4 comments about Kinuko Craft Drawings and Paintings.

1. The first Kinuko Craft painting I saw was on the cover of Patricia McKillip's novel, The Tower At Stony Wood. I admit that I bought that book just for the cover. I've since enjoyed many of McKillip's books & have come to adore Kinuko Craft's work. I cannot get over the amount of gorgeous detail that she puts into each piece. When I found out about this book, I knew that I had to have it, so it was the first item on my Christmas list, this year.
   The dustjacket for the hardcover edition features the cover of McKillip's novel, Od Magic. Beneath the dustjacket, the actual cover of the book features part of "Das Rheingold." There is a foreword by Patricia McKillip and a narrative by Craft, in which she describes her life and how she came about doing this work.
   The art, itself, is beautiful to say the least. The colors are vivid with the exception of a few black & white drawings. There is a list, in the back of the book, that gives the title of each piece, the year it was created, its medium, & its page number.
   This is an amazing book. I recommend this, not only for fantasy art lovers, but for anyone that enjoys fine art. You won't be disappointed.



2. Make no mistake, Kinuko Craft is a master artist. Her layered work in several media is just unique and brilliant. If I had to evoke other artists to describe her to a stranger, I might say, think of Susan Seddon Boulet and Sulamith Wulfing, and add in Renaissance style and stained glass window brilliance, and you begin to have a sense of what Craft is like.
   
   I was so happy to find this book. I have enjoyed Craft's work on book covers and calendars and craved something more substantial. Here we have text with her thoughts on her work and on the process of art in general, and advice to aspiring artists. But there is just not enough text. I was left feeling like there should have been more writing.
   
   The art! Of course, that is why we splurge on these books, isn't it? And the art is gorgeous, the backgrounds and format pretty and interesting. But... and a thousand times BUT! some of the best pieces were spread across two pages, leaving the center lost in the binding area! Quel horreur! I do not see why they did not make gatefolds for the larger pieces.
   
   So... in summary... It's a start at compiling Kinuko Craft's work and artistic thoughts, but we really need a proper compendium, updated every five to ten years!



3. Kinuko Craft is in the first rank of painters; and this oversized, magnificently illustrated collection of paintings, drawings, and inspirational text is a testament to her skill and craft. Published by Imaginosis, a company founded by Robert Gould (an artist and publisher who made his mark in the world long before he began Imaginosis), this book is a bargain at $25. Given Kinuko's prolificity--she's done thousands of pieces of art--the problem was not what to put in but what to leave out. Obviously, what's called for here--hope you're listening, Bob--is a oversized, coffee table book on the order of a Wyeth, Parrish, or Whelan retrospective. A larger trim size. Fold-outs. 300 pages. Like Wrightson's A LOOK BACK. (And a winning lottery ticket to pay the printing bill.) Kinuko certainly deserves it, and her luminous work certainly deserves to be seen by as many people as possible.
   
   Bob Gould's book design--a departure from the usual, static negative space in most artbooks--is enchanting: When overdone, the use of borders, colorful backgrounds, and frames can overwhelm pieces of art; but if done carefully, with the full knowledge that the art is what must be properly exhibited and accented, the art stands out. Bob's use of gold ink throughout the book, as a highlight, is an appropriate accent, since gold is the color I associate most with Kinuko's art. Form follows function in this book as the art is front and center, and everything supports their presentations.
   
   I could go on and on about the paintings--the detail, the composition, the exquisite painterly aspects--and the delicate pencil sketches as well (I love the portrait of the girl on page 39), but I'm not an art critic: I'm an art appreciator. But what caught me by surprise, caught my breath, is Kinuko's prose, which is inspiring: Her message that an artist should find his or her own way and not be dissuaded by critics is one that is said far too seldom these days: I sometimes wonder how many artists, writers, musicians, sculptors, and other creative souls had their wings clipped, so to speak, by others who took a special delight in telling them: "No, you can't do it." By this they really mean: "No, I can't do it. And if I can't do it, I don't want you to think you can do it, either." A book of her art is a visual cornucopia, but the intimate glimpses into her life and the carefully chosen words that should resonate especially with artists just starting out on their careers make this book more than a showcase of visual delight: The words matter and aspiring creators should listen, and heed, what she has to say. She knows whereof she speaks.
   
