1 comments about Edgar Degas: Paintings That Dance: Paintings That Dance (Smart About Art).

1. As a teacher looking to add to her biography collection, this series is a dream come true. It's written in a style that is attractive and holds a child's attention. There is a mixture of real art pieces and drawings done by the book's illustrator. It's a painless way of learning new information. I highly recommend all books in this series for any 3-5 grade teacher.

5 comments about Understanding Illuminated Manuscripts: A Guide to Technical Terms (Looking At...).

1. Explains in lay terms the processes used in illuminated medieval manuscripts. Still a bit complicated, but a good resource.



2. This publication using a lexiconary form lavishly displays an art form too long ignored. Extraordinary effort and expense has created a book that shows and explains the accomplishments of a lost art. Any bibliophile, any artist will devour this book.



3. I used this book and the Christopher De Hamel book while I was taking a graduate course on Illuminated Manuscripts. The information was indispensable for the entirety of the course, but it also helped me in future courses I took. It is wonderful to find an academic book that is fun to read! I would heartily recommend it to anyone, and especially to students who are studying manuscripts or merely the art history of the period! It is a most worthwhile investment!



4. This slim volume by Michelle Brown is an excellent resource for anyone who is interested in the study of books and manuscripts (codicology). In a succinct dictionary format, Brown gives definitions of all of the major terms that may give trouble to someone visiting a museum or reading a work by such major writers in the field as Chris DeHamel. Suitable as both a textbook and a companion to books on manuscripts, this book is nearly indispensible to the beginner and the intermediate in allowing some understanding into the complex technical and art-historical vocabulary used in the field.



5. This little volume provides brief definitions of all the important phrases and terms used in the study of illuminated manuscripts including forms, techniques, themes, and periods.

   Great for understanding the differences between an historiated initial and an inhabited initial - or between an antiphonal and a gradual.

   Most of the representative images are in color and are well chosen to illustrate the definitions. Perhaps their only drawback is their small size due to the size limitations of the book itself.

   A great companion while reading to "Medieval Illuminators & their Methods of Work" by Jonathan J.G. ALexander or "A History of Illuminated Manuscripts" by Christopher De Hamel.

5 comments about Sister Wendy's Story of Painting (Enhanced and Expanded Edition).

1. I purchased this book for myself after finding Amazon's price to be the best deal out there. It is beautiful and thorough. Sister Wendy covers every major time period with overviews of the most significant artists while including comments and close up studies of specific works. This book could easily be an art course in itself- it is comprehensive and the illustrations are just what you would expect of a DK book- beautiful and with accurate, vivid color. Sister Wendy writes in a readable layperson's style; you need not be an art student to enjoy this book. It is easily my favorite buy of the year- you will LOVE this book!



2. The first purpose of an artbook is usually to showcase fine art with high quality reproductions. This book certainly packs in ample artwork, well supported by Sister Wendy's colourful commentary. However the image quality is horrendous, with a vast proportion of the reproductions being badly pixelated or blurred.If you like Sister Wendy, then buy her other books. This one is so sloppy that it is disrespectful to the artworks and is to be avoided.



3. A 1¼ inch thick book with about 400 pages and more than 450 color illustrations of the most significant works of art in Western history can hardly fail to please anyone with an interest in art history. In Sister Wendy's Story of Painting, Sister Wendy provides an intellectual and somewhat passionate discussion on major art movements and sensitive analysis and interpretation of more than thirty paintings she showcases in the book. Enlargements of particular areas of these paintings are used to analyze techniques and identify symbolism. In the absence of ancient paintings that have survived, Sister Wendy uses other forms of art such as sculptures, friezes, tapestries and mosaics to illustrate the subject, composition, style and proportions used in paintings of that era. She treats all styles of art with equal reverence. Shortcomings in this book are few. Illustrated timelines that appear before each major section of the book could be improved by the addition of other historical milestones to help the reader achieve a better perspective. I would prefer less commentary about numerous paintings of a single artist and instead, more information on the cultural and political influences that shaped the development of painting. I would prefer less coverage of obscure artists such as the Nabis in favor of more on Victorian art and Art Nouveau. And I would wish for a more eloquent conclusion to the book. But the thing that was most lacking to me is a discussion on paint! Nowhere is the development of paint as a medium discussed with any depth. These aforementioned shortcomings, however, pale in comparison to what Sister Wendy has accomplished in her book -- the creation of a comprehensive and scholarly source of information on the history of painting that neither the newcomer nor the expert could fail to enjoy.



