3 comments about Andy Warhol Portraits.

1. When most people think of Andy Warhol, images of Campbell's soup cans and a vividly colored Chairman Mao come to mind. For those who know Warhol better, memories also include Marilyn Monroe, Jackie Kennedy, most wanted posters, and self-portraits of the artist.
   
   What few appreciate is that portraiture was the bread-and-butter that Warhol used to finance his experimental work at the Factory. Before this book, you could not see the full range of this work. Unframed and grouped with similar and complementary works in the same time period, these 300 portraits show a considerable range of style and expression that will be a new perspective for all but collectors of Warhol portraits. I found the work to be so impressive that it totally changed my sense of who Warhol was as an artist.
   
   In this book, the portraits do the talking. The brief essays merely describe the processes that Warhol used and that he tried to make people look good . . . and larger than life. But you knew that already, didn't you?
   
   The range of the ways he captured the spirit of his subjects is what's most impressive in this volume. Repetition of the same image in one work with different treatments could help us see many different expressions of the person (see Natalie 1962). In other places, many images of the same person in one work express mood, movement, and a story (see Sixteen Jackies 1964). In other cases, multiple images of the same subject give us deep insight into personality (see Ethel Scull 1963). In other cases, the multiple images show the reality as well as the personality (see Merce Cunningham 1963 and Triple Rauschenberg 1963).
   
   Exploring different use of colors and backgrounds, Warhol could totally change our emotions as viewers (Silver Liz 1963 gives us a sense of coolness and elegance while Liz 1963 shows a woman of great emotion and passion).
   
   In Warhol's process, subjects were photographed around 100 times using a Polaroid camera. The subject then picked the images (or image) that she or he liked best. The images were turned into silk screens. Then, Warhol added the background and color to capture what the mere shape could not. The degree of focus also creates more or less power and immediacy (compare Donald Judd 1967 and Robert Rauschenberg 1967).
   
   The portraits also create dialogues, such as when married couples had their portraits done around the same time. In the book, these images are often on facing pages. You'll be arrested to see Nelson Rockefeller 1967 and Happy Rockefeller 1968 looking off into the same spot in space . . . but not each other. The color overlap is minimal, emphasizing their differences.
   
   These images are even more arresting when the pair are portrayed looking away from one another as with Gianni Agnelli 1972 and Marella Agnelli 1972.
   In places, painterly backgrounds add remarkable depth and power to the images as with the Agnellis.
   
   In places, the painterly treatment is sufficient to remind one of the work of Degas such as Lee Radziwell, 1972.
   
   Portrait creators have always arranged sitters carefully to emphasize a certain point. Warhol does this in a very minimal way, often adding more than part of a hand touching the face or a bit of clothing. Because of its slight use, the impact is much stronger.
   
   How do the subjects fare? Those with strong personalities do best. Those with complex personalities are rendered beautifully, but aren't as accessible. Subjects who want to look physically attractive often appear merely decorative, like a background model at a party.
   
   Warhol's talent can best be seen by comparing the various ways he renders eyes. Male and female subjects alike receive slashes of color that sometimes resemble eye shadow and other times seem like tiny masks.
   
   There isn't much that's soulful about these works. They are more about promotion than about moral uplift. It's all the more surprising when that soulfulness appears as in Farah Dibah Pahlavai (Empress of Iran) 1977.
   
   Seeing Judy Garland 1979 and Liza Minelli 1979 made me wish that Warhol had done more mother-daughter combinations. These two stunners crawl right inside you.
   
   Part of Warhol's art comes in knowing something about the person. Where the subject is unknown, you'll find yourself a little more baffled about what the message is. Think of each of the celebrity portraits then as being in part a reflection of the public image and our current perceptions. Warhol uses this celebrity awareness to good purpose in creating very minimal works that express the dominant impression of a person (see Martha Graham 1980).
   
