No comments about Landscapes and Cityscapes for Artists and Craftspeople: From 19th-Century Sources (Dover Pictorial Archive Series).

No comments about The Botanical Palette.

No comments about Watercolour Trees & Woodlands (Ready to Paint).

4 comments about Celtic and Anglo-Saxon Painting: Book Illumination in the British Isles 600-800.

1. In a review by "The Old Philosopher" above he states that he doesn't find this books covers the classic Celtic art. Probably that';s because the title includes the words "Illumunated manuscripts" in it.



2. This book is more of an overview of several books than focused on one in particular, but still nice for the plates and a good sampler if you're not sure what to get. The title of this book is not misleading if you know anything about the history of Celtic art and it's later years in illumination, from my experience as a reviewer for the British Museum's publications and having worked in Ireland on archaeology digs as their sketch artist. ;-) During the Christian era of Celtic art they did have many influences of Coptic, Greek, Norse, *and* Persian design, especially in the Book of Kells. The Irish monks did quite a lot of travel during the dark ages to promote learning, and the monastaries in Ireland had students from countries all over the world, hence a good influx of other ideas which they of course fused into their own (masters of adaptation!). "The Old Philosopher"'s desire for Ogham to be used in the manuscripts is very far off... the latin uncial used in the manuscripts is standard for the period, as the ancients Celts (pre-Christianity) didn't have books per sae, only a sort of "runic" writing system of slashes used on staves and stone. They *had* no manuscripts so expecting to see Ogham in a manuscipt would be ridiculous! I think "The Old Philosopher" misunderstands the period of Celtic history these books were created in, as the title is certainly reflective for the period listed. If you enjoy Celtic manuscripts such as the Book of Kells or Lindisfarne Gospels this will be a nice overview of some of the different evolutionary flavors the artwork went through. If you want more information on Celtic art then any book by Ruth and Vincent Megaw (such as "Celtic Art", available from Amazon as well) will cover the early periods (typically only up to the Christian era, or briefly entering the Christian era), and then any book published on the old manuscritps such as the Book of Durrow, Lindisfarne Gospels, and the Book of Kells are great. This book is more an overview of a bunch of books, so good for starting out your manuscript collection.



3. The title is quite misleading. The Amazon listing also says, "Book Illumination in the British Isles 600-800." Unfortunately that amendment is not shown on the cover, only on the inside title page and I missed it. I find that contradictory anyway since classic Celtic culture had pretty much vanished by the end of the Roman Empire. The title implies a book about painting of classic Celtic culture, a millennium spanning culture famous for it's art. Unfortunately that's not what this book contains. If you are looking for a book describing early Christian art from Irish Bibles this might be an excellent book to buy. It wasn't what I expected after reading the title.
   
   The civilization generally called "Celtic" consisted of a number of culturally related tribes and peoples dispersed across Western Europe. Celtic culture is generally identified by it's artwork including some very fine examples of sculpture, pottery, gold ornamentation, and painting which has been found in graves and other locations from Austria west. Gaul was probably the center of Celtic culture in the centuries when the Celts were strong enough to sack Rome. Many, many fine examples of Celtic art are still found in museums and galleries today. When I opened this book after reading the title I expected to find plates and descriptions of classic Celtic art. The word "CELTIC" is after all printed in huge letters on the top of the cover. Anglo-Saxon art is less well known than Celtic art, and I was curious to learn how Anglo-Saxon art succeeds the Celtic art. After all, the time period of the Anglo-Saxons was later than that of the Celtic culture.
   
   I was seriously disappointed with this book. The works shown in this book are almost entirely from christian bibles other books drawn and inscribed by Christian monks. The script in the plates (the paintings) is Latin or vulgate Latin, not the Celtic Ogham alphabet. Many of the symbols shown in the paintings are said by the author to be of Persian origin. Hello? When did Persian Christian art become Celtic?
   
   I found no examples of art from the historic Celtic culture in this book. Yes, the examples of early Irish Christian bibles were influenced by Celtic artistic history as well as Roman and Persian. I don't really believe that a Persian inspired portrait of Saint Mathew or Jesus is "CELTIC painting," even if the artist was Irish. Missing entirely was art from a thousand years of Celtic culture before and during Roman occupation of Celtic lands. As for Anglo-Saxon painting, you have to look really hard to find where that is even mentioned inside the cover.



