1 comments about Roy Lichtenstein's ABC's.

1. I originally bought this book for my husband, who loves Roy Lictenstein, to read to our son. I bought it because I thought that my huband would love it. In fact, my son, who is a year and a half, also LOVES it, and it helped him learn the alphabet as well as some words. For those familiar with LIctenstein's work, it is interesting because all of the work existed and was put together for each letter. For example, the letter O has a picture of the oval office. It is an easy way for children -- of all ages -- to learn about words and art.

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1 comments about Dictionary of Sea Painters.

1. The Dictionary of Sea Painters of Europe and North America by E. H. H. Archibald in its 2000 edition contains over 1000 photographs of ship paintings from the 16th Century through the 20th Century along with short bios of the artists who painted them. There is an emphasis on paintings from the days of sail. The book is a beautiful, well printed volume and a handy reference guide.
   
   I had seen a copy of the book at a museum before I ordered my own copy. My motivation for purchase was personal. I had inherited a painting of a ship owned by my great great grandfather. I knew that it was about 180 years old. I was able to identify the probable artist from a photograph in the book. I followed up my hunch with an inquiry to a museum that had paintings from the artist in question. The museum curator confirmed that my opinion was correct. That confirmation alone was worth the price of the book!

3 comments about Over the Line: The Art and Life of Jacob Lawrence.

1. True, this is a large collection of Lawrence's work, however it is very incomplete. In the beginning of Lawrence's career, only 21 years old, he produced the Toussaint L'Ouverture Series. A 41 panel series dedicated to the struggle of enslaved Africans and their victory, which was never more blatantly successful than that of Haiti under the slave-born revolutionary known as Toussaint L'Ouverture. In 1938, when this series was completed it was so monumental for the Pan-African American experience, yet this book refuses to acknowledge it.
   
   First, there is only one print, and one that is subtle and not graphic (such as black soldiers defeating whites which was a major theme of the series). It is an insult to the origin of Lawrence's genius and his legacy, especially in regards to pre-Civil Rights African America:which was his community, not the pseudo-intermingled America of today that is now trying to claim him as an "American" artist, taking away his true existence as an African American artist, not American, especially during an era when his people were so restricted from full citizenship.
   
   Only purchase this book if you want a false story, one that ignores and criticizes (the author had the audacity to ridicule Lawrence for the Toussaint Series because the author claims Lawrence was not knowledgable about the Haitian revolution). Though I think Lawrence was aware, it is irrelevant. As a black man descended from slaves, the revolution was within him, he did not have to read about it. He felt it. The Haitian revolution belongs not to just Haiti, it is a symbol of the enslaved African's struggle against white oppression and the ability to be victorious at it. Even if that is all he knew, it is enough. He did not have to read about a struggle for equality, it was his very existence.



2. 
   "Lawrence (1917-2000) grew up in Harlem, then worked and studied in many parts of the country and in New York until 1971, when he joined the faculty of the U. of Washington in Seattle. Editors Nesbett and DuBois, both of the Jacob Lawrence Catalogue Raisonn<'e> [sic] Project, bring together eight in-depth essays by distinguished art historians who explore and interpret Lawrence's work and life[,] his brilliant art and his identity as an African American artist. Also included is an essay on the binding media and pigments found in Lawrence's paintings and a chronology of his life and reception. This edition was published in conjunction with a major retrospective organized by The Phillips Collection, Washington D.C. in 2001 (and scheduled to travel to several venues through 2003); a previous edition was published in 2000 (minus 50 pages of information about the exhibition) as part of a two-volume set titled [?]. The essays are illustrated with about 140 color reproductions, and the catalogue section features small reproductions of works in the exhibition."--Booknews



3. Jacob Lawrence, who died a year ago at age 82, was one of the great American artists of the 20th century -- or any century for that matter. I had the privilege recently of viewing "The Art and Life of Jacob Lawrence" at the Phillips Collection in Washington, DC, and was extremely impressed. If you can't make it to the Phillips Collection, this book is the next best thing, with more than 200 full color reproductions of Lawrence's work.

   And what a powerful body of work it is, mainly -- but not only -- on the African-American experience. Themes include: slavery; escape via the Underground Railroad; heros and heroines like Frederick Douglass and Harriet Tubman (plus Haitian revolutionary Toussaint L'Ouverture); black migration to the North; continued persecution (lynchings, Jim Crow) well into the 20th century; the Harlem Renaissance; and more. Lawrence's style is simple (but NOT simplistic!), urgent, and direct, using inexpensive materials (cheap store-bought poster paints on hardboard -- whatever Lawrence could afford), which give new meaning to the expression, "less is more!" You get the feeling in looking at these paintings that Lawrence HAD to paint, to bear witness, and to let the world know the situation of his people.