   As his career continued, the works became more daring. I was particularly drawn to the line drawings with bold bands of color such as in Paul Delvaux 1981 and Jean Cocteau 1985.
   
   Some of these portraits will cause you to stop and rethink what you know about the people. I had that reaction to the pairing of Prince Charles 1982 (coolly displayed as a young symbol of the monarchy) with the almost flirtatious Princess Diana 1982 (appearing as a powerful force with an earthy grounding).
   
   The portrait of John Lennon is simply stunning (1985-86).
   
   For a good sense of Warhol's progress, you'll enjoy seeing many of his self-portraits.
   
   Enjoy a good look!



2. This book enables the reader to discover some rarely seen paintings by Warhol, representing many personalities from the sixties, seventies and eighties, from O.J. Simpson to Pelé, from the Queen of England to the Shah of Iran, artists, art dealers, art collectors, musicians (John Lennon...), actors, fashion designers and friends of the artist's. Even though it was this kind of work that drew the harshest criticism (Robert Hughes, critic for Time Magazine, dubbed Warhol the new Van Dongen, meaning by that that he only painted superficial portraits of the rich and famous of his time), they still show the scope and depth of Warhol's creative power. The book is lavishly illustrated and the text was written by leading Warhol authorities (dealer or critic). A very complete checklist of all the portraits illustrated is given at the end of the book. A valuable addition to the albeit extensive Warhol literature.



3. Andy Warhol is one of the best known American artists of the 1960s and renowned for his uncoventional life and art as well as is enduring influence on American pop culture. An influence that continues down to the present time several decades after his death. Famous for his iconic images of Marilyn Monroe and Campbell Soup Cans, he also made art out of the facial images of political, social, entertainment, sports, and music celebrities of his day. This particular body of his work has been compiled and edited by Tony Shafrazi, who enhances this 320-page coffee table art book with 350 color illustrations and informative essays by art critic Carter Ratcliff and art historian Robert Rosenblum. The men and women whose images were made immortal by Warhol range from Kareem Abdul-Jabbar, Giorgio Armani, Truman Capote, Jimmy Carter, Joan Collins, Clint Eastwood, Herman Hesse, Alfred Hitcock, Jackie Kennedy Onassis, Lenin, Robert Mapplethorpe, Liza Minnelli, Princess Diana, Yves Saint Laurent, O.J. Simpson, Elizabeth Taylor, Tennessee Williams, Natalie Wood, Mao Zedong, and hundreds of others. An important contribution to academic library 20th Century American Art History reference collections, "Andy Warhol Portraits" is a 'must' for the personal collections of Warhol's legions of admirers.

4 comments about Painting Murals Fast & Easy.

1. The mural examples in this book are really crudely done (as you could expect when using sponges to paint with). I wouldn't want to duplicate any of the paintings shown on this book. If you have any talent for painting at all, stay away from this book. There are many better books on mural painting.



2. I loved the murals and the book. This book opened my eyes to so many possibilities.



3. This book can be useful for both beginning muralists and those with more experience.
   
   1 - Beginners: For someone wanting to paint a mural in their child's bedroom, for example, the techniques in this book are ideal - and will easily achieve excellent results. It is even possible to involve the child in some of the simpler methods - if say, between age 6 and 13.
   
   2 - Experienced painters: Before seeing this book, I had already used some of the sponging techniques in my own murals, i.e. to create a soft cirrus cloud haze, or the spray from breaking waves. (It is important to note that there are many different sponges, and natural sponges give very different effects depending on which side you use.) Where details are required, these can be added using brushes of various shapes and sizes as well as various media to achieve the desired effect. It was helpful to match the method of application to the effect wanted, and not be limited by traditional tools.
   
   It is not a modern innovation to experiment with materials on hand, including household utensils and ingredients. After all, the old masters tried many different tools and techniques, no doubt raiding the cook's kitchen for their purposes! (From where else did we get egg tempera?)
   