4. This book features forty eight color plates that are reproduced in high quality paper from original manuscripts from the seventh and centuries. The author, Carl Nordenfalk, provides a historical background and commentry on each of the plates. The author 's style of writing lends itself well to one not overly knowledgeable of the subject matter. The manuscripts are taken from the Gospel Books which were richly ornate, having almost talismanic qualities having been produced in the native art style of the Celts and Anglo- Saxons as the Christian missionaries were proselytizing in the Bristish Isles. Most of the manuscripts come from the Book of Lindisfarne, the Book of Durrow and the Book of Kells. The manuscripts feature portraits of various Christian messengers such as Saint Luke, Saint John, Saint Chad and biblical figures such as King David, Madonna and Christ. There are also pages of the written word from the various gospels shown in the rich decorative style of the Celts. The looping interlocked letters and motiffs are an amazing contribution to civilization that everyone can enjoy from these ancient, partialy intact codex. The symbols and strange animation create symetrical patterns that are highly imaginative and will astound the viewer with it's complex primitivism. The intrinsic beauty and composition is sometimes in stark contrast to the flatness of the figures. You can literally get lost in the patterns, there are endless oblong patterns of scrollwork, tied together by knots, interwoven and intertwined animals stretching out and connecting to fancy letters or other motiffs that will dazzle your senses. This is a great book to gaze upon and reassure yourself of the beautiful beyond that has inspired many centuries of art work. The book also provides a complete list of color and black and white plates and a selected bibliography for future reference. This is a great book to look at anytime, especially in those tranquil moments of peace and reflection. Recommended for anyone interested in book illumination, Christian art and the similarities between Celtic art from this period and Byzantine and Italian art and the inspiration of the Gospel.

5 comments about The Encyclopedia of Watercolor Techniques, 2nd Edition.

1. This book is an outstanding resource of techiques that can be used to produce an interesting and varied watercolor. I think it should be part of a watercolorist's library.



2. Harrison defines and employs standard language used in identifying watercolor effects. She also identifies watercolor usages and materials and is consistent in this regard. Her illustrative material is literally a survey of the watercolor world, with no histrionics, from abstraction to the tightest realism. It is a beautiful book and gratifyingly complete. She has no 'method' to push. With her insistence on planning as the key to realizing one's concept, she leaves the reader in peace to enjoy the experience the book offers of seeing how accomplished watercolorists plan their work.
   The index is excellent. I will admit disappointment that Harrison touches only lightly on the qualities of now very expensive materials that would enable one to make useful choices. Her remarks on paper by type and maker I find useful and I wish this knowledgeable woman had given the reader more insights on other materials.



3. Some years ago I purchased the previous edition of this book and found it very useful. When I saw what appeared like a new edition of this book I decided to purchase it. On the cover it is marked REVISED AND UPDATED. The techniques are described well and most are new material but Part 2 - Themes is exactly the same as the first edition and this was very disappointing and will make me think carefully about purchasing a book unless I can view it in a bookshop.



4. You might find it useful. If you can only have a few watercolor books, and you are short on technical experience, this might be just the thing for you. But if you are looking for a lot of creative inspiration rather than technique, this isn't so useful. I wasn't inspired by the contents, but the techniques are certainly ones that I do use.



5. I was requested by my editors to write the introduction to the Brazilian edition of this book and immediately accepted, because, unlike o most books on art techniques, Hazel Harrison concentrates on demonstrating how to master all the resources and effects that watercolor offers, without implying that there is any preferable way in which to paint. The techniques are clearly explained and well illustrated and, in the second part of the book, she includes many examples of how different artists used the effects described in the first part to interpret various subjects. I strongly recommend this book to anyone who wishes to master the art of watercolor.

5 comments about Orientalists: Western Artists in Arabia, the Sahara, Persia and.

1. This scholarly and highly readable book is of importance to art historians, historians, and anyone with a serious interest in orientalism as both an art movement and a western cultural phenomenom. The illustrations are superb,and the additional profile articles on key orientalists (such as Richard F. Burton) are an added bonus. This book is certainly worth more than its price and will be of lasting value to future readers.