   Obviously, Kinuko, again and again, delights, surprises, and inspires with this collection of art. This is a book I've already bought in multiple copies of to give to friends, especially to young artists starting out, wondering what to do, what to think. Well, here's what you should do: Listen to someone who has gone down that road as Kinuko has done, and listen carefully to what she has to say. What she is saying is that you must please yourself with your work first, and listen to yourself instead of letting others tell you what you can and cannot do, and challenge yourself with your art because that's when you grow an an artist.
   
   This is a rare and wonderful book which contains rare and wonderful artwork by a rare and wonderful artist. If it's out of print in hardback, be sure to get it in the trade paperback edition. You'll want to add this to your permanent collection.



4. I was so excited to see that FINALLY an art book would be coming out for Kinuko Craft. I have loved her work for years and have every one of her stunning picture books. Unfortunately, this book has some areas that are flawed.
   It appears that the publisher did not have access to some of the originals. Quite a few paintings are obviously scanned from another source and you will go from crystal clear brush strokes in one painting, turn the page and have a muddy scan. And, some of those are her best, too. Then you will have a full spread painting in it's entirety, then another that has obviously been cropped. Aggh! The most painful example is the Atrix Wolfe panel. Just breathtaking and a full 2 pages. Then for the even better book cover, Odd Magic, it's only one page, cut in half. Why did they do that? They need a layout artist, badly. The text can be moved, you know. So the whole painting can be shown. I guess they only felt like scanning the front cover of the book.
   Maybe it's just because a mainstream publisher didn't print this. It's some small time company and it shows. Where was Paper Tiger or Bantam - a large company with a bigger budget that would have done justice to her works? What a shame this excellent artist is essentially overlooked. For the best way to collect most of her work, just get the children's books. You won't be sorry!

1 comments about Portraits of the Renaissance.

1. A great and beautiful book - reproduction photographs are beautiful and
   the writing with each portrait is very precise. Highly recommended.

5 comments about Van Gogh: The Complete Paintings (Taschen Specials).

1. This single volume edition ISBN 3822812153 published in 2001 containing 740 pages was originally issued in two separate volumes. It contains all of the about 870 paintings comprising the artist's complete output, reproduced in full colour with just a few exceptions where for any of several legitimate reasons a colour picture is not available.
   
   It is an admirable effort, the quality of printing is superb, and the standard of photography in many instances is excellent showing the texture of the paint and brush work. In the case of the latter the paintings truly sing out from the page. The pictures are presented chronologically, which in itself is very revealing. The text is extensive and very informative, and being largely based on Van Gogh's letters makes truly fascinating reading and lends an intimate edge. It provides a background to the artist's life and his work and influences.
   
   I should mention a couple of points. Many of the reproductions are quite small, less than post card size, some considerably less; there are of course some half page and full page size too. The other point is that while the text and illustrations are fully integrated there is little if any relationship between the text and image on each page. When there is a reference in the text to a picture the picture is invariably to be found many pages apart. Of course with the pictures presented chronologically this was bound to be a problem; but would it then not have been better to separate the two completely. One could also argue for a larger page size, but a least at this fairly modest size the book is at least not unwieldy.
   
   That aside this is a splendid book; and one of the best surprises is that while there are of course many very familiar paintings here, the less familiar are by no means overshadowed by them; it is in fact a revelation to find so many superb yet relatively unknown works. Tremendous value, a book not to be passed over.



2. To those of us who have seen only some of van Gogh's paintings in international galleries this book, bringing together every painting that he did, and many drawings, is a constant source of pleasure and interest tempered only by regret that the artist received so little recognition in his lifetime and by his tragic end. The quality of the reproductions is high and the text gives a sensitive and scholarly review of his life, his work and his motives and makes considerable reference to his letters. It ends with a useful illustrated chronology of van Gogh's life. Because there are more paintings than text one is forced to turn pages, sometimes many, to find a painting referred to in the text but this is inevitable unless one is to have merely a catalogue, with comments, of his works. Walther and Metzger are to be congratulated on this fine work.



3. First off, I must point out that I did not read the English version of this, but the French one; since it's a translation, it should basically be the same.
   
