5 comments about Painting Animals.

1. I ENJOYED THE ARTWORK VERY MUCH BUT REALLY HOPED THAT THE DEMONSTRATIONS WERE MORE INVOLVED. THERE IS NO DOUBT THAT THE ARTIST IS ONE OF THE MOST ACCOMPISHED IN THE WORLD AND HAS A VERY GIFTED EYE WITH WHICH HE VIEWS NATURE. THE UNUSUAL POSES, USE OF COLOR AND DELICACY OF BRUSHWORK CREATES
   AN ANGELIC EFFECT OF HIS SUBJECTS. HOWEVER, AS FAR AS THE BOOK GOES, ITS A FORUM FOR HIS ART AND STYLE BUT HE DOES NOT GIVE AWAY AS MUCH ABOUT HOW HE ACHEIVES THESE FANTASTIC EFFECTS. WHAT WE WHO BUY THESE BOOKS NEED IS A MORE INVOLVED "HOW DID YOU DO THAT" APPROACH. SHOW ME MORE STEPS. SHOW ME HOW YOU HANDLE THE INTRICATE DETAILS. REMEMBER THAT IMITATION IS THE SINCEREST FORM OF FLATTERY. OTHER STRUGGLING ARTIST WILL IMITATE YOU FOR A TIME AND THEN THEY ARE OFF TO DO THERE OWN THING. IN THESE TYPES OF BOOKS WE LOOK FOR MORE DETAIL. I FOUND THAT TO BE SOMEWHAT LACKING IN THIS BOOK.



2. This is an exceptional wildlife artist, however I bought this book specifically for the purpose of learning to paint animals in detail. There's not a whole lot here to explain how to get certain effects. One thing that bothered me was how it was written. Not that it was poorly written, but that it was from the viewpoint of someone other than the artist. I want to read what the artist thinks, how they came up with the idea & how they acheived their results. Not from the viewpoint of someone who interviewed them.



3. This book is exceptionally well done and an inspiration to anyone interested in wildlife and art.



4. This is not a book for the beginning artist but perhaps another reference for wildlife artists, especially acrylic and oil painters. Full of lovely paintings by Christophe Drochon but I found the instructive aspect to be somewhat thin on specific detail. Discussions of technique and composition were very general and although I agree with the author's comments, I felt that a lot more could have been said that would have made this a more instructive book.



5. If you aim to paint ultra-real, exciting wildlife art, Christophe Drochon's work can't help but inspire you. His rendering of lambent cat eyes, fur glowing in the sun and dramatic scenes are some of the best.
   
   This book is aimed to the oil and acrylic artist or anyone working in opaque mediums as opposed to the more expressive and loose styles of watercolor and pastel. You can get ideas for colored pencil and sharpened pastel as well as gouache but this is really primarily for oil painters.
   
   There are sufficient demos to give good instruction for the more advanced artist, but you need some grounding in your medium before you attempt work such as this. In other words, not for beginners except as inspiration and simply to admire an exceptional artist's work.

4 comments about Freud at Work: Lucian Freud in Conversation with Sebastian Smee.

1. magnificent view on the painter as painter.



2. Lucian Freud seems to gain in importance as a painter and as provocateur with every exhibition (or even frequent monograph) that appears - an d for good reason. Freud continues the tradition of figure painting, but clearly in his own language. His canvases are dense with detail of both body surface and psychic message. His tendency to find rather physically grotesque models (such as Leigh Bowery) and then paint canvas after canvas of those models, each work revealing even more bizarre statements about the sitter, has made him one of the most interesting painters of our day - and the gentleman is in his eighties!
   
   Infamously reclusive, Freud paints everyday, producing huge canvases and diptychs/triptychs with what appears to be the greatest of ease. But this very fine book allows us to see the artist's struggle with the creative muse by admitting us into the studio, courtesy of interviewers David Dawson and Sebastian Smee and photographers Dawson and Bruce Bernard, a friend and admirer now gone who captured some of the more sophisticated views of the artist at easel and photographic images of the models along side the painted version from Freud's hands, imagination and talent.
   
   Even for those who have collected museum catalogs and other monographs of the work of Lucian Freud these richly reproduced color photographs of Freud's paintings, given the new vantage of moving from the museum wall into the studio of origination with the additional images of the painter at work, constitute a superior art monograph of a current genius. The book is a conversation with a living genius, a painter who is far more interested in the paint and brush than he is with the observer - until now. Highly recommended for art collectors, educators, art students, and for those who remain fascinated with the human figure. Grady Harp, April 07



3. If the so-called School of London is your thing, here is a unique opportunity to watch the grand master at work. Not as good as a video, as possible with Auerbach and Bacon, but you take what you can get with the famously reclusive Freud, who clearly relishes enhancing his own reputation for eccentricity. (Remember the Snowdon photo of a wild-eyed Freud in his youth standing in front of his vintage Rolls Royce while wearing work clothes, like a scene right out of the 'sixties film Blow Up?)
   