2. An outstanding volume providing high quality images and interesting commentary. Too many art books commit the sin of spreading large images over two pages so the picture gets lost in the spine - not this one. Orientalist paintings are crammed with detail to show the erudition of the artists and their patrons: for once you can see plenty, and you're not sold short by the layout or the print quality. Not a book if you're looking for lush pictures of harem lovelies, one of the aspects of orientalism not given such high prominence here. Over all impression? The many different effects created by light in Middle Eastern landscapes, and the skill of these artists in capturing it



3. Brilliant book completely covering the subject, solid research, perfect rare illustrations. Lots of forgotten and difficult to find names. Very useful and highly recommended - worth every penny!



4. "coffee table" art books are usually just vehicles to display reproductions of the paintings. Not here - Davie's writing would make compelling reading if it was published in regular book format. He mainly focuses on orientalist painting itself - and shatters the critics - but he also has a fascinating section on four famous 'orientalists' which include Richard Burton and Lady Digby.
   
   The reproductions are are splendid very accurate ( i have the pleasure of having easy access to some of the original paintings) and capture the exquisite craft of "Orientalist" painters. often with close ups of parts of painting that allow the reader to see the elaborate detail.
   
   Worth every penny. I find myself reading it again and again.



5. Really I'd like to give this 5 stars but for the lack of women it's 4. I feel sort of silly doing so because the art is astonishing and the sheer beauty just magnifies how "art" has changed. I wonder if any artist alive today could come close to duplicating these masterpieces. I doubt it. And Mr Davies writing blends with the terrain and subject matter splendidly.

No comments about Painting Skies (Watercolour Tips and Techniques).

3 comments about The Art of Lord Leighton.

1. The author states at the outset that Leighton's life has already been well documented, so only enough of his biography appears here to frame the context for his pictures. Instead, Newall chooses to analyze the art itself, which "... presents the world a hard, glossy carapace apparently designed to resist the critic's probe." Given this unpromising premise, I opted to study the pictures themselves, and dip only lightly into the text analyzing that which resists analysis.
   
   The pictures themselves are easy to enjoy - skillful, classical, and carefully designed to appeal to Victorian tastes and to create a position for Leighton within the hierarchies of art and society. (He succeeded in both.) Many of this books reproductions honor his work beautifully, in lush color and fine printing, on bright, opaque paper. Those images generally make the most of the book's largish size,. As a result, the reader can enjoy much of Leighton's meticulous detail in rendering romanticized images of contemporary and classical topics.
   
   Something like half of the reproductions, however, are black and white, undersized for the book's large format, and sometimes murky. The book chooses not to address Leighton's life, except tangentially, but under-represents the visual impact of his art, too. The large, lovely color reproductions are very enjoyable, but might not be enough to deliver the value that a reader might expect.
   
   -- wiredweird



2. Lord Frederic Leighton stands at the top of the pinnacle of British art of the late nineteenth century. Though his images of dramatic, cloaked figures are easily recognizable, few art collectors or even museum visitors recognize the name of Lord Leighton. Now, with the resurgence of interest in this school of painting his name will certainly become more of a household word.
   
   This slim though fine monograph is strong on images and less successful on information: Christopher Newell is a fine writer, he just wasn't given enough space to tell us much about the artist. Divided into sections - 'Outsider 1855 - 1864', 'Academician 1864 - 1878', and 'President of the Royal Academy 1878 - 1896' - Newell outlines the rise of this figurative artist and gives some insights as to his subject matter and influences.
   
   But the beauty of this book is in the fine reproductions of his dramatic, grand, elaborate renderings of both historic and literary subjects. A bit on the kitsch side? Yes, but that was part of the Grand Victorian tradition. The paintings may be saccharine but oh, they are lovely to look at! Grady Harp, September 05



3. Though I thought it could be thicker the pictures are well viewed and some like "Flaming June" take the whole page, awesome!

1 comments about Changing Images of Pictorial Space: A History of Spatial Illusion in Painting.

1. This book is a choice pick for anyone interested in the humanities. Dunning skillfully incorporates philosophy with the artistic creation of the illusion of space over time. His ideas are thoughtfully presented, his language is clear, and his ideas are intelligent. It is clear that this man is well-read, and he combines this understanding with a strongly rooted comprehension of the process of painting.

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