   Taschen has the nice habit of making great books for comparatively very cheap prices; and that is once again the case with this collection of all Van Gogh paintings. The paper is top quality (glazed is it? I forget how it's called, but it's the same as you find in every other taschen publication) and the size of the book ensures a good view on the paintings.
   
   I had read 2 books relating Vincent's life, so when it came to read another text on him and his work, I already knew most of of the bulk of that artist's life; however, this wasn't redundant at all. The authors have interesting things to say and usually do so in ways that won't kill you with boredom (even if I sometimes don't agree with the theories proposed). Substantial citations from Van Gogh's letters are used there, which is good, since Vincent wrote a lot. The book does a good work of setting Vincent Van Gogh in context, letting us know what authors he read, and what kind of human being he was. And Vincent was a particularly wonderful human being in my opinion, something this book does not fail to show.
   
   Now as to the pictures of the paintings, what can I say? If you like Van Gogh's art, you'll like them. And even though you may not like everything he's ever done, it's worthwhile to have the whole thing to see the evolution of his art from a very dark and gloomy universe to a violently colourful one.
   
   I definitely recommend this book for everyone interested in knowing more about Van Gogh than the basics. The book is a beautiful object as well, pretty heavy, but very classy.



4. This is a very nice publication to have on your shelf. Van Gogh is an icon of Western culture and it is almost certain that you can call more than a few of his images to mind quite easily. What this provides is a greater context for those several images by providing what it calls "the complete paintings". I have no ability to say whether it is complete or not, but I can say that the vast number of paintings reproduced here provide a wonderful context and the images become more connected and make quite a bit more sense than they do in isolation.
   
   Are the color reproductions perfect? Of course not! Mechanical coloring cannot approach the vivid colors these paintings have in real life. I am always pleasantly surprised when I get to an art museum and see real colors up close and personal. Things are so wonderfully vivid! The texture of the surfaces is also fabulous to see in person.
   
   But a book can never be as brilliant as seeing the painting in person. However, for a few dollars you can survey a body of work you will never be able to see in a lifetime. So, it is a fair trade off. Just make sure you get to a good museum as frequently as you can to enrich you senses and your soul.
   
   The text accompanying the paintings is really very good. The problem is that is provided next to a painting by Van Gogh and one's eyes can barely stay on the text. I find myself drifting to every nearby painting and focusing on that more than what the editors are telling me about Van Gogh's life and work.
   
   Very much recommended. The binding, Paper or Hardcover is irrelevant for home use. Pick whichever you prefer and can afford. For heavy use, obviously the hardcover is the better choice.



5. I used this book to research the fascinating problem of the perceptual and spatial distortions in van Gogh's paintings, for which it was very helpful, so later I make a few comments on that for what its worth.
   
   I've seen dozens of books on van Gogh's art, and this one is one of the few on the market that contains his complete output. Although the book contains some commentary, for me the most important thing was the reproduction of the paintings. Of course, book plates can't do full justice to the original paintings, but for color plates these are pretty decent. Van Gogh often just squeezed the paint directly onto the canvass from the tubes without mixing them, so one way you can tell if a color plate of a van Gogh painting is good is to look at one that you know of where he did this and see if the colors look right, and if they're close to full saturation. If they look washed out or off in some way, you'll know they're not. But overall, I thought these were pretty good.
   
   As I said, I used this for some research, so I include those comments here for anyone who might be interested in some of the more technical aspects of van Gogh's paintings. However, you don't have to read them since they are pretty dry and technical :-).
   
   As Ernst Gombrich has shown, analyzing space in a picture is an extremely complex business. The fact that even sophisticated observers sometimes form mistaken impressions of a pictorial space is itself an interesting phenomenon and illustrates an important principle of the human visual system, which is that it is not very good at evaluating precise metrical relationships. If the space is so constructed that it is at least internally consistent, it may look realistic when it is not, and the space may even seem distorted when it is not.
   
   Considering the problem of the different recession rates for the objects in van Gogh's paintings, how do we account for these distortions? We could simply dismiss them as errors resulting from van Gogh's inability to paint perspectivally, but would be a mistake, for the following reasons:
   
   1) The magnitude and direction of the errors in the sizes of objects are consistent with known psychophysical mechanisms of size constancy.
   
