No comments about California Video: Artists and Histories.

1 comments about History of Girly Magazines (Klotz).

1. Erotica historian Dian Hanson, author of the monumental 6-volume _The History of Men's Magazines_ (also published by Taschen), has produced what amounts to a one-volume summary of that gigantic work in this new book. Even in its "digest" size format, it's still a big chunk of work at nearly 700 pages and several thousand illustrations. It's thoroughly researched and the pictures and accompanying text are first-rate; Hanson, the former editor of one of the leading fetish magazines (Leg Show), plainly knows and loves her topic.
   
   There are two problems, though, which prevent me from giving this book 5 stars, much as I'd like to. The first is the relatively small size of the pages, smaller in fact than a standard hardcover novel; this means many of the pictures have to be reduced in size to fit the pages, which hurts the detail. For a topic as dependent on illustrations as this, you really need the book to have at least letter-size (8 1/2 x 11 inches) or A4 (international letter-size) pages.
   
   The second is that, despite being billed as a review of the girlie magazine from 1900 to 1969, over half the pages are given over to the 1950-1969 period. Admittedly, there is a huge wealth of material from those decades, but I should still have liked to see more material from, for example "La Vie Parisienne", which was the most famous French men's magazine of the late 19th and early 20th century.
   
   The above criticisms notwithstanding, this book is most definitely a must-have for any serious classic-pinup collector, especially those collectors who haven't been fortunate enough to get their hands on Hanson's huge _History of Men's Magazines_ series. Add this to _The Best of American Girlie Magazines_ and _1000 Pinups_, also from the same publisher.

1 comments about Giorgio Morandi: The Art of Silence.

1. I found the book to be very revealing about the misconceptions of the artist Morandi. It gives the political and cultural backgrounds of the artist's life in Italy. It traces the hopes of fascism and its ultimate disappointments.
   While revealing much about the life and times of the artist it leaves the mystery and beauty of his work intact. Knowing about the forces against him made me more appreciative of his unigue gift.
   I would have liked to see more reproductions of the paintings mentioned in the text. I get annoyed reading about a painting I can't see for my self.
   Over all I found it a rewarding reading experience.

1 comments about Lonely Planet London Encounter (Lonely Planet Encounter London) (Best Of).

1. Completamente util si uno se va de viaje a londres y quiere aprovechar los dias al maximo,
   Los precios no estan del todo actualizados

5 comments about Exhibition Design.

1. As project manager I work with museum exhibitions more then 10 years. I found the book very good - text, photos, case selection. I would like to recomend this book for museum people, designers, project managers. let's make our museums interesting for visitors, this is real chelenge in pop culture time.



2. Modern exhibitions have to compete in a fast-changing leisure market and must make use of technology and techniques that in the past have been associated with film and retail worlds. It's all about the experience - and here to address these changing needs is EXHIBITION DESIGN, packed with examples of successful exhibitions from around the world from both trade fairs to fine-art holdings and smaller artist-designed displays. Both history and technique blend in a title which teaches by example and by conceptual review, making it a top pick for college-level art libraries serious about teaching the finer art of successful exhibition processes for artists or museum curators.
   
   Diane C. Donovan
   California Bookwatch



3. There are few sources such as this one - EXHIBITION DESIGN - that share insider thoughts and plans and results of the process of presenting exhibitions in museums. As such it is a welcome addition to the art lover's library, something to ponder when trying to discover why some exhibitions (despite the subject of the curated objects) make and impact while others feel cold and distant to all but the addicted lover of that particular subject.
   
   Architect and exhibition designer David Dernie shares the mechanics and philosophies of current museums, pointing out the current concepts of 'immersion, interaction, and multisensory experiential approach' have moved from the purely entertainment field into the realm of the once rather sterile filed of exhibition design. His thoughts are amply illustrated by architectural renderings and photographs that, while informative, are not of the quality one would expect from a book on museum wisdom! But the elements of psychological significance on how to present art to the public eye to enhance the experience of viewing are sound ones, and in his words 'how objects are arranged will determine the nature of the message they communicate.' Grady Harp, January 07



4. This book gives detail into what exhibition design spaces need including lighting, color, graphics, and goes into different types of exhibition design including narrative, interactive, and simulation. Each design example also includes good information on what the artist's message was and how they achieved it through the design choices. Very good choice



5. I just received the book "Exhibition Design" today from Amazon.
   
   I was very excited to find the title because there are so few books on the
   subject of museum exhibition design.
   
   I was however very disappointed with the overall quality of the book. I have
   other W. W. Norton books ( Building the Empire State) and I own close to 300
   architecture and design books.
   
   I have never been so shocked at the poor quality of the photography in any
   of my books. Some of the photos in Exhibition Design book were not
   sharp....some where so dark you could not tell what was really going on in
   the exhibit...but most seem like they were photographed with a camera phone.
   
