1 comments about Chinese Art and Culture (Trade Version).

1. This is a great book for a serious survey of Chinese art and also for common readers interested in Chinese art and culture. The first six chapters by Robert Thorp deal with the period between the Neolithic and the Tang, and the rest of four chapters by Richard Vinograd cover from the Song to the 20th century. Both scholars offer succint yet comprehensive historical and cultural backgrounds, and also the images are discussed in terms of important concepts and themes in Chinese art, rather than traditional categories of architecture, sculpture, painting, and decorative arts. This approach works effectively in avoiding any imposition of the art historical concepts derived from European tradition, and also enable readers to be fully engaged in the subject. When comparing with other survey books on Chinese art, it takes a middle path between the traditional style of _Arts of China_ by Michael Sullivan and an intense and provoking style of _Art in China_ by Craig Clunas.

No comments about Dilettanti: The Antic and the Antique in Eighteenth-Century England.

4 comments about Great Collectors of our Time: Art Collecting Since 1945.

1. Excellent, if expensive, volume. The first survey of collectors and collecting since the early 60's. Well illustrated. Mostly on art collecting.



2. Written by a senior staff member of Sotheby's, this book offers an interesting overlook on the collections and personalities of some of the most important art collectors of our time. The text itself is a collection of short pieces on each collector, describing the building and the highlights of their collection (which can be African art, Islamic art, modern paintings, rare books, old masters, contemporary art, etc). You will not find any real scoop here, since, but for a few exceptions, most of the people and collections described are already well-known , but it is still a book that is pleasant to read and full of good-quality illustrations of seldom reproduced works.



3. This is a truly magnificent book, very well written, very complete. The text is scholarly and straight forward, with many answered questions about this club of great collectors. While the events of theirs lifes are vividly told, the text also explains and illuminates each personality through interesting analyses. The author tends to be factual and does not speculate much. If you want to be as much entertained as educated on this great collectors buy this fantastic book. This is no ordinary art book. You will treasure it and be proud to show it to friends. Simply 5 stars!



4. Will be enjoyed by those interested in the most significant collectors of great art since the end of World War II and the role each played in preserving various treasures of the world's culture.
   
   By its nature this is a quick survey work, with short articles on each collector, along with nice photographs of important pieces within their separate collections. Each individual survey spans the time from when and how the collector started; to the collection's ultimate breadth and setting; to how it was eventually dispersed (usually to a museum or two) at death or other final point--unless the collector is still alive and still in possession.
   
   My favorite collector in the book: The Canadian embassy worker in the Soviet Union, Mr. George Costakis.
   
   For those really interested, you can find more detailed books on a number of these collectors, such as "Memories of a Collector" by Giusppe Panza.
   
   James Stourton is a highly informed and interesting art expert, although certainly given to focusing on the positive about each of his selected collectors and their collections.

4 comments about Georgia O'Keeffe Museum Collections.

1. In contrast to a previous review which said the reproductions in this book are very small, I don't agree. It's a large book, and most of the reproductions are decent-sized and good quality.
   Along with the wonderful reproductions of Georgia O'Keeffe's paintings are some very nice photographs of her. This book isn't heavy on text, but what there is, I found valuable in interpreting the paintings.
   I'd recommend this book highly for any O'Keeffe fans.



2. I flipped through this book at Barnes and Noble, and was frustrated to find that while the pages were large, the prints were tiny! Just a few inches across, usually. Anyone planning on buying this should know.



3. Georgia O'Keeffe would have loved this book! Not only does Barbara Buhler Lynes, curator of Santa Fe's Georgia O'Keeffe Museum, respect her subject's astonishing eye and craftsmanship in this book, she respects Ms. O'Keeffe's wishes regarding displaying her works of art. During her lifetime, the artist often mounted her own shows, e.g., at An American Place, her husband Alfred Stieglitz's gallery in New York. Ms. O'Keeffe was adamant (a) that her creations be hung on white walls, and (b) that her artwork be arranged by type rather than chronology.
   
   Lynes abides by both of the artist's rules here to great effect, and her meticulousness, in terms of the notes she provides about the artist's work and also the tags she associates with the plates (where she identifies the type and size of the surface used and also the type of medium: charcoal, graphite, oil, watercolor), add another layer of enjoyment for the reader.
   
   Lynes' notes attempt to steer the reader away from stereotypical interpretations that haunted Ms. O'Keeffe during her career. For instance, regarding "Blue II" (Plate 3, Page 19), the curator states: "The . . . womblike spiral of 'Blue II' seems to substantiate connections critics in the 1920's made between O'Keeffe's work and female sexuality. Yet when she made this watercolor, O'Keeffe was intensely involved in playing the violin, and . . . the form . . . of the spiral in her watercolor most likely derive[s] from the scroll-shaped termination of the neck of the instrument . . ."
   
   Categories in the book include abstractions, still lifes, architecture, animal and human forms, and trees. Every reader will find his or her favorite here; mine are the artist's representations of feathery kachina dolls and New Mexico's Pedernal. The last category in the book contains works by other artists at the museum whose careers, in some way, parallelled that of Ms. O'Keeffe. Stieglitz photographs (including a Georgia O'Keeffe nude) are here, as well as Ansel Adams' memorable "gelatin silver print" of Georgia O'Keeffe and Orville Cox at Canyon de Chelly National Park.