4. How bizarre...
   ...and yet, how wonderful. Who would have ever thought that a nun going through the museum would have (a) been interesting, (b) been publishable, (c) been television-worthy, or (d) been within the realm of credible imaginings? And yet, here is the proof, on my coffee table. Sister Wendy's smiling face, next to a scowling Vincent, greets me each day with my morning cocoa.
   
   This is a book to be savoured. It cannot, like the morning cocoa, be rushed and enjoyed. This must take time. Not because the text is dense or confusing--indeed, it is not. It is lively, witty, historical, accessible, all that one could want in a book on art.
   
   But, mostly, it is exquisitely visual in layout. Everything is photographed and reproduced in stunning colour and low-gloss format to make the pages vibrant and durable yet easily seen. Care has gone into the production of this volume. None of the art is reduced to black and white, but rather presented in glorious colour. With over 800 images in under 400 pages, this is a feast for the eyes. Each page is dominated by art, not text. That makes for slow moving, like reading a museum.
   
   Sister Wendy Beckett takes us on an historical tour of painting (in the European theatre of history), beginning with prehistoric cave-art and drawings, leading up to modern and post-modern artists.
   
   She takes representative pieces, such as the Bosch painting of Death and the Miser to illustrate points of colour, detail, composition, and story. Some paintings have complex stories (such as this one), others have simple composition (such as the 'innocently disadvantaged' Mona Lisa) which give endless speculation as to the meaning.
   
   Sister Wendy explores each era of artistic history, listed below in broad categories (there are several subcategories of each), giving history and philosophy as well as major and representative minor works, explaining in detail at least one or two works for each, concentrating on painting, but also bringing in as relevant sculpture, stained glass, architecture, and other artistic media.
   
   + Art of the Ancient World
   + Gothic Painting
   + Italian Renaissance
   + Northern Renaissance
   + Baroque and Rococo
   + Neoclassicism and Romanticism
   + The Age of Impressionism
   + Post-Impressionism
   + The Twentieth Century
   
   Sister Wendy does an admirable job at not concentrating exclusively on religious and Christian art (for being a nun), however, given the history of art in Europe, this is a major theme in its own right.
   
   The Epilogue, says Sister Wendy, 'is both an afterword and a foreword: hundreds and thousands of artists come after the disappearance of the 'story line' into the maze of contemporary artistic experience and these same artists may of course, be the forerunners of a new story.' In concluding her volume, she highlights the paintings of Robert Natkin, Joan Mitchell and Albert Herbert, the art of each she hopes will endure.



5. I am very excited about using this book to study art with my children. The photos are top quality, showing close ups of interesting details in the paintings. I have a collection of art books, but this is by far the best. Worth every penny!

5 comments about Mexican Muralists: Orozco, Rivera, Siqueiros.

1. This is a very good overview on the subject and I dare you to find better color reproductions of these murals.



2. I am gald I was able to get this book and it fit with my budget perfectly and I am glad that I got it.



3. After having this on my wish list for a couple of years, and I finally purchased it after another trip to the Detroit Institute of Arts. If you're interested in Diego and his contemporaries, this book is a must-have!