   2) There is a strong shape constancy effect, and also (as John Ward has pointed out), such as in the two chairs and the pictures on the wall (in his Bedroom at Arles).
   
   3) Van Gogh's failure to map out an initial, precise, major metric eliminates the most important perspective cue for object scaling and thus permits the inherent constancy-scaling effects of the human visual system to surface.
   
   4) Although distorted perspectivally, the space is nevertheless internally consistent. This is to be expected from the operation of secondary size-constancy effects.
   
   5) The technique of squinting to enhance one's depth of field, which van Gogh is known to have used, would reinforce cues to size constancy by essentially putting the station point behind the artist.
   
   Points 4 and 5 require further discussion.
   
   As noted earlier, secondary size constancy is the tendency for the sizes of objects to correlate with other perspective cues. Even in a painting with a very poorly defined or no major metric (such as in van Gogh's Bedroom), most perspective errors are not random. If they were, the errors would occur in both positive and negative directions about some mean value and would therefore average out. This is rarely the case, however. Usually the errors show a consistent trend. This is because once a given direction and magnitude of deviation has been established, other cues tend to be altered accordingly for the sake of consistency. This can be seen in van Gogh's Bedroom where different objects show similar effects. Although the objects themselves show different vanishing points, the size effect is nevertheless the same.
   
   Van Gogh is also known to have used squinting in order to increase his depth of field. Doing this would cause both foreground and background objects to appear simultaneously more in focus and therefore would have the effect of putting the station point artificially in back of the observer. Durer illustrated a device to accomplish this in his treatise on perspective, but simply squinting strongly can produce a powerful effect of several feet.
   
   Schapiro, Heelan, and various other writers have commented on the sense of realism which van Gogh's paintings create in the viewer. But at this point we could ask why, if van Gogh's perspective space is in many ways so imprecise, we continue to see it as powerful and realistic? Partly it is due to the fact that although there are many spatial distortions present, the space is nevertheless consistent with psychophysical expectations and the distortions due to size constancy are of the proper psychophysical magnitude. This is perhaps to be expected given van Gogh's interest in objects and in the depiction of objects for their own sake. The result is that objects possess more autonomy in van Gogh's paintings than they would if he had taken pains to construct a unified perspective space and thus show appropriate psychophysical effects.
   
   The main reason, however, concerns a fundamental principle of mammalian visual systems. It has been demonstrated repeatedly in experiments that the human visual system is a poor detector of the absolute values of such things as brightness and distance. On the other hand, the visual system is very good at preserving relationships and relative levels of things. Our eyes, for example, throw away information about luminous intensity but conserve and even enhance information about relative brightness and contrast borders, as in the well-known case of Mach bands. This mechanism enables us to easily detect the outlines of objects under varying levels of illumination. In fact, the visual system is such a good extractor of lines that it creates them where they don't even exist or where they are only suggested, as in the well-known case of illusory and subjective contours.
   
   A similar phenomenon occurs in space perception. As I discussed earlier in this article, many experiments have shown that people rarely view paintings from the proper perspective point, and yet experience very little distortion in the perceived objects. This suggests that the visual system constructs an internal model which preserves the relations between the objects in a scene. When distortions occur, the visual system is capable of compensating internally for the perceived distortion. In practical terms, this means that the perspective may depart substantially, both quantitatively and qualitatively, from reality and yet be seen as realistic if it is not too greatly distorted and if the space is at least internally consistent.
   
   What all this shows is that artists are, in essence, perceptual problem solvers, or, as Rudolph Arnheim has said, "visual thinkers." Such a view is, I believe, preferable to the idea that the artist paints from some inexplicable or mysterious talent, or from some sort of abnormal psychology or pathology.

3 comments about All About Techniques in Watercolor (All about Techniques: Art).

1. I'd recommend this book for anyone with beginning through intermediate watercolor skills. It is especially useful for learning how to create special textures and surfaces such as skin, trees, fish, feathers, et cetera. As the name suggests, it covers technique rather than design, layout, color harmony, and the like. Its focus is on how to create the appearance of various surfaces used in nearly every painting. I think of it as a must have on every student's reference shelf.