4. 
   For those of us not fortunate enough to be going to Santa Fe this year for the celebration of the tenth anniversary of the Georgia O'Keeffe Museum (which houses the largest collection of her work), here is an able substitute. Those who have visited the Museum in the past will relish this opportunity to revisit not only her art but her houses at Ghost Ranch and in Abiqiu, New Mexico.
   
   It need not be said that O'Keeffe is a preeminent artist of the twentieth century, one of the most respected and loved. An American modernist she is acclaimed for her compelling abstractions, so elegant and vital. Her visions are often enlarged. Inspired by the natural she once said, "When I found the beautiful white bones in the desert I picked them up and took them home too...I have used these things to say what is to me the wideness and wonder of the world as I live in it."
   
   This gorgeous volume is rich with illustrations - 335 in full color and two eight-page gatefolds. It also includes numerous photos, some previously unpublished, and works by others who embraced modernism and painted in New Mexico.
   
   Curator of the Georgia O'Keeffe Museum, author Barbara Buhler Lynes is the leading authority on this artist. She has done a meritorious yeoman's task in compiling this glorious volume which is a treasure for all.
   
   - Gail Cooke

No comments about Whitney Biennial 2008 (Whitney Biennial).

2 comments about Whose Muse?: Art Museums and the Public Trust.

1. With everything from motorcycles, cars, boats, Jackie O's clothes, Star Wars artifacts, elephant dung and more finding their way into the museum, this is probably a good time to examine just what the museum is and who it is for. Art Institute of Chicago director James Cuno has assembled a veritable who's who of major museum directors to hold forth on this topic. Taken together, the essays provide rare insight into how museums are being shaped in the 20th century. With sometimes surprising candor the directors make their case for how and why the museum is beholden to the public trust. A roundtable discussion at the book's end further amplifies the issues set forth in the essays. This is an important book.



2. This is a compilation of essays written by directors of major art museums: Cuno from the Art Institute of Chicago, De Montebello from the Met, Lowry from the MoMA, MacGregor from the British Museum, Walsh of the Getty in LA, and Wood, formerly of the AIC. Each addresses how museums can cultivate public trust in cultural institutions, the kinds of authority museums have, and how they should manage their responsibilities. MacGregor's essay was my personal favorite; it includes two amazing stories of how art proves to be valued for its emotional power during times of crisis (specifically on 9/11 and during WWII). Walsh offers suggestions as to how museums can offer its visitors a more genuine experience through curatorial choices and placement of lighting and seats. Lowry and De Montebello write about the relationship of the entertainment industry to museums. A very accessible, jargon-free text that is surprisingly interesting.

No comments about The Creative Entrepreneur: A DIY Visual Guidebook for Making Business Ideas Real.

1 comments about Rembrandt Drawings: 116 Masterpieces in Original Color.

1. Rembrandt's drawings, though monochromatic, deserve to be in color. The variations in his pen lines and washes are part of their greatness, and I've waited for decades to see a book like this. I'm surprised it's in hardcover (I have about a thousand Dover books, all paperbacks) so it costs a few extra dollars, and it's no surprise that at least most of the reproductions are generations removed from the originals, but I'm hardly complaining. Up till now I haven't found a complete color collection of his drawings, and he is one of history's greatest (and most subtle) draftsmen, so this is a gift to the world. If we ever get a book like this reproduced from the originals, it will probably cost over $100.
   And regarding the artwork, I'll quote my elder colleague and master draftsman, Don Lagerberg: "The older I get, the better Rembrandt gets."

3 comments about Gustav Klimt: Landscapes.

1. Klimt has always been a problematic artist. In contemporary terms, he was a sell-out, but that hardly addresses the situation of a man good with the brushes a hundred years ago trying to make a bit more than a decent living for himself. That was the Nouveau years. The panels and friezes and commissions, the society portraits, the weird freaky paintings with all the gold paint. The man had great talent, and there's that reason that to this day you can buy prints and posters and postcards of his most famous paintings. I happen to own a "Die Kusse" night-light.
   
   It is terribly refreshing to own a volume dedicated to the man's landscapes. For the most part, these were paintings Klimt did for himself while vacationing with his friends in the summer months. They were not meant for sale. Often they were done in an audacious--for the time--square format. A few of the canvases are pretty tedious. But a great number are inspiring and terribly original. It's great to see the lot collected, and well-worth the look, not to mention purchase.



2. Klimt seems to be best known for his figuratives - any study of his work should include his landscapes. A very nice book with good color plates.



3. It is a pleasure to have access to these beautiful works, which are more frequently overshadowed by the attention given to images of people and mythic figures for which Klimt is best known. These landscapes are revealing of both the subject matter and of Klimt the artist as he probed the composition and colors of the places that intrigued him.

2 comments about 80 Godey's Full-Color Fashion Plates (1838-1880).

1. While it would be rare to find a Godey's book with every fashion print in it, this book gives you an excellent variety of the best dresses from Godey's. The descriptions give an idea of color mixes, fabric and decoration. This book is a great reference tool for the Lady Civil War or Mid-Victorian Reenactor or Costume Designer.



2. I have 8 prints that don't appear in the book from 1865-1870. Want to find more info about my prints to include their value (at least an estimate). Pictures in the book are beautiful and pretty true to the actual work...except the real ones have a little "browner" paper. The history in the beginning is also very well done, and helpful in knowing the art. Thanks JoAnne.