   I can definitely recommend this book, alongside the likes of Jean Dyrsdale Green's "Arteffects" - which includes sponging techniques using other materials (such as crumpled newspaper or a scrunched up length of masking tape.) Painting Murals Fast and Easy can be a great stimulus for the innovative artist.



4. I got this book because it seemed interesting, but I really don't care for it. For me, the paintings aren't detailed enough. You can't get a lot of little detail with a sponge. Sure, sponges can be used for some parts of a painting, but not for the whole thing if you want a lot of detail. It's the little details that make a painting more interesting to look at.

5 comments about Stencil Graffiti (Street Graphics / Street Art).

1. it's a cheap book, and it's got cheap information. nothing much to it. i would probably spend a bit more and buy a book that's more in depth with the culture and such of graffiti art. but if you must, like me buy this book to be a part of your growing art book collection, then by all means, no one is stopping you.



2. I like this book. It's a thin book. It's not too much stuff in the book but I think it's a nice book to have in your collection just to have something different. Since I'm not too much into stencil graffiti, this book is just right to have it in my collection. I like it. It has great work of art in it.



3. Its a great book, but Stencil Pirates is better.



4. This book is being reviewed quite heavily these days and after reviewing it myself, I can only conclude that this is because of the Publishers' credentials in publishing books on street art. I found that this book fell short on my expectations, even though much of the material was interesting. While it was enlightening to read the brief articles on the history of stencil graffiti, and how stenciling started back to 22,000 in cave paintings, the book quickly lost steam. Many of the artists featured here are well known, however there are many photos featuring industrial uses of stencils which neither are graffiti art, stencil graffiti or art in any type of form. This really detracted form what I assumed the book was featuring. Most of the interesting features were on European artists such as the "bananensprayer" in Cologne, Germany, or Bansky who mixed political satire with his various works. Although many stencil artists are features from all over Europe, and the United States as well as a whole page spread of works from Morocco, I really missed the interviews which should have accompanied these images. While I would not purchase the book for my personal collection, many of the photos showcased the dizzying array of effects which were possible to achieve with something as simple as a stencil.



5. I have my own website dealing with Sticker Art/Stencils. I found this bbok through a friends website and it wanted me to make moore awesome stencil. I can't believe how detailed some of these stencils are with 5 or more colors on one stencil. Our favorite stencil artist is Bansky....

1 comments about Painting with Brenda Harris, Volume 3 - Lovely Landscapes: 10 Step-by-Step Projects (Painting With Brenda Harris).

1. I enjoy working with her books. She explains everything out. Good for people just starting to paint, learning alot of the techniques.
   Great job !!!!!!

4 comments about Painter's Guide to Color.

1. Not a beginner's book, this book was way over my head....but I am sure that once I improved it will make more sense to me and I will enjoy it....I know of a couple of advanced artist that swear by him, but I am truly just a beginner



2. I have not received my order of this product (6 copies of it!)The order was made and shipping for it was to take place on November 21st, 2007.
   I can no longer fine this order on my computer, but I want to be sure it is CANCELLED!
   Margaret York



3. this is stephen quiller's sequel to "color choices" with the addition of new information about neutral mixtures (Jean Dobie's "mouse power"), color value and intensity (saturation), color families, "mother color", and the latest version of quiller's color mixing wheel, one of the best available. but i was disappointed. the book suffers from a mechanical approach to color mixing or color families -- in some cases, the text of captions or whole sections is identical, with color keywords repeatedly changed. this edition deletes some of the best chapters in "color choices," such as the chapter on "finding your own vision," adding in its place a bizarre section on "color personalities" (each mixed color is associated with adjectives such as "noble" or "playful"). and quiller recommends a 28-paint (!) palette, which will create more confusion for a painter (especially a beginning painter) than all the mixing instructions can clear away. i suggest you browse this book before you buy it: "color choices" is better overall, and you can order quiller's revised color wheel from him directly, on a plastic card that is more durable than the tear-out version that comes with this book.