4. Read the editorial reviews first and if you are still not convinced that this book does a good job covering the Big Three than get individual books on each. The text is outstanding and puts the works of art into a political context of the time period. The author is analytical, insightful and definitely well versed in the subject matter.There is an exhaustive bibliography, extensive endnotes on each chapter and spectacular reproductions on thick quality paper stock. There are historical photographs of public works in progress and a varity of camera angles of individual murals to show the enormity of the works. I have seen many of these murals on location and this book does an excellent job of portraying them as they are. When you see a Rivera fresco on a wall at the National Palace live or in this case from a pulled out camera angle and see the railing leading to the next floor being dwarfed by the images it is truly impressive. Looking at the details within the murals is the ultimate visual experience where you can get lost in the picture and the meaning. The closeups and details of individual segments are superior. This is art for the peoples public viewing brought directly to you from Mexico to hold in your hands and examine at your leisure. There are several good books out there on Mexican Murals but this one for the money is outstanding. The three artists each had a distictive style but each brought a unifying nationalistic approach to the walls of public buildings. Is one artist better than the other? You be the judge, everyone has their own favorite. If you are unfamiliar with the works of the Big Three than check it out, you are in for a treat.



5. This is definitely one of the best books out there for anyone interested in Mexican art. Few books can inspire as much as this one, especially for people from Zapotlanejo, Jalisco. It's loaded with many pictures and chronicles the lives of these three muralistas and has in depth coverage of specific murals, i especially enjoyed the coverage on "History of Mexico" mural by Diego Rivera. This book is definitely worth the price and a great addition to any collection. Orale!

5 comments about Renoir, My Father (New York Review Books Classics).

1. A decent if disjointed book. You can tell from reading it that Jean had great respect for his father and loved him very much. Unfortunately, there was a large gap between his father's death and the writing of this book, with Jean working from memory and not notes, and it shows. There are times where it's hard to see where Renior stops and Jean starts, and this can make things a bit confusing. If you are a fan of Renior's however,don't pass this book up.



2. A biography written by a child of someone famous often carries more than one burden, similar to the responsibility or encumbrance of the overshadowing parental fame. However, in filmmaker Jean Renoir's lovingly detailed remembrances of his Impressionist painter father, the reader gleans more than a timeline of an artist's rise to prominence. The author shares a richly detailed account of life in a culture that--in most areas of France save for Paris--was still foremostly agrarian. In this burgeoning Industrial world, Renoir tells of the rise of his father's art and the changing cultural behaviors, shifting societal patterns and troubling questions within that framework.
   
   Beginning at Louis-Philippe's "July Monarchy" (1830-1848)-- generally seen as a period during which the haute bourgeoisie was dominant and the 1840's which saw financial crisises and bad harvests with an ensuing economic depression--we are reminded of the general and specific trends vis-à-vis how they affected the Renoir family's world. Curiously descriptive, this was a world of street oil lamps and chamber pots; anesthesia was not yet invented (nor any antiseptics); butchers slaughtered the animals on site in the back of the shop; great debates about the inferior railroad system and the overall safety of locomotives were waged (could a pregnant woman harm her unborn child by moving a such great speeds? Did the smoke and soot emitted hinder crops in nearby fields from growing). Adding to the vivid and graphic storytelling of French life are vignettes of the senior Renoir's dealings with fellow Impressionists and art dealers as well as his painting process behind some of his masterpieces. Family life, the defining touchstone of the artist as a man, is shared in humorous and matter-of-fact style ("My mother brought a great deal to my father: peace of mind, children whom he could paint; and a good excuse not to have to go out in the evening.") This book, which was first published in the mid-1950's, affords the reader a complete picture of the life of a great artist during a time of vicissitude and excitement in all facets of French society.



3. An affectionate remembrance of Renoir by his son, concentrating the years up to the turn of the century.
   
   Renoir considered himself an artisan rather than an artist, disliked anything artificial, from margarine to ready-to-wear clothes, had among his friends artists, and musicians who are household names today. "It is when you have lost your teeth that you can buy the best beefsteak" he would say, and considering that he became more infirm with age, this truism affected him no less than the rest of us.



