No comments about Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930.

1 comments about Sol LeWitt: Incomplete Open Cubes.

1. This is a very good book. I enjoyed reading it and looking at the pictures. I can't wait until he completes the open cubes.

No comments about Paul Chan: 7 Lights.

No comments about Shelley China (Schiffer Book for Collectors).

1 comments about Erotica 19th Century (TASCHEN Icons Series).

1. In his introductory essay surveying and assessing the output of artists of erotica during the nineteenth century, editor Gelles Neret asserts that the century itself resembles the well-known artist Jean-Auguste-Dominique Ingres. Ingres was "a wealthy member of the middle classes associated with 'virtuous art' and Raphaelesque purity, the leading exponent of the classical school," and yet an artist who so often and with such evident enthusiasm and commitment often devoted himself (on canvas and in sketchbooks), despite the taboos of his world, to the depiction of the unapologetic uninhibited erotic life of his subjects. Neret goes on to describe the European century as one of comparative repression - which artists craftily got around in the production and then the distribution of their works. To reduce the risk of imprisonment, some claimed anonymity.

   This is a varied and somewhat difficult collection. Neret has assembled examples that are sometimes jarring in their contrasts. There is for example the lushly golden torso, in a tangle of sheets, of painter Gustave Courbet's sleeping female model ("The Origin of the World," 1866) and Degas' nudes (not, I would argue, "erotica" in intention or result). Series of engravings, illustrations for a variety of fancifully obscene books, were in high demand in the first half of the nineteenth century, and they are included. They are nearly cartoonish, and the colors are often garish. There are dream sequences, parlor high jinks, threesomes, foursomes, voyeurs, business being conducted, feathers, orgies, settings indoors (with great attention paid to interiors: carpets, wallpapers, and furniture depicted carefully) and out - whether in nature on the Grand Canal. The men and women in these are in various stages of undress. (Later on in much mainstream pornography, the men would often remain clothed.) This is the stuff of middle-class fantasy - and one suspects it sold well.

   The devil would appear to have figured heavily in the pornographic lithographs of Achille Deveria and Eugene Le Poitevin. As sexual antagonist without parallel the devil conducts his business, enlists his fellows, thinks up and accomplishes hideous erotic "punishments," lurks in the rooms of the unsuspecting, and causes mayhem and (if the artist is to be believed) not altogether unwelcome mischief. One assumes that nineteenth century sensibilities must have in some way welcomed his leering presence and his tacit approval -in order to feel free to enjoy the goings-on.

   Victorian mores get sent up in a variety of satirical drawings. The prodigious output of painter and illustrator Felicien Rops, working in Namur, is included. He's a fabulous artist and a stalwart misogynist capable of a wide range of styles and moods - so long as they depict female suffering in some fashion. There is death and disfigurement in some of his works, cruciform imagery, and a wide variety of emotionally freighted visual signals. The drawings are sometimes troubling and disturbing.

   Finally, Neret includes the sinister illustrations for "Lysistrata" done at century's end by the misanthropic and spectacularly misogynistic Aubrey Beardsley.

   The standout feature of this collection is that it likely will not provoke desire in all but a few, or particularly promote the enjoyment of any sort of sexual expression. Because of that, this collection is not altogether successful as "erotica."

No comments about Willard Clark: Printer & Printmaker.

1 comments about Jewish Art.

1. Ms. Grossman did an excellent job of introducing the reader to the religious side of Jewish culture. As a non-Jew who observes the Sabbath and Holy Days, I found the book to be of particular interest, since I belong to a very small church which has very little in the way of either Sabbath or Holy Day tradition. For this reason I refer to books such as "Jewish Art", since the Jews have such a rich religious heritage -- a heritage which I believe churches such as mine can draw upon for ideas and inspiration. I only wish the author devoted more material to the Sabbath -- i.e., more examples of items used at a Jewish home on this special Day. This is not so much a critism as a comment, since I understand that for most readers her coverage of Jewish art relating to the Sabbath is probably adequate. Overall, however, I would say that the author succeded in introducing the Sabbath, in all its richness and beauty, to the average non-Sabbatarian.