   Here we see the work of two photographers, both old friends, who were allowed to capture Freud at work over more than 20 years, as he painted single- and multiple-subject portraits of widely varying sizes, with subjects ranging from The Queen to Leigh Bowery. Most interestingly, this format allows us to see a large number of his paintings at various stages of completion, thus showing his process in a reasonable amount of detail.
   
   Start with a sketch by Cezanne and adapt it to two models, then add a third, to make a contemporary painting. An earlier work starts with a nude model perched somewhat precariously in the cubbyhole high up on the wall. Her portrait on the easel below reveals just how brutal Freud can be in portraying the figure. When we saw the painting at Acquavella Gallery, we wondered if he actually had the model positioned in a nook in the wall. Now we know.
   
   We see how the oil portraits of subjects such as Lord Fellowes and David Hockney start with oil sketches and go through development to the finished painting. The talented young British artist Tai-Shan Schierenberg, whose portraits of John Mortimer and Lords Sainsbury and Carrington are already in the Tate and the National Portrait Gallery, is one of several artists who paint in a style very similar to Freud's, but close-ups of Freud's smaller portraits show the particuarly intensive reworking which make his work unique. He lays on paint heavily like Auerbach or Kossoff but with his own style, which, in the end, is inimitable.
   
   Brigadier Andrew Parker Bowles in full dress uniform makes a glamorous subject. We also see Freud painting a horse and his dog Pluto, and his latest young female admirer. We also see Freud developing the plates for his masterful etchings, some of the best work being done in that medium today.
   
   A 30-page interview by David Dawson and Sebastian Smee is interspersed with the late Bruce Bernard's color photographs and David Dawson provides over 100 additional color photographs of the painter at work. It seems that there is a new monograph on Freud every eighteen months or so; this is one of the few works which focuses on his process.



4. If you are an admirer of Lucian Freud's work, this book should definitely have place in your library. It essentially comprises of 3 parts, opening with a very frank and insightful interview with Freud by Sebastian Smee. Followed by two collections of colour and b&w photographs by Bruce Bernard and David Dawson. They cover all aspects of Freud in the studio - photos of Freud larking around as a Henry Moore sculpture, works in progress (often including the model), finished paintings, his studio, his dogs, horses, foxcub, etching plates and resulting prints, series of WIP paintings showing the stages involved in their creation. Over 120 photos in all, with the vast majority being in colour. Lavishly illustrated.
   
   Smee, Bernard, and Dawson all had/have a close association with Freud and for me that's what makes this book so special. Throughout, Freud is just going about his business which is captured wonderfully by the photos. Bernard wanted to take carefully considered photos but Freud was having none of that, to the point of literally doing headstands. Bernard died in 2000, around the time that Freud was working on his Cezanne piece. Dawson picks up the plot from there, with photo's through to 2006.
   
   For anyone interested in Freud's painting process, either out of curiosity or as an artist, the photo's provide a wealth of information. The adage "A picture is worth a 1000 words" could not be more apt. The Work in Progress photos range from the raw drawing on canvas through to finished pieces. A number of WIP photos also include the model, allowing for comparison between the flesh and the oil. Etching plates and the resulting prints are also shown.
   
   Smee's interview reads like a couple of guys chatting over a pint down the pub. Over his career (and long may it continue!) Freud has met and hung out with numerous famous figures - Picasso, Giacometti, Bacon, Hirst, Auerbach, Bergmann, Balthus, Bowery, Queen Elizabeth II, even gambling with the notorious Kray Twins (1950/60 gangsters from London's east end). The interview is liberally populated with wonderful anecdotes. Freud also talks about the painters through history that he admires - Cezanne, Matisse, Corot, Chardin, Toulouse-Latrec and why. He touches upon living in London and anti-semitism, what led him to paint pictures of his mother, his grandfather Sigmund Freud, being sat at the bar and finding out that someone else was impersonating him - was he upset? Not really, he ended up painting the man's portrait.
   
   For someone who is reknowned for his privacy this book is exceptional. I'm sure Freud had a huge say in how the book would look and its contents. His pride in a job well done is most evident.
   
   If Freud is on your artistic radar, even as the merest blip, then do yourself a favour and own this book. Essential. 10 stars!

5 comments about The Oil Painting Book: Materials and Techniques for Today's Artist (Watson-Guptill Materials and Techniques).

1. Has some nice excersices but overall was rather bland to me. I would actually say the "oil painting for dummies" is a better choice.