4. We adopted "Renoir, My Father" as bedside reading while my wife was recovering from hip surgery, and (aside, perhaps, from "Goodnight, Moon,") I can't imagine better therapy. This is odd, in a way: Claude was an old man (and in pain) when Jean got to know him, and Jean was an old man when he finally brought his recollectios together. You might expect cranky, but nothing of the sort: it's a book full of sunny afterglow. Every parent would hope to be rememnbered so well.

   The book might take a bit of getting used to: Jean has his own pace and his own way of telling his story. We did it in small doses and I'm not certain yet that I quite catch the rhythm. None of the rough edges have been smoothed off which, come to think of it, is just as Claude would have wanted: Jean speaks with his own voice. You have to listen well, but you know that the voice is nobody else's.

   I suppose it helps to know a bit about the Impressionists to enjoy it all, but I can't say I know all that much, and I didn't feel impaired. Anyway, God bless Google: more than once, when Jean talked about a painting or a subject, I key-clicked my way to an image and completed (as it were) the picture.

   Kudos also to NYRB (this time) for producing what it does not always produce: a finished physical specimen The paper feels like quality; the binding is sturdy, and there is a small but satisfying selection of pictures, both colored and black-and-white. There is even an index of sorts (I assume from the original translator) but it is patchy and incomplete. That last is a shortcoming, but forgivable in light of the book's other virtues. In the NYRB firmament, this is surely a star.




5. Impressionism is my favorite style of painting so I was really enchanted with this biography. Written by Renoir's middle son, Jean, Renoir, My Father not only gives us an intimate look at the life of Auguste Renoir, it gives us an intimate look at the Paris of Renoir's day as well.

   As we get to know Renoir we get to know his contemporaries, too. Jean Renoir writes about Monet, Cezanne, Manet, Sisley and many other great artists. We learn many "little known" facts, such as Monet's penchant for lace and his "artful" way with the ladies.

   Paris really comes alive in this book. Many of the places Renoir writes about still exist and can be visited today. This book makes any art lover's trip to Paris more meaningful whether he's a Renoir fan or not.

   When reading this book, one must remember that this is not a "run of the mill" biography. This is a son writing about the father he adored. The portrait we are given is very intimate, detailed and loving. It's obvious that Jean Renoir adored his father, just as Auguste Renoir adored his family.

   Ultimately, this book is a beautiful tribute from a loving son to a father who was one of history's consummate artists. If you have any interest at all in art, this is one book you simply must not pass up. The last page alone will break your heart.

4 comments about The Book of Exodus.

1. I first read a review of this coffee table book in New York Times and went on line to purchase it from Rizzoli. It was selling for list price of 40 plus dollars. I have purchased two from Amazon and given as gifts. The recipients were very pleased. It is a beautiful book depicting the story of Exodus, soft pastels for illustrations. Would highly recommend it for those interested in the old testament and this compelling rendition.



2. THIS IS AN ABSOLUTELY BEAUTIFUL BOOK AT A BARGAIN PRICE. THIS BOOK MAKES A WONDERFUL COFFEE TABLE BOOK OR A FANTASTIC GIFT. THE ARTWORK IS WONDERFUL AND I WOULD RECOMMEND IT TO ANYONE!



3. This is an amazing book. It far exceeded my expectations. I purchased it for the 6 year old daughter of a friend. The little girl is just beginning to read Hebrew. I know she will love the paintings and will eventually be able to read the text in both languages.



4. We all know the story of Exodus. Now to see it interperted in these amazing skys gives new meaning to each chapter.The caligraphy in both english and hebrew superimpsed on the sky is amazing. This is truly a work of love and art by the creator of this book. We have bought several copies and given them as gifts to friends and associates.Everyone who has seen this book at our home wants their own copy

5 comments about Paintings in the Louvre.