3 comments about The Book of Mechtilde.

1. The two glowing reviews here led me to purchase this book. What a disappointment. I couldn't read the designs, which make up most of the pages in the book. If it was from the Book of Job, I couldn't tell because the writing goes in (literal) circles. Pluse it was tedious, one mandala after another, and the mournful writing was flat, unpoetic, everything the other reviewers did not see or mention. It is an expensive book and it is seriously flawed. That's my own opinion. Am so sorry I bought it and suggest you do not.



2. So very beautiful, exquisite and memorable is Anna Henriques book that I recommend EVERYONE to give this to their beloved on Valentine's day. Though it is a book for Every Day, one that will decorate your home and warm your heart. It's Golden.



3. henriques' moving combination of art and poetry takes the reader on a journey into the subconscious, where you feel the loss she experienced and you share the joy that once was. i recommend this work of art to anyone having experienced their own grief of loss.

5 comments about Raku: A Practical Approach.

1. Long considered a handbook of raku, Raku; A Practical Approach details a myriad of topics pertaining to this method of firing.
   
   *Glaze recipes for many different raku effects
   *Extended chapter on kiln design, construction and operation
   *Information on how to do raku safely in a school or workshop environment.
   
   Raku, a ceramic process originating in Japan, involves taking a pot from the kiln with special tools at the height of the glaze firing, and putting it into a metal container filled with combustible materials. This is a dramatic operation, requiring a team of people, all garbed safely and moving in time to the firing schedule. It results in red hot ware clutched in tongs being carried from place to place- often bursting into flame as the pots contact the combustible leaves, sawdust or shredded paper. As you might imagine, there is much preparation that leads to this firing.
   
   Raku; A Practical Approach details the whole process of producing raku pottery.



2. A complete resource for raku firing. Specific technical information for kiln construction, as well as photos, glaze recipes and much discussion about experimental materials for reduction. If you had only one book to learn about raku tecniques,this should be the one.



3. This is the second Raku Bible that I have used and referred to repeatedly over the years. There is a short section on what Raku is and the history of Raku, but then it quickly moves into the guts of technical information on Raku. Branfman includes clay recipes (for those who are interested in actually mixing clay) and several glaze recipes with some details on how they perform.
   The real meat of the book is on kilns, building kilns, and firing a Raku kiln. Branfman covers firing in both an electric and a gas kiln. He also details many plans and techniques for building your own Raku kiln. Branfman also details many variations of firing methods including reduction firing, piece removal, and post firing reduction methods. Sprinkled throughout the book are great examples of finished pieces using many different styles and techniques that I have used as a repeated source of inspiration. Overall, the book is a very excellent text that covers the practical aspect of the Raku art form.



4. Recently I got the idea of replacing my current electric kiln, and converting the old kiln to a gas-fired rake kiln. I posted a question on the ClayArt mailing list asking for advice on how to do this. Every single reply refered me to Steve Branfman's book! I quickly bought a copy, and found it to be every bit as good as advertised. In an readable, conversational style, Steve covers a wide range of topics, including some history, glaze formulations, types of kilns, firing advice, and health & safety. Where needed, he gives very detailed and specific technical information (the section on determining BTU requirements for burners was *exactly* what I needed). He also provides great recommendations on sources and suppliers. For anyone who wants to get started, or go further, with raku, this is a great book.



5. A very good resource for anyone who is interested in the Raku process. I would not recommend this book for novice Raku artists because of the technical terms used in the book. The author does expect you to know varios technical terms. I found this book very hepful to me as I have been a Raku artist for 2 years. This book is easy to read and the photos are great. There are also a few glaze recipes that I enjoyed experimenting with.

No comments about Italian Maiolica (Fitzwilliam Museum Handbooks).