2. This book is great! It is very comprehensive and approachable for a beginner. The author goes to great length, but is concise.



3. I am taking a beginning oil painting class, where this book
   was recommended as the best reference book available. I do
   agree with that assessment. It is most helpful with information,
   materials, techniques and sources. It's really great.



4. After almost 30 years I am ready to start painting again. I felt very lost and over whelmed when I went to restock my painting supplies. This book has been tremendously helpful, and I will be keeping it on hand to use as a reference.



5. This is the book I refer to most for how to actually handle paint. If you want to know about glazing, this is the book. The author goes into that in depth, discussing transparent versus opaque paint and the various mediums and providing examples with descriptions of what he did to achieve the effects. Very good overview of paints on the market, with discussion of the composition of the various brands, and of various mediums--includes alkyds and miscibles. Weak on the discussion of brushes--names the types, but does not go into the pros and cons of the bristle material--sable, mongoose, hog bristle, etc, and there is nothing about brands of brushes. Nothing to speak of about canvas panels, though there is discussion on wood and masonite panels. The author has a pleasant, direct writing style. Overall, this is a terrific book, I refer to it often.

1 comments about Egon Schiele: 1890-1918: Desire and Decay (Taschen 25th Anniversary Series).

1. This is another welcome addition to Taschen's 25th Anniversary Series of large, hardcover collections. You get excellent reproductions of many of Egon Schiele's finest work along with Wolfgang Georg Fischer's expert commentary.
   
   Besides the works themselves, I found the most valuable part of the book to be the historical and biographical information. Fischer gives the necessary perspective with which to view Schiele's sometimes difficult work without being excessively wordy or academic. I love academic writing as much as anyone, but I think the intended audience here is not going to want to wade through pages of theoretical discourse.
   
   In addition to the paintings, there are some photographs of Schiele, his family, and his colleagues. After looking at his numerous self-portraits and (especially) the paintings of his wife, it's fascinating to see photographs of them in a casual context.
   
   Schiele's style may not appeal to everyone, but this book is an excellent place to begin your appreciation, especially at Taschen's extremely low price. When you look at all the $3-12k limited edition books they release, it's nice that they remember that poor college students enjoy great art books too!

5 comments about Sara Midda's South of France: A Sketchbook.

1. I have always wanted to be more artistic - and this book is inspiring. Midda is truly talented - she creates a world where everyday objects become beautiful and endearing. There pages dedicated to bread - numbers - even a fellow in a blue striped shirt. With a few strokes of a brush, her renderings are indelable. Charming! Wonderful for artists - artist wannabes - armchair travelers - anyone who enjoys a little quirkyness in their lives. Bravo!



2. In all honesty, I have been enchanted and in love with this book ever since I came here form Poland 12 years ago and saw this work of art in a bookstore.
   I didn't have enough money , so silly me, I "visited" the book whenever I took watercolor classes at the nearby art school on the weekends, and I looked through this gorgeous book because it is so whimsical, so beautiful so memorable, and It haunted me untill I finally broke down, saved my pennies and bought it.
   
   Sara Midda starts her book with some fresh watercolors and a journal type of a book, her first written page reads;
   
   - "4th Apri 1854 Death of Hippolyte Allibert de Berthisr, botanist from Marseilles, known for his work on the grenium
   -Asparagus season starts
   - April 1764; Smollet writes, "Beginning April, mulberry leaves begin to put forth;the eggs or grains that produce the silk-worm are hatched
   - Orange trees in flower"
   ,,,,
   
   
   And this glorious artist paints this book which is her diary, her soul and inner core with watercolors of houses, fruits, vegetables, eggs, postal stamps, cuisine, house street bumbers on the sign of the building, plates, gardening utensils, pots and pans and fancy doors when she is at the South of France, she gives us the visual of her daily life filled with luxuries to be able to record the sweet days of summer with wonderful watercolors paintings.
   
   She writes short and fresh phrases but she paints to the point where its love at first sight,
   
   Basically this is a small size coffee book that I love with my whole heart, I think It shaped my future as an artist and I think , as cheesy as it soudns, I tear up when I look at it, it's raw memories.
   
   This is a gorgeous book, and Sara is an exceptional artist, she prduced
   numerous books to which she paitns her darling little watercolor pieces of art.
   As an artist this is a must have, but as a human, this is balm on your soul.
   Lovely!!!



3. i can't image any other book that is better than this one to read in a sunday afternoon with ice tea and home-made cookies.
   If you want to make a delightful dream of dry air and warm sunshine. Just read it. Really, this book will cheer you up.



4. Having spent three summers in the South of France, I can say the the light touch of her watercolours and the insight into the culture is perfect. Ms. Midda captures all of the pleasure and repose of that part of the world in a simple, elegant manner that is the life to be lived there.