4. Visually Stimulating. Extremely informative in regard to mixing colors! I was so excited to find a book that had so much visual information about the color wheel. There are many examples to refer to and learn from. A must for any painter!

2 comments about First Steps Painting Oils (First Step Series).

1. I have been painting for a few years, and I love the way this book breaks down the steps of painting. It is helpful to know a little color theory before using this book, but if you are comfortable mixing your colors, you'll be having a good time immediately. DeMore even gives formulas for some of the color mixing she does, which is helpful if you are a beginner. This is a fun and knowledge-filled book. It also helped me to know that Louise DeMore hasn't been an artist since birth. She has a degree in mathematics. This gives me hope that even I can be a good artist, as I embark on my full-blown art career! The book is filled with wonderful advice on how to paint: that you should make mistakes in order to learn, that you should paint faster than you are comfortable with, and that you should have fun. It is absolutely wonderful! I keep reading it and reading it.



2. This book teaches the basic and simple oil painting techniques for any new inspiring painters. The book also helps you get right down to it. As a beginner I am well aware that one has to start something that is very basic and easy before getting into paintings that are more complex and detailed. Highly recommended.

5 comments about Master Disaster: Five Ways to Rescue Desperate Watercolors.

1. This book looked like a good one to add to my growing collection of watercolor books. I got the book browsed through it and thought, well it is alright. Later I was reviewing some paintings for a show, found one that was "just so-so" and thought I would try some of the suggestions from Susan's book, thinking it couldn't hurt. So I scrubbed and cropped away at it. Now, instead of a painting I was ready to discard, I have two purely eye catching watercolors.
   Can't wait to frame and show them.
   This one correction has paid for the book twice over. Strongly suggest it as an addition to a painters book collection.
   Mary Schiros



2. I found the information in this book to be very helpful in figuring out ways to rescue a watercolor painting.



3. Sue Webb Tregay's book, "Master Disaster", is one of the best art instruction books to come along in a very long time! As a professional artist for a number of years now, I was simply blown away by this book. I have never seen, in any other art book, such a widely diverse selection of artwork by ONE artist before! There is something for everyone here. Her ability to paint in many styles with widely divergent subject matter makes this book so unique. Couple that with her lively writing style, and "just do it" attitude, you'll want to race off to your studio to create your own masterpieces!
   Simply put, a "must have!"



4. Susan Webb Tregay presents logical, methodical, and imaginative approaches to "fixing" disastrous watercolor paintings that would benefit painters utilizing all water-media from the amateur to the more experienced. Her book, "Master Disaster" is loaded with great illustrations and explanations that are easy to understand. I particularly like her flexible approach to fixing a painting, and I'm now using many of her suggestions. Additionally, unlike other painting instructors, Tregay's approach enables students to retain their individual style while incorporating her ideas for mastery. Many other instruction books are practically "paint by number" in approach, where you use the author's compositions, color pallette, technique, etc. That approach isn't particularly effective because it produces painting clones of the author. Tregay's approach eliminates that possibility. I think this is a GREAT watermedia instruction book and highly recommend it to others.



5. This book is so easy to follow. It makes so much sense and to think it's the only one if it's kind that I've found. I love it and have used it already to "Master a Disaster".
   Thanks Susan
   Elaine Bailey

5 comments about Formulas for Painters.

1. Great little book for painters with tons of information. Tremendous value for price. Would not want to be without it on my shelf of reference books for oil and acrylic painters.



2. This is the manual that all others are compared to and remains the gold standard for basic instuction on painting materials.



3. I differ from the previous reviewer who considers this book too technical. This book isn't technical enough. It lacks the technical information for the serious artist to decide if the cited formulas suit his needs.
   