   I was even shocked at the poor picture resolution of the Ralph Applebaum
   exhibits (blurry non sharp pictures and poorly lit)... I have a couple of
   books that cover the same projects and the photos in those books are
   wonderful...I assumed that companies like Applebaum send out a specific
   press kit with professional photographs.
   
   I guess I have learned that I should always see a design book in person
   before buying it on line.

5 comments about Monet's Years at Giverny (Abradale Books).

1. Claude Monet lived in rural Giverny from 1883 until his death in 1926. Many of the paintings that we most closely identify with his oeuvre were done on his property or in the neighborhood. Following his death, the property deteriorated until its restoration was completed in the 1970s with the help of Lila Acheson Wallace, of Reader's Digest fame. This book was created to in part to honor that restoration and the show that commemorated it. The show marked the beginning of a resurgence of interest in Monet that continues to grow. My only reservation about recommending this book is that it would have benefited from larger sized pages so that the reproductions could have been larger.

   Giverny is located to the north of Paris, and is connected to Paris by the rail line from Gare St. Lazare (which Monet painted several times). The view of nature we get there is a reflection of Monet's very French focus on creating gardens, a lily pond, and walkways that bring natural beauty into our controlled grasp.

   I have had the pleasure of visiting Monet's home at Giverny several times since it was restored and highly recommend that you make this journey as well when you are in Paris. Your concept of Monet's work will be changed by seeing his working conditions. The grounds are primarily an extension of his studio, for making observations of nature easier. First time visitors will be shocked to realize that the lily pond was dug and expanded at great effort and expense by Monet. Without his persistence, we would be missing many of our favorite Monet paintings.

   Throughout the time that Monet lived in Giverny, his eyesight deteriorated . . . mostly due to cataracts. As an artist friend of mine points out, that eye affliction greatly improved his painting by making it freer and less detailed.

   He also pioneered many techniques of al fresco paining, such as creating an artist's studio in a boat for his famous river scenes. This enabled him to capture many unusual perspectives from the water to the river bank. Similarly, one purpose of the Japanese bridge over his lily pond was to give him a similar point of perspective.

   The book contains a map of Giverny and Monet's property (purchased in 1890 after he originally rented it), and 81 works that he created in the area.

   Missing from these reproductions are the famous water lily paintings that he gave to the French nation which are now housed in the basement of the Orangerie. Be sure you see them when you next visit Paris. Many people go to the Orangerie and never make it to the basement. These are among the greatest jewels of Impressionism.

   You will be pleased to see the 25 works from the Musee Marmottan in Paris. These masterworks are also often missed by those who visit Paris because they do not know about this small gem of a museum and its superb Monet collection.

   The reproductions are organized around themes: (1) river scenes (from the boat) (2) haystacks [sic] (3) poplars (4) river and fields (5) morning on the Seine (from the boat) (6) the Japanese footbridge (7) the Garden Path (8) early water lilies (9) the late series (my favorites are the rose trellises over the garden path) (10) pond subjects, and (11) late water lilies.

   The end of the book also has a chronology of Monet's life and works that will help you integrate this show into his entire work.

   You will come away with a new excitement and respect for nature from these images. You will also feel more connected to and with the beauty of nature. Your mood will be lifted, just as Monet intended. What you see will be uniquely yours, also just as intended. Monet pays you the ultimate compliment here of letting you participate in the creative process by arranging the work in your mind to fit your mental needs and perspective.

   After you enjoy these images, I suggest that you come away inspired to make what you do more accessible to others. How can you make your life and your work easier for others to participate in?

   Live in beauty!




2. Whether you have appreciated Monet's works for years or you are just discovering him for the first time like me, this book is a beautiful, informative collection of his best.

   Beyond the absolutely vivid and beautiful quality of the paintings displayed in Monet's Years at Giverny, I greatly appreciate the style of language used throughout the book. Unlike many major art books which often seem to forget about the layman reader, this book reads more like a beautiful story of his life providing great insight into his works.

   In college, I was fortunate enough to see a collection of his Water Lilies in Paris. Although at the time I was amazed to see them, through Monet's Years at Giverny I came to fully appreciate them---Not only the paintings, but the man himself.

   Excellent addition to any collection!




3. Unlike most art books, this small volume has been in print continuously since 1978 & when you read it, it isn't hard to see why: superb reproductions and an extremely elegant design (plus its small size - very unusual in art publishing) offer the reader a wonderful experience wandering in Monet's vision of a carefully constructed alternate reality. In Monet's Giverny, natural forms respond instantly to light. The images produce a peculiar sense of floating in the viewer - many of the pictures lack a horizon line or any indication of where the viewer is in relation to the picture. As a result, we seem to hover in flight, poised above a constantly shifting panorama of woods, water, fields, and lilies. Interestingly, no human figures are visible in these works (Monet was never really a figure painter) producing a peculiar sensation of isolation and contemplation in the spectator - we wander through this magical land alone, or with whatever companion we desire. A superlative achievement which has found few imitators in the world of art publishing.



