No comments about On the Couch: Collection.

1 comments about Printmaking for Beginners: 2nd Edition (Printmaking Handbooks).

1. Was looking for updated info re collagraphy techniques for newbies and water-based and acrylic inks for same. Gleaned enough from older books to know that collagraphy is relatively easy for beginners because no expensive printmaking press was required to apply pressure, only simple household utensils were quite adequate (and often preferable).

   This book devotes seven pages to collagraphy and only mentions an oil-based ink/mechanical press method of producing collagraphic prints. Very disappointing, especially since many professional quality collagraphs today are printed using the manual, "pressless" technique.

   If you'd like to begin a more simple printmaking experience by making monoprints, or either wood or linoleum block prints, or perhaps screenprints, then you're in luck. The book is full of clear illustrations, instructions and color repros of finished prints. The other "press-dependent" printmaking methods are well covered here as well. Not heavy on details, but rock-solid on the basics that a beginner needs.

   Thus, my rating is: 1 star for collagraphy beginners, and 5 stars for everyone else. 3 stars splits the difference.

2 comments about Sense of Sight.

1. Sense of Sight is possibly the best place to start with the impressive breadth and depth of Berger's essay writing. For anyone new to Berger, this is clearly the place to start. Even though "Selected Essays" features a longer time frame and over 600 pages of writing, "Sense of Sight" contains many of the works that make "Selected" such a powerful collection.

   Berger's subjects in "Sense", as Lloyd Spencer says in his intro, fall into a number categories: "travel and emigration, dreaming, love and passion, death, art as activity and artifact, and the relation between work in language and the physical labour which produces and reproduces the world." Berger's confidence in tackling this array of stories is buoyed by his abilities. Few writers today would even tackle such a variety of areas because few command Berger's ability to weave stories and ideas together in the same cloth with the same commitment to both threads.

   Highlights include:

   - "The Moment of Cubism": a powerful and accessible study of one of the most profound developments in painting
   - "Leopardi": an introduction to a man Nietzsche considered the greatest prose writer of the 19th century
   - "The Eaters and the Eaten": an intriguing study of food, class, and feasts
   - "The Production of the World": Van Gogh's compulsion to bring his canvas and reality ever closer together, "so close that the stars in the night became maelstroms of light"
   - "Dürer: a Portrait of the Artist": what two self-portraits of an unrivalled artist reveal about art, independence, and religion on the cusp of the modern era
   - "Ernst Fischer: a Philosopher and Death": a moving recollection of the writer's passions, insights, and final days




2. It was a delight to return to John Berger's writings through this collection of essays. A few are previously unpublished and the rest date from 1960 to 1984. Old stuff? No. Some of the essays are timeless, those on art in particular. Some offer haunting pictures of a vanished world, travel pieces in Yugoslavia for example. And some are disturbing and dismaying for their current relevance. "On the Bosphorus" was written in 1979, just after the government of Turkey had declared martial law, again. Berger sets this story of modern Turkey, its people, and its politics, on a ferry across the Bosphorus carrying Anatolian, commuting workers, truck drivers and Kurdish porters. The impact of US intervention on Turkish politics appears in the details of lives situated in history and written on the bodies of Berger's fellow passengers and remembered friends. The essay that follows, "Manhattan," is eery for the juxtaposition, and the two engage the reader in a post-September 11th dialogue.
   John Berger is an art critic who taught us another way of seeing 40 years ago, but his strength is in the relation between the visual and the verbal. He writes of the the stories told by works of art and fills his essays with pictures of particular. He is the story teller.

5 comments about Gullah Images: The Art of Jonathan Green.

1. It is given to particular artists to do the impossible. Claude Monet paints light. Andrew Wyeth paints time passing. You can hear Jonathan Green's paintings. In "Bessie Mae", he paints not only the singer, the song itself springs from the canvas. "Silence With The Birds" transfixes the mind, making common imagery so new that you may as well have just been born. Green belongs with those rare artists whose work leaves you seeing and feeling the world in a new way. You can spend an hour with this book, go for a walk and see fresh grace in the movement of the human body, sense something new in your step. All that and more, you will find in this book. There is in every painting the identifiable signature and the present quest - something that goes to your belly, and makes you whole. This is world-class art, visionary, accomplished, redemptive. Green's work expresses the spirit of a people who endured hundreds of years of brutal oppression, created the greatest religious songs in the language and fought a revolution without guns. Here is love, made visible. As in Rilke's poem about Apollo: 'You must change your life."



