evident from the suggestions offered. Many resources were listed for the museum staff to consider, however there are no web addresses which severely limits the usefulness of the book.



2. I selected this book for a report for a museum studies class -- and because I volunteer at a small "historic house museum". Because such museums often operate with meager staff and an even more meager budget, I expected the book to be something of the "How-to-do-an-exhibition-with-string-and-Scotch-tape" genre. I was very pleasantly surprised to find that, on the contrary, the author presented what seem to be the currently-accepted professional museum standards, with suggestions as to how the small historic house museum can rise to meet them. I was equally pleasantly surprised to find suggestions throughout the book that the museums also recognize their limitations and if they find that they can't meet minimum standards, to consider turning over their collections to an institution that can care for them properly.
   Information included in the book covers the soup-to-nuts, from the mission statement to housekeeping and with a few minor exceptions (and one surprisingly larger one), the information on caring for the house and items in the collections is virtually identical to that which has been presented to us, by guest professional lecturers, in our grad school classes. One small suggestion which seems to conflict with what I have frequently read and been told was the author's suggestion to use clear nail polish as a base coat in marking objects -- something we were told not to do. The other thing that I would have liked to see left out of the section on cleaning chandeliers was to put several layers of padding and a piece of plywood on a dining room table (if made of "hardwood and in stable condition") beneath the chandelier...then "place a step ladder of suitable size on top of the plywood in order to reach the chandelier". Not on MY dining room table you won't!
   Other than that very surprising bit of information, I found the book to be an invaluable, thorough and professional reference that is going to be a permanent reference at our small museum -- and it is even printed on acid-free paper, for a longer life!