4. This book takes an in-deapth look at one of the greatest impressionist artists of all time. Go out and buy it today.



5. This book is fantastic! It captures the essence of Monet's painting better than any other book I've seen. The color printing is accurate. The plates are large and plentiful. There are complete series like the Japanese Bridge and Lily Pads as well as select paintings that are rarely found in other Monet books. And the inclusion of some unfinished late canvases shows how far Monet went into the future of Western art. You won't find many better than this!

2 comments about Hudson River School Visions: The Landscapes of Sanford R. Gifford.

1. One of the American masters of landscape painting in the nineteenth century was Sanford Robinson Gifford, and though he was highly celebrated in his lifetime, his name appears now only occasionally when the topic of the Hudson River School of art is discussed. This excellent monograph, which accompanied an exhibition of his work in 2003 - 2004, serves to restore the reputation of one of our less widely known artists who captured Americana on canvas and was an important leader of the Hudson River School of painting.
   
   More than seventy reproductions of Gifford's paintings and drawings grace the pages of this book - scenes of the Adirondacks and Catskills, luminous river scenes filled with the transparency of fog and light. But the book also serves as an historical document with photographs and information about Gifford and his travels abroad with the obvious influence of JMW Turner. His perception and use of ambient light so distinct to the Hudson River Valley are both discussed and illustrated.
   
   This is a fine monograph of an important artist: it is also a superb study in art history of one of the most eloquent schools of painting in American history. Recommended. Grady Harp, December 05



2. 150 pages of the book are devoted to the works on display at the exhibition (I saw it at the Amon Carter). Since most of the works belong to private collectors, once the exhibition finishes at the National Gallery in Washington, this book will be the only place you will be able to look at the body of Gifford's work. The plates are excellent. If you like other Hudson River School painters, you will want this book.

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."

No comments about Hundertwasser: Complete Graphic Work 1951-1976.

5 comments about The Amber Room: The Fate of the World's Greatest Lost Treasure.

1. Intriguing account of the Russian "Amber Room", originally built by Prussian king Frederick 1, and given to the Russia's Peter the Great in 1717. The room (wallboards decorated with sheets of amber) was lost during WWII after it had been captured by German soldiers overruning Leningrad and removed to Konigsburg Castle.
   
   This popular history is told in the form of an unfolding political thriller, the most interesting aspect of which is the still-intense feeling about the loss and reparation of historical national cultural treasures during the war.
   
   After leading the reader through the labyrinth of the bureaucracies of national cultural and political archives in Russia and the former East Germany, and documenting the extant theories of where the Amber Room remains hidden, the authors conclude that in fact the room was destroyed by fires set by looting Soviet soldiers when Koningsburg was recaptured in 1944. Even this deflating conclusion proves interesting given the Cold War politics still surrounding the issue.



2. After a good start, the authors get hopefulliy lost in trying to maintain some thread of their investigation with so many tangents and contradictions that it because a real exercise in self-punishment. They come to no concrete conclusions and keep repeating speculations. There is a cast of thousands in this book and many key persons are continually recast as though each retelling or hearsay evidence changes the truth. The truth is hard to see in this work, and you will find yourself skipping over details that only the authors could somehow find fascinating. I think they were paid by the word.



3. On the whole, I enjoyed this book because I am interested in art history, the political history of WWII and the Cold War, and mysteries. I did feel, however, that the the authors could have trusted us to remember people and events a bit more than they did. There was a fair amount of restatement and reintroduction. The speculative conclusion they arrive at seems reasonable. The authors display a keen understanding of human nature and the possible motives leading to the disinformation campaign surrounding the fate of the Amber Room.



4. I loved this book. It is a good example of good research, good journalism and great writing. Must Read for all History Buff.



5. The question titling this review is the one a potential reader needs to ask prior to choosing this book. The story of this astonishing work of art, gifted by Frederick I to Peter the Great, has been the basis for many books both scholarly and purely fictional. While this book is non-fiction it is not one I would recommend to anyone that is unfamiliar with this topic. The room that is the title of this book can be viewed online as it has been reconstructed, and once seen the viewer has a right to expect a written history of this fantastic creation that both approaches the unique beauty of the art itself and the incredible journey the room may have taken.
   
   The mystery/history of the real Amber Room has all the makings of the most remarkable of fictional thrillers, and while the authors present a sturdy, competent narrative, the book never gets very interesting. The prose is dull and does as much of a disservice to the true tale that black and white photographs do to the real Amber Room.
   
   The book also suffers from a constant handicap of; wishing for something just does not make it so, every attempt at breathless suspense reads as labored, contrived and often very predictable. If you have never read about this topic search elsewhere as the subject is fascinating, if you are already a reader of books on this tale again you should look further before adding this to your reading list.