1 comments about The Wallace Collection (Art).

1. The photos in this book are excellent but it would have been nice to see a few more shots of whole rooms (as opposed to just individual objects) to see how the collection is actually arranged. The only such photo is of the Front State Room but the Wallace Collection website has a nice virtual tour with photos of many other rooms.

1 comments about Renaissance Venice and the North: Crosscurrents in the Time of Durer, Bellini, and Titian.

1. When I was a kid, getting art books from the public library, there were dozens of books about the Italian Renaissance and only one about the Renaissance in the north. Van Eyck, Van der Weyden, Memling, all of them were crammed together in one book and called by the derogatory-sounding name of "Flemish Primitives".

   Happily, new books in recent years have begun to give the northern painters their due. Books by Dirk de Vos, Otto Pacht, and a recent catalog from the Metropolitan Museum of Art in New York ("Van Eyck to Bruegel"), among others, have given us the chance to see splendid reproductions of some of the most enchanting, jewel-like paintings in the world. Recent books on Gerard David and Petrus Christus, also from the Metropolitan, have even turned the spotlight on these less well-known painters who can easily come to win a place in your list of favorites.

   Still, though, there was a strong sense that North was North and South was South and never the twain would meet. That idea has been eroding under recent scholarship, however, as researchers have begun to make clear the influences and crosscurrents that occurred between Italy and the north countries of Europe. More than some of us might have guessed, there was a lot of exchange going on. Painters from Durer to Bruegel travelled to Italy to learn what they could of the traditions there, and painters as thoroughly Italian as Raphael and Botticelli took ideas from what they knew of the north.

   These exchanges have now been very thoroughly spelled out in a new book from Rizzoli that accompanied a recent exhibition in Venice. It is a huge thick block of a book, with 210 color plates and hundreds -- possibly thousands -- of black and white reproductions of drawings, prints, etc., -- anything that sheds light on how artistic ideas travelled up and down over the Alps. The print is small, and comes four columns to a page in some spots, with copious footnotes. In other words, it seems as if the editors of this book have taken on the ambitious task of filling in a fascinating blank in the history of art by pouring everything they know into one gigantic book. If either the Italian or the Northern Renaissance, or how the two rubbed together, is of interest to you, this book will fascinate you with details, comparisons, and unexpected connections.

   It's sad to say that sometimes the reproductions are not what they could be. Many are much darker than the original paintings. This is the first time I have seen a reproduction of Giovanni Bellini's Pieta since it was cleaned, and it is looking very good indeed, but the photo of the Van der Weyden Lamentation on the preceding page is badly out of focus. If you are looking for gorgeous lusciousness in an art book, this would not be the one for you. For sheer quantity and historical interest, though, this is a prize.

2 comments about Vanderzee: Photographer : 1886-1983.

1. When watching Ken Burn's "Jazz" on television, look for Vanderzee's contribution; when viewing Ken Burns' "Baseball" on video, look for Vanderzee's contribution; when you see images of African-Americans sitting in parlors, going to church in their Sunday finest, or heading off to war, their hearts full of patriotism even in the midst of racial separatism, look for Vanderzee's contribution - he was there. Our history is so much more than what we have seen on television and read in the newspapers; we are so much more than the victimized remains of a harsh and unjustice past; we have survived and found dignity in the most bizarre places, and Vanderzee and other photographers like him went to these places and perserved a dignity that is only now being revealed. Thank you Ms. Willis.



2. This book is exceptional treatment of VanDerZee's photography and the role he played in the development of twentieth century photography. His use of the discipline to represent African American role in 20th century American history and photography. Most cities had at least one serious African American photographer who helped document black life in that city. His use of photography as survival tool and the expression of life in Harlem during the Harlem Renaissance.

   VanDerZee's work survived the most incredible changes in the field of photography i.e. from flash powder to the electronic flash. In VanDerZee's work you can find portraits of great historical African Americans such as Marcus Garvey, W.E.B. Dubois, Romare Bearden, Muhammed Ali, Bill Cosby and many hard working African Americans.VanDerZee photographed for eighty plus years. This book should be read and study by all beginning photographers so that the must understand what one must do to survive in the discipline.