   For example, the section on the "Drying time of medium, glazes, and varnishes" doesn't tell you how the tested formulas were drying. Were these formulas drying on a hot day or on a cold day? Temperature makes an enormous difference on a formula's drying time. How thickly painted where these formulas? This too makes an enormous difference. Were these formulas tested after being mixed with paints? Or were they tested straight, no chaser? We might be artists; but we are still smart enough to comprehend, and need, basic and useful "technical" information.
   
   It would also be helpful if the author cited the sources of his formulas. When I read about a formula in the book, I like to know which artists used the forumla so that I can see if their paintings are still intact. As the author didn't cite the sources of his formulas, I have no way of knowing if the formulas are archival or fugitive, and if I should trust them. I mean, the formulas could well have been copied from Francisco Pacheco's once authoritative painting manual - a book that recommends such dubious formulas as using olive oil in gessoes.
   
   You will notice that there aren't many surviving Pachecos in the museums.
   
   With these said, this book is perhaps among the most useful painting formulas books available. A serious and experienced artist can, to some degree, decipher if these formulas are archival based on their ingredients. In contrast, an inexperienced artist would be at a lost as to which formulas to trust.



4. not helpful as I thought. it is so technical, I am an artist, no a paint solution maker.



5. If you want to know what you are working with in the world of paint-here it is.I'm talking types of paint and not brands.a Fantastic book for consultation on varnishes,fixatives,glazes,etc.It gives you the lowdown and how to make the stuff and what their purpose and use.It is not a "must-have" book but its one I really love as I've always been curious about the alchemist side of things.It is a technical book only but thats exactly what I wanted...but not needed.I love this book.

5 comments about The Painters Workshop - Creative Composition & Design (The Painter's Workshop).

1. Book: Creative composition&design
   I am very please whith this book, thankyou.



2. Have enjoyed using this as a reference after observing her in a demo.



3. the book teaches a lot, and it's great to read how to finish started works. however, you need a background in abstract work to understand her lessons. I have no such background, and her descriptions of the works in progress confused me. as well, her projects require a lot of specialized art supplies - inks and pigments and stuff that I don't have lying around. the projects also require a lot of space - easels w/ full sheets of watercolor paper, storage for scraps, etc. if you want to spend the $$, go ahead. I'm in a dorm and don't have the background, space, or $$ to do the projects.



4. if you are interested in composition and design, this is a must for your art library. clear, consice, immensely readable, pat dews acts as your personal guide! while her focus may seem in the "abstract vein", there is something for everyone here, no matter what your interest is. warmly written, i found myself reading every word. now that's something for a visual book! her explanations, photos and critiques were helpful and made me want to run to the studio to start my own wonderful discoveries!



5. This is one of the best art instruction books that is now available.It is an excellent follow-up to Creative Discoveries in Watermedia published in 1998.Creative Composition & Design is a workshop in book format. Pat Dews warm positive attitude comes across on each page.The book is very well designed with excellent color photographs of art that will inspire you to create.The tips that are listed on various pages are very helpful.The section showing how different artists work on design and composition is an excellent way to gain additional ideas for your own work.The critiques shown of student work places you right into the workshop experience.You will see how paintings are resolved.You will learn a lot from this book and return to it often.I highly recommend this book-it was worth waiting for.If you are unable to attend a workshop with Pat Dews this is the next best thing.If you have been fortunate enough to take a workshop with Pat Dews this book will act as an excellent follow-up.

5 comments about Chinese Painting Techniques for Exquisite Watercolors.

1. The book itself is beautifully done. Pictures and stages of the art work are clear. Colors are visually accurate but paint names might depend on your location and vendors. There's no substitute for attending an actual workshop. If an artist had never learned any Asian painting techniques, this book might be too challenging. On the other hand, anyone who has learned similar watercolor or ink methods would easily follow the instructions. I had attended one of Lian's workshops so I use the book whenever I want to work on a new project.