2. Last month I went to Charleston, South Carolina for the first time and discovered the art of Jonathan Green at Gallery Chuma. If I could be a piece of art, I would be painted by him. The art is shown in chronological order and the evolution of style through his career is evidenced. There is one color plate per page so each piece is easily viewed. All are in color. The art section is prefaced by three lyrical, thought-provoking chapters about the artist, the relationship of Gullah heritage, African American aesthetic, and his art as an expression of the layers of experiences mixed cultures bring to humanity. One chapter mentioned the flowing movement in the artwork which is also what first piqued my interest. I just can't help but wish that all that is good in the world of Jonathan Green's art could be in everyone and make our world a better place.



3. a beautiful book of green's work
   if you are a fan of his artwork--this book is an excellent compilation in both presentation and accompanying text



4. of color and of life. His vivid paintings make you feel glad to be alive



5. Conroy has done a splendid job of putting together the works of Jonathan Green. Not only does the book show Green's unique style to best advantage, but includes great information about the Gullah people and the artist. A must have book for anyone interested in the Gullahs or Jonathan Green.

No comments about Botanicals: Butterflies & Insects.

4 comments about Collecting Lladro: Identification & Price Guide (Collecting Lladro).

1. The book was exatly what I was looking for, a very no hassel transaction which makes it a real pleasure. We have found Amazon to be a very honest company. Nothing else to say. Cheers Chris



2. As a Lladro collector of more than 25 years I found this book to be most informative. Even though I have read much about Lladro there were topics covered that were new to me. A new addition would be most welcome.



3. Good book to read about Lladro porcelains but it's pretty outdated and doesn't contain samples of the newer Lladro pieces. But then again, Lladro related books are so rare, this itself is a jewel. Majority of the pictures shown here are the 'official' photographs of piece by Lladro themselves. It would have been great to see pictures taken by the author or owner as it would give a different angle and view of the pieces. I'm an avid collector and was thrilled to see many of the older pieces and read a short history about them in this book. Perhaps the author would consider to publish a newer edition?? And also source out Lladro examples from a more varied selection of collectors. A view of how they are stored in display cabinets at individual homes would be great too, to give a more personal and homely touch to the pieces. This is a great book and I'm sure it took a lot of effort to come out with it.... I would recommend it to anyone and hope that new editions will be published in the near future.



4. For anyone who is interested in learning more about Lladró, the company, the history, the incredible artistry, "relatives" such as NAO and Zaphir, collecting and becoming better at collecting, and how to care for your collection, this book is fantastic and I highly recommend it! Peggy Whiteneck is truly an expert in this field, and has a passion for collecting Lladró that shows in every page. This second edition includes updates and new information as well as even more photos. Lladró collectors will not want to miss this!

5 comments about Collectors Encyclopedia of Limoges Porcelain (Collector's Encyclopedia of Limoges Porcelain).

1. This is a very thorough history of Limoges. I did not find the pattern that I inherited, but after reading the book, I now understand why there are an amazing number of patterns.



2. Purchased this book as a gift for my wife, who has some Limoges dinnerware. She loved the book and has been able to identify much of her collection with its help.



3. If you collect Limoges Porcelain this is an excellent reference book, with a large section on marks and their dates. The colour pictures identify many patterns, along with a detailed section on manufacturers and a history of Limoges porcelain.



4. I purchase books online based on the reviews so lets be honest. Debby DuBay's book Antique Limoges at Home is the book to purchase. Gaston's book has terrible photographs & just can not compare to DuBay's books.



5. Mary Frank Gaston wrote the foreword to Debby Dubay's Antique Limoges at Home and the introduction to Collecting Hand Painted Limoges Porcelain and I'm thrilled. Two experts collaborating to give collectors all of the info they require to collect successfully. Please write a book together.

5 comments about Glazes Cone 6: 1240 C / 2264 F (Ceramics Handbooks).

1. This book is interesting for anyone who studies glaze or wants to make some glazes of their own (even if their working at different temperatures).



2. After Snail Scott's review, there's not much to say, as she gives an excellent and in my opinion, accurate overview of the book.
   