   "Over the Line" is a valuable book for many reasons. For one thing, my understanding is that these paintings, sketches, etc. have never before been published in color, or at all, in any other books on Lawrence. "Over the Line" also give you information on Lawrence's life, which was very interesting in its own right. Finally, these painting are simply a joy to look at, over and over, which this book will allow you to do. I strongly recommend that you get a hold of it!

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2 comments about Van Der Weyden.

1. This book is a cheap mass-market art book as can be seen in the price, and the production values reflect this. Although the paintings are reproduced in colour, the images are not sharp, and this is immediately obvious. As long as you are aware of this, the book is a reasonable purchase. That said, the paintings are breathtaking, and the choices are commendable. The text is also very readable, and while I am prepared to pay a lot more for a more comprehensive and better produced book on Van Der Weyden, there does not appear to be one on the market, so this was better than nothing. I'm awaiting a catalogue raisonne where everything is full page and in colour!



2. Art books are expensive. This one is well worth the fifteen dollars. Plenty of informative text, and a good number of color reproductions. As someone wih a large collection of art books i recommend this book, especially for the price. It's fifteen dollars.... Can you find any other cheap books on Van der Weyden?

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5 comments about How I Paint: Secrets of a Sunday Painter.

1. The editorial review is right in stating this is more of an inspirational book than anything. There are a few sections of the book where Buechner gets into enough detail that it can be put to use by the reader, but they are in the minority.
   
   Look at the table of contents, then realize that nearly all the discussion in the book carries minimal technical depth. It is NOT an instruction book or tip book - it's a few interesting paintings accompanied by the meanderings of a talented painter.
   
   If you like Buechner or his work and want the book for that reason, it's a great book with a handful of insights as a plus. If you want the book because you're an aspiring artist and it's been recommended to you - everything here is covered elsewhere again and again, but in far more depth.



2. This is a terrific book, and I own many many instructional art books. It is worth buying for the illustrations of his pictures alone. There is much to be learned from this book, I recommend it highly.



3. This is the best art book I've bought. I love it. Inspiring and informative, it goes through many techniques such as glazing and scumbling in a helpful and achievable way. For the serious art student, I can't recommend it enough. The author presents his material in a clear and easy to understand manner and his writing is encouraging and helpful.
   I always put off portrait painting because it seemed so difficult but this book changed my whole perspective. I would recommend it to any struggling or hesitant portrait painter. It's gotten me a lot more serious about my art.
   I also have to say that I found the writing style clear and easy the follow. The author doesn't pontificate or put himself on a pedestle and for such a good artist to want to share his learning after a life time of painting, is one of the things that makes this book so good.
   Some books you read and give away and others you keep and continue going back too. This is a keeper. I'd give it 10 stars if I could.



4. Thomas Buechner has written a fine book. The Sunday Painter in the subtitle might make you think this artist is an amateur who paints only occasionally. Actually, he is very professional and now a full time painter after retiring from his career as director of several museums. He conveys to his readers the secrets of layered painting in oils as opposed to alla prima, all-in-one-session painting. He really opened my eyes to the beauty of glazes and scumbling, letting previous layers show through to mix their effects in the eye of the viewer. His insights into atmospheric perspective are unique in all the books I have read and are themselves worth several times the price of this book. This book has expanded my understanding and helped me paint much more vibrant paintings than before. Thank you Thomas Buechner.



5. I had been referred to this book by a female artist friend of mine a week before I wrote this review when she left to attend a workshop by the author in New York. I got my hand on this book a few days later and finished it (not in one sitting) in about two days.

   This is more of an inspiration than techniques book. A very enjoyable book, indeed!

   Although the author does cover the WHAT's and HOW's (along with the WHY he paints) in his book, his techniques are presented in a way that, perhaps, is more appreciated by professional artists than starters. Specifically, the author briefly presents his techniques in just one page/painting in average. Several technique demos are presented, and they are very good. If one needs to be spoonfed on every technique in oil painting, this is NOT the book to look for them. A lot of techniques he mentioned in the book can be found elsewhere. The author does provide a (long) reference citation for further reading.

   What is so good about this book, instead, is the inspiration and humbleness that I feel when reading his book. Born in 1926, only began painting full time in 1987 (at 61 years of age) even though having done most "art-related" jobs since 1945, and still painting, his book is simply a natural outcome of this lifelong artist.

1 comments about How to Discover Your Personal Painting Style.

1. I found this book thought-provoking. I'm still a novice painter, but I think it helps to start thinking more deeply about how/what you desire to paint. It emphasizes development of your own personal view point of the world around you. Many beautiful paintings are used as points of illustration. I find myself referring back to it often.

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