1 comments about Walk in Splendor: Ceremonial Dress and the Minangkabau (Textile Series, 4).

1. This is a coffeetable book about the Minangkabau of West Sumatra. Though the exhibition was about textiles, the book is more comprehensive with articles on history, architecture, food, literature, etc. by leading experts -- including a couple of Minangkabau academics (Usman and Anwar) who died as the book was going to press.

   The photos are excellent. Production is top-notch. And the price is substantially discounted since there are so many remaindered.

   The best introduction to the Minangkabau culture.

5 comments about Graphis Nudes.

1. Two of the best photographs in this collection are displayed on the outside covers--no surprise there. Something of a surprise was to discover that many of the photographs inside were much smaller than the page size (greater than 10" x 13"). When I pay for a large-format book of photographs, I'm not looking for quite a number of the pictures to cover only a fraction of a page; to me, this is a major drawback of this ensemble.
   
   These photographs exhibit a good mix of color, black-and-white, and sepia tones, plus many experimental techniques. Quite a few of the contributors seemed to be experimenting with chiffon-like material over and around their models; I'm not sure why, but perhaps it was a fashion among photographers at the time.
   
   This book was expensive, even in used, less-than-first-rate condition; in my view, it was overpriced and not better than many other collections that cost considerably less.



2. Graphis has long been a showcase of commercial work in a variety of media. Graphis, via its editiors, drops off the map with this issue as mediocrity, at the very most, is established.

   Graphis Nudes is surpassed by the cheesecake of the Pirelli Calendar; at least there are only twelve slices on the calendar.

   Graphis has always struggled with its main invention; itself. Setting one's self up as an 'authority' usually takes a little more than Graphis currently brings to the mill.

   The problem with Graphis is its appeal to 'collectors'. Advertisers have never really used, or considered, Graphis as an 'index' of talent;

   As this edition affirms, there's not a lot of talent out there being shown which should be good news for anyone in art school at the moment: There's a lot of room at the top. But, do we need Graphis to demonstrate it at a cost to us? After all, isn't buying a book of 'commercial' images a validation of the lowered bar?

   That leaves Graphis Nudes as a lacking, uneventful, unprovocative, sterile collection of inked images we've all seen somewhere before

   Skip this edition in favor of something from Aperture's press.




3. A superb selection of light sculpted nude images from some of the world's best photographers. A must for a quality collection.



4. This book covers a big gamma of nude photography from old to new and from b&w to color. It is not specific in it nature, except for the nudity. If your are looking for a book that cover every topic of nude photography, this is for you. If you are refined to a specific type of photography, pass on this one.



5. "Diversity" is a word that has taken on some rather unfortunate political baggage of late; but it's still something of great value in its proper context. This book has that: a vast group of artists with an immensely varied way of looking at the human figure. I never had any idea there were so many different ways of looking at the human form, and I feel I am richer for its knowledge.

   I hate this book! The artists whose works are presented here constitute a rather amazing group; Albert Watson, Edward Weston, Joyce Tenneson, Robert Mapplethorpe, Dirk Karsten, John Swannell, Ferenc Berko, Christian Vogt, Peter Baumann, Terence Donovan, Francois Gillet, Volkmann, Christina Hope, Ron Baxter Smith. Did I leave any out? Scores... Acquiring many of these artist's works has severely drained my bank account; my search for works by artists I could not find has driven me to madness - and all because of this stupid book. If all you are looking for is one good book of the human form (yes - nude) then this is certainly a great one. If you're simply looking for a place to start, to get a handle on all that's out there, then this book makes for an excellent reference. Who said great art is dead?

   NOTE TO THE PUBLISHER: WE WANT THIS BOOK IN HARDCOVER - PLEEEEEEEEEASE! None of this special order $#?& !

   Thank you for your time...

2 comments about Baby Bird Portraits / Watercolors in the Field Museum: Watercolors in the Field Museum.

1. The description of the book gives the impression that it relates to artist, and birdwatcher alike. Actually as an avid garden birdwatcher and a newish painter - it didn't do anything for me in either field. I am extremely disappointed with the book. Almost a quarter of the book describes a museum in Oklahoma where the originals are kept, and how they came by these and other paintings - very dry and boring! Some of the writing that goes along with each print is slightly interesting, but leaves me wanting more. (What happened to the other fledgling cardinal the artist took from the nest?) There are many different sparrows included, a few of the same cardinals growing, and some other baby birds, some of which are not at all cute and cuddly. The best print is the one chosen for the front.
   