1. As a Parisian-born art lover, I have been to the Louvre many times and skimmed through many catalogues and books about its collections. I can reasonably say that this is the most beautiful sum ever published on its paintings collection. The illustrations do justice not only to the masterpieces, but also to more minor works, which other publications seldom show. The text is minimal but lively. It is a heavy item, not easy to bring back home, but it is worth the effort.
   
   The only regret: over the last ten years the museum has acquired some wonderful works, so maybe it is time this book were updated, since it is more than ten years old.



2. Context: I'm not an academic or a scholar; I'm a regular guy who likes visiting museums when I travel and I wanted to do a little researach before I left. This book worked well for my daughter and I to determine which parts of the museum deserved the most time (on a short trip) and to get a better understanding of the works. I'm not qualified to evaluate it from an academic perspective, but as a layman it was exactly what we needed.



3. I love this book. The reproductions in my opinion are really stunning and many fill a full page. Often times you really have to concentrate to follow which painting a caption is eluding to - that is my only criticism of this book. It is a fantastic addition to any art lovers collection, and anyone who has been to or will one day visit the Louvre in person. There is not alot of historical detail so do not buy this book thinking it is an art HISTORY book. It is not that although there is VERY VERY minor detailing of periods in art and a discussion of the history of the Louvre itself. This book is a treasure to be had but not a great instructive work. For the high quality reproductions and the pleasure the reader has of viewing the vast and beautiful painting collection of one of the worlds greatest museums I give it the highest praise of five stars. I should just note that my version is newer than this and has the Mona Lisa on the cover. Cheers!



4. I admire deeply the work put together in this book. I believe it was compiled with integrity to the purpose of relaying the center of some of the world's most exquisite art. First of all it is a massive volume in deep, rich color and when you receive it no matter what price you paid it feels well worth it. On several pages you will see a whole painting and then on the next page an enlarged version of the painting's focal point, a section of the art to show the rich detail. Of course you will lose some detail with any representation of this work. But if you can't make it to the Louvre or have been to the Louvre and would like to bring some of the soul stilling art home I highly recommend this book.



5. I'm surprised by the glowing reviews for this book. The reproductions are of poor quality. My advice would be to buy a book published in the last ten years, no more.

3 comments about Hensche on Painting.

1. This book is about Hensche's thoughts and insights to painting the landscape and about the Portrait and figure. Alot of valuble information in such a little book. Well worth the price. It could be used as reference book, to be reread over and over.There was a chapter on Seeing that I liked very well.Though I am a pastel painter and he focuses on oil, the information is well suited for any medium.



2. Very informative. I agree with his feelings about professors telling you to go get 'm tiger without providing enough basic information and that we need to get back to drawing as a basis for painting.



3. I found this book far less useful for practical painting pointers than those based on the treachings of Hawthorne, William Morris Hunt, Henri and Sloan. Granted, those are tough acts to follow, but there it is. What I did find fascinating was Hensche's perspective. Clearly, he greatly admired Charles Hawthorne as he should. He even went as far as to suggest that Hawthorne in some ways eclipsed Monet and bridged the gap to the abstract expressionists ... maybe in some ways. What I found absurd was Hensche's suggestion that he had gone beyond Hawthorne (and therefore beyond Monet!). Hey, I've heard from some of his students that Hensce was a great teacher and a nice guy ... and I don't doubt that, but in my opinion, as an artist, he never painted anything of tremendous merit. On another topic, the book shed some fascinating, although brief, insight on a rivalry between Henri and Hawthorne that I had never heard of before. Also, there are some refreshingly blunt statements that Hensce made summing up a couple dozen artists from Rubens to Andy Warhol at the end of the book. So, the book is worth a quick read if this sort of thing interests you. I'm glad I bought and read the book (it is brief and inexpensive) even though I don't think it was outstanding.

No comments about Achieving Depth & Distance: Painting Landscapes In Oils.

No comments about Giorgio Morandi: Works, Writings, Interviews (Ediciones Poligrafa).