2. I want to know where is my two (2) books that I bought last month, in 01/07/2008:
   1 - Chinese PaintingTechniques for exquesite watercolors
   2 - Love is in the Earth: Laying of stones (Crystals and New Age)



3. I really love this book. One of the reasons I like it is that it is so unique. It is not really a book for a beginner watercolorist, but I am somewhat at the beginner level, tried some of the exercises, and had a lot of fun even if they didn't turn out exactly as I had hoped. I also have Zhen's DVD of Painting Animals in Watercolor. His cheerful and unique mannerisms on the DVD helped me enjoy his books even more. One of the exercises I tried in this book involved actually POURING the watercolor paint onto the paper and letting it mix. It didn't turn out exactly perfect, and when I started doing it, I didn't feel like I knew what I was doing, but in the end, I had a beautiful effect and felt that I had a lot of fun that was different from other watercolor books I've learned from.
   
   Zhen has a lot to teach in this book. Some paintings are done on rice paper and some of regular cold press. I really love this beautiful book. The DVD is fabulous also.



4. It wasn't much help beyond some technicalities of brush work and some reproductions of the artist's work. Okay for a pretty intro. and some history. If your goal is to reproduce someone else's paintings, this book does that; but I want to create my own so Chinese Brush Painting: A Beginner's Guide by Pauline Cherrett, actually gives directions: on how to care for your tools, how to compose your own paintings, how to make your paintings vibrant with energy and spirit, with enough "what not to do's" to be truly a useful beginners guide. I don't understand the 5 star ratings on this book. As to technical brush work; Chinese Calligraphy Made Easy: A Structured Course In Creating Beautiful Brush Lettering by Rebecca Yue; gives wonderful step by step directions for brush work that transfers to painting everything else.



5. 
   

   The title "Chinese Painting Techniques for Exquisite Watercolors" is, by all accounts, an understatement! Of the countless dozens of art technique books I've read over the years, this one is by far the most captivating, beautiful and unique.

   Rarely have I ever been this impressed by a book on any topic, let alone one on art techniques, of which I'm generally rather critical. I'm so used to art books that leave too much information lacking, are unoriginal, show sloppy technique, or simply cannot keep my interest, that this book left me salivating for more! It is truly an exception!

   The author, Lian Quan Zhen brings to life an interesting blending of Chinese painting techniques and Western watercolor methods to create a style of painting that is simply, well... exquisite!

   The author begins by covering the basic tools and techniques of Chinese painting, from materials and supplies, to mounting of completed paintings. He covers the difference between Chinese paints and watercolor paints, painting in ink, and even shows the *correct* way to hold a paint brush!

   Zhen goes on to give one of the best explanations of effective painting composition that I've seen yet. He covers everything from linear perspective and establishing the focal point of your painting (which he refers to as 'establishing priority'), to geometric organization of objects in arcs, circles, triangles, rectangles and s-shapes, and provides clear examples of each.

   Next, the author beautifully conveys the three basic styles of Chinese painting, which he identifies as "detail-style" (gongbi), "spontaneous" style, and a blending of the two which he simply calls "half-detail, half-spontaneous," and throughout the book he gives many beautiful examples, and techniques for creating each of them.

   Through the rest of the book, Zhen shares the creation of many beautiful compositions, not only in Chinese ink, but also in watercolor using many of the techniques he uses in his Chinese paintings, and showing how the two different methods can be used to create very original, beautiful works of art.

   I cannot recommend this book more to anyone with an interst in watercolor, but I must warn that once you see this book, its very likely you will be equally drawn to Chinese painting.

   As for myself, and my growing addiction to Chinese painting techniques, I've now traded in several hundred dollars for a plethora of Chinese art supplies, and I couldn't be happier!!

   Many thanks to Lian Quan Zhen, for sharing his uniquely beautiful approach to painting with the rest of us, and for introducing me to a brand new way of looking at a blank sheet of paper, particularly xuan paper!