   I myself was disappointed, however. A few factual errors are indicative: zinc is NOT an alkaline earth, but a transition metal; and while magnesite is ideally magnesium carbonate, not all magnesium carbonate is magnesite, that is, the two are NOT synonymous. Also, I was perplexed by the insistence on using zinc oxide in nearly all the bases; not only is it expensive, but it also has a powerful (and usually undesirable) effect on most colourants.
   
   Maybe I just got used to superb glaze references, and was expecting more. Even so ... a decent buy, and it gave me a few good ideas, but I'm slightly regretting having bought it. (I would, however, recommend Clay and Glazes for the Potter and The Ceramic Spectrum: A Simplified Approach to Glaze and Color Development.)



3. This book contains a few interesting recipes that you cannot find from Internet. Providing with more recipes and color images of examples,it is more fun to read than the Cone6 glaze book written by John Hesselberth and Ron Roy. Some of the raw materials are only available in UK but we probably can find substitutes here in US.



4. While this book does a great job of explaining certain aspects of glaze theory, the way in which it is approached did not leave me, an American potter, with a lot of useful information.
   The first half of the book goes into great detail about glaze theory, with many clear charts and graphs to illustrate the author's points. I found it to be easy to understand and very thorough. Proportions of silica, alumina, and fluxes are discussed, explained, and diagrammed. Also, there are many glaze tests illustrated.
   The second half of the book deals with specialty glazes and provides recipes from potters. These are also well documented and illustrated.
   This book was written in the UK and seems to be geared almost exclusively to the UK potter. This is not a bad thing for a UK potter, but does make it less useful in the US in terms of the way that we usually formulate glazes here. In my experience, most Cone 6 glazes in the US are formulated with boron. So learning about boron's effect on glaze analysis is essential. The author declares at the outset that he will not be explaining boron in terms of glaze theory, and it is discussed only in terms of its use in a specialty Chun-type glaze. Also in the US, we tend to avoid the use of zinc in glazes, since it has a negative effect on many colors. Almost every glaze analyzed in this book has a significant portion of zinc.
   Although the theory is clearly explained and this book may be a useful reference for that part, I found much of it to be useless for my work because of the exclusion of boron and the use of zinc.



5. This is not a recipe book or a catalog of glazes, nor is it a chemistry textbook. It focuses specifically on cone six oxidation (electrically-fired) glazes, with easy-to-understand charts of glaze properties, and simple explanations of the materials that create the different properties of glazes. This presentation allows the glaze creator to predict where any glaze they make may fall in terms of its firing properties, with particular emphasis on coefficient of expansion. This is an important factor in glaze design since it determines 'glaze fit': whether a particular glaze will craze or even cause cracking in the clay beneath it. This topic has seldom been explained with such clarity and simplicity.

   Each broad type of cone six glaze (matte, glossy, low-expansion, porcelain, etc.) is discussed, and charted for comparison with other cone six glaze types. 'Special' glaze types are also mentioned, including Chun glazes, Bristol glazes, crystalline glazes and single-firing glazes for greenware.

   Methods of calculating glaze formulas are reviewed in this book also, covering the conversion of a recipe to its unity formula and percentage analysis. Not an in-depth course in calculation, but a basic introduction for the novice, or a handy review for the more experienced (but not yet expert) glaze developer.

   Recipes are given for each glaze type, but they serve less as suggestions for glazes to use than as typical examples for comparison. Colorants are discussed in a basic way, but are not the focus of this book.

   Photos are given for each example discussed, featuring test tiles of each glaze arranged for easy comparison. Not many pictures of pretty pots here, just consistent, representative photos of glaze samples of the sort shown on the cover, and pictures of a few actual ceramic objects to demonstrate the appropriateness of various glazes in practice.

   The appendix contains a useful chart of the chemical compositions of many common ceramic materials used in the US and UK (where the author resides).

   This book is an excellent aid to making cone six glazes from scratch. It's not quite a 'start from zero' book, but a useful supplement to the standard studio-ceramics textbooks. Easy to understand, not scary, and does not presume an extensive chemistry or mathematics education, though a high-school-level background will be helpful. This is a book for the ceramist who has been using existing glaze recipes, but is now ready to find out how they work and to develop their own.

1 comments about Ash Glazes.

1. Many beautiful photographs, exceptionally well written and a joy to read and use.

No comments about Phil Frost.