5. This book takes me away to France in through the eyes of Sara Midda. I feel the emotions of her love for the things she has painted. I have 4 children, 2 dogs, & 2 birds...this takes me away to a wonderful place. This book sits out at the main side table so I can curl up with a blanket, my cup of tea, & this beautiful book. Enjoy!

2 comments about Robert Warren's Guide to Painting Water Scenes.

1. Very good instructions but I searched for acrylic books and did not check close enough as acrylics are mentioned but this book is strictly for oil painters. Also, no templates.



2. Robert Warren has outdone himself in composing this wonderful instructional book on oil painting-it is very well explained-this book is for intermediate to advance skill level.

No comments about Fabric Painting with Donna Dewberry: 40 Stylish Projects for Your Home & Wardrobe.

5 comments about Painting Houses, Cottages and Towns on Rocks.

1. I was enchanted by the ideas in this helpful and instructive guide to painting gnome houses from rocks you can find in your yard. I showed the book to my crafty ladies group and I had to order 3 more. There are such darling villages and imaginative scenes that are shown in this book,that your imagine just explodes with new ideas of your own. I hightly recommend this book for making something out of nothing!



2. Lots of great ideas of rock to houses. Cute & warm samples.



3. I'm very satisfied with the books i've bought.
   They are very instructive and complete.
   They teach the reader to paint rocks step by step, allowing consisting apprenticeship.



4. This is a well written and very specific guide to painting houses on rocks. It is beautifully illustrated and offers very specific, understandable and do-able instructions. It is not possible to read this book without feeling encouraged and motivated to get going.



5. I love the book. It is filled with ideas that will keep me busy for a long time. We enjoy our yard and garden so making these little houses, cottages, and towns will be fun to add to our stepables garden. So thanks Lin for being so creative and for sharing your ideas with others like me.

1 comments about Color Mixing Recipes for Watercolor: Mixing recipes for more than 450 color combinations (Color Mixing Recipes).

1. I've been an artist all my life and yet never really tackled watercolors.
   So, since colors are the hardest part of watercolor painting, especially greens, I wanted a book that I could just glance at and have a recipe for the color I need. Sometimes you can end up with mud, or a color that clashes with your intention of the color you have in your head.
   This book really helps me to just turn a page...pick a color I want and use the right combos to get the tone and hue I need.
   It's a great tool. I highly recommend it for a beginner or anyone just wanting a color reference at their fingertips. It's a lot more time saving than making your own.

5 comments about Watercolor for the Artistically Undiscovered (Klutz).

1. I bought this for my niece as a Christmas gift. She really enjoyed it!



2. Watercolor for the Artistically Undiscovered has been a fun workbook for our whole family. My daughter received one for a gift and it was so entertaining we had to order two more so everyone could sit and do it together. The book's layout is in page by page exercises that might inspire further fun and thinking, as well as build on each other to create a more versatile way of looking at painting. In my opinion, the most fun part is being able to paint in a book and even cut out parts and glue them elsewhere. Kids have a chance to breakout from the usual parental mantra of "Be sure not to write in the book, watch out with the paint...". The pages are very sturdy and good quality and the author's sense of humour is wonderful. I have my very own copy to play in, which is sometimes just the thing to inspire me in my own work. And well, there is something about turning squiggles into bugs....



3. This is a great place to start. The paints and paper provided are 1st class quality allowing serious exploration, and the excerises are fun. Add a few more colors - dark green and light blue- and a extra, nicer brush, and there is no better way to start



4. I am extremely intimidated by painting, so I took baby steps and bought this book. It comes with some beautiful watercolors that are rich and color--and a brush as well.

   They start you off with painting some small pictures, even blobs if you are comfortable with it, and you will be amazed to see how much your lil paintings look like paintings instead of a piece of crap (which is what i expected---can i say crap?) anyway, they give you pages where you can "play" and you don't start color mixing and other frightening things until later.

   Later on, you do landscapes and play around with some light and shadow. Its like the fisher price version of learning to paint!! Sometimes, my pictures blended in with their little pictures along the way, which made me happy. They just turn something very scary, into something a lil more easy.

   If you run out of paints or brushes, or you want some more paper, there's a phone number in the back you can call to order some more!! I love klutz products, cause I am one!! Highly recommended!!




5. This fun, whimsical book takes the mystery and frustration out of painting with watercolors. Learn watercolor basics by following the book's simple instructions and then practicing alongside on its watercolor-paper pages. Witty sidebar commentator Thatcher Hurd adds humor to an otherwise indimidating process. Discover what makes you the best painter you know--paint this book and unmask your watercolor painting personality