   This book does remind us how thoughtless 'scientists' were at the time, about taking creatures from their natural habitat to 'study' without thought or regard for their wellbeing.
   
   Altogether a dull and boring book. Get it from the library - don't waste your money buying it!



2. Simply put, this is a stunning collection of 35 watercolors of downy chicks, nestlings, and fledglings painted from life by one of the premier bird artists of the 20th century, George Miksch Sutton. The 19 species of North American birds, many reproduced here for the first time, are exquisite paintings standing alone but the highly readable, informative text by internationally renowned ornithologist Paul A. Johnsgard is both indispensable and helps make this a must-have, one-of-a-king bird lovers delight. The book is a steal at this price.

No comments about Nancy Graves: Excavations in Print : A Catalogue Raisonne.

3 comments about Birth of the Cool: California Art, Design, and Culture at Midcentury.

1. This book is beautiful, and would look great on any book shelf or coffee table. It really gives a good feel for the time. But it seems like all of the contributors have read the same sources, and have nothing to add of their own. This makes the reading (rather than the perusing of the great photos) tedious as the writing is very repetitive. A book about the modern movement in art, design, and culture should include more ideas and discussion.



2. A brave and fascinating attempt to pull together the various strands of, mostly, commercial creativity in southern California in the middle of the last century. Case Study Houses and other modern architecture, the output of Pacific Jazz and Contemporary records, abstract art by John McLaughlin, Frederick Hammersley, furniture design by Charles and Ray Eames are some of the exciting design ideas that blossomed during the affluent tailfin fifties in the sunshine of the Golden State.
   
   The book concentrates on architecture, abstract art, movies, furniture and graphic design. Missing (and I would have thought a good contributor to 'cool') is beat writing but as the book is a catalog to a visual exhibition it's hardly surprising that it only gets a passing mention. Of the nine essay contributors I though those by Elizabeth Smith and Thomas Hine the most interesting. Smith is the author of the most thorough book on Southern California architecture (Blueprints For Modern Living) and her essay `Domestic Cool' puts architecture exactly in context. Hine's contribution: Cold War Cool really belongs in the front of the book as a succinct overview of the subject.
   
   The visual importance of 'cool' in the book is revealed by a chapter that looks at the photographic work of William Claxton. He probably took a photo of every West Coast cool jazzman which were used extensively on the LP covers of Pacific Jazz and Contemporary Records, he designed many of them, too.
   
   As the book is a permanent reminder of the exhibition it covers I thought it was a pity that the editorial has several flaws. There is a thirty page chapter devoted to the year 1959. The editors considered this a pivotal time and wanted to put the book's essays in context. These pages just contain large news photos and related graphics and as such assume much more importance than they are worth. The idea is a good one but a spread devoted to a text timeline would have worked as well freeing up pages for more images in the rest of the book.
   
   The page design seems very arbitrary to me. Many pages have a deep eau de nil band running horizontally across the middle but on some spreads it is missing. The inclusion of this band seems pure designer whimsy and if it wasn't included readers would not be aware of something missing. They unfortunately would be aware of the many missing page numbers though. Frequently captions refer to images on a particular page by their number, also the forty-three pages of historical printed material have no numbers at all but items in this section are often referred to in the index. All of this is really inexcusable for a quality publication though I understand it is not untypical of exhibition catalogs.
   
   The book celebrates the up-market aspects of cool in a particular place and time. To read about down-market cool have a look at 'The Catalog of Cool' by Gene Sculatti. He surveys popular culture at the other extreme in mid-century California and America.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



3. This is a wonderful book, beautiful looking and a delight to read. The credits above omit several of the contributors who make it so good. These include Thomas Hine, Bruce Jenkins, and Elizabeth A.T. Smith, who wrote essays, and Lorraine Wild, who wrote an essay and was one of the book's designers.

No comments about 50 Years Of Documenta 1955-2005.

No comments about Charles Sheeler: The Photographs.