2. Not only are the most basic & most complex techniques explained, the step by step instructions on re-creating their sample paintings are the best. If you do every exercise in the book, you will have all the techniques. Then all you have to do is practice, practice, practice....



3. I have been looking for an in-depth watercolor reference book for some time and I was not satisfied until I received this book. It is so complete, so perfect, that you'll feel as if you never need another book to draw from. In clear, practical language, combined with vivid illustrations, the book covers all about materials and tools. Then it goes on to cover just about every possible technique and seven basic watercolor subjects. What makes this book so wonderful to me is that it builds its information from beginners level to advanced and it does that so clearly that you have no problem following it or recreating the samples yourself. So apart from being an invaluable reference book, it is also a great confidence builder. Yes, you can paint.

1 comments about Steps to Success in Watercolor: Learn Eight Valuable Principles for Planning Your Next Watercolor Painting (Artists Library).

1. I actually took a workshop from the author, and a lot of what she taught there is in the book. Her ideas are solid and very helpful, she teaches design and composition very well, her technique is great, her approach is practical, and her hints are very specific and easy to put to use. I also love the compact size -- you can throw it in your art bag as a ready reference and refer to it often. After I got mine i liked it so much I bought one for my dad and my sister as well. (Her other book, keeping a watercolor sketchbook, is also excellent.)

3 comments about Pieter Claesz 1596/97 - 1660.

1. Having purchased this book a week ago I have been on cloud nine. The book traces the development of Pieter from the age of 24 to age 61. The book shows his steady progression as an artist. He arrived very early on a high plateau so don't be discouraged. His compositions got better and better as the years went by. He also had a tough life. It was not all a bed of roses.
   
   My favorite aspect of the book are the close-ups where one can study the brushwork. His paintings look photographic but up close they are often painterly. He was not a photorealist but was able to emphasize portions of his paintings with wonderful lighting. If you paint still lifes you'll drool over these masterpieces.
   
   Surprisingly some of the paintings are quite simple but absolutely stunning. This is a gorgeously bound book and a keeper.



2. I am an artist concentrating on still life paintings - this is a beautiful book with many photos of
   his art work. Book talks of his life, if you're looking for a "how to" ... it's not this one.... but
   his work is very fine!!



3. I've always admired the Dutch still life paintings by Claesz, Heda, etc. Their paintings helped launch one of the largest "genres" of painting today (still life), and the mastery that went into these creations is astounding. The value of these paintings shouldn't be underestimated; they serve to not only tell us what was happening in the art world at the time, but they often give us a look in the lives of both rich and common people, bringing us a little closer to them.
   
   This is the first book that shows Claesz's work over his life. As stated in the book's forward, it's astonishing that no one had assembled these before and it was a task long overdue.
   
   This book surprised me when I received it. I expected it to have some impressive images, but these are truly outstanding and there are so many. Published as a catalog to a traveling show that ended December, 2005 (Washington National Gallery of Art - [...] it includes all the important still life motifs. Represented are "breakfasts", "banquets", and one of my favorites, the vanitas paintings.
   
   I'm sorry I missed the actual show because I would have enjoyed seeing these paintings in person, but it's hard not to be enthusiastic about this catalog. Many art books are published every year and many of them are in the mediocre to good range, but this book is in the great range. If you're a still life artist or just a fan, this is something you should add to your collection. Superb! Highly recommended.

1 comments about Roy Lichtenstein.

1. This book is the catalogue for an exhibition held at the Kunsthaus Bregenz in 2006. It studies Lichtenstein's work chronologically and dividing it by themes (women, interiors, early paintings...). The reproductions are very good and even show the paintings in their current frame (an unusual step which I think gives an extra dimension to the works). A very interesting book, easy to read, on an artist that changed the way we look at art.

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.

3 comments about Sponge Painting: Fast and Fun Techniques for Creating Beautiful Art.

1. While this may not be a book designed for the serious artist or for artists who prefer a lot of detail in their images it's a great book for collage artists who want quick, easy, and fun backgrounds for their collage work.
   
   Could more effects using a spong be shown? Of course, but this wasn't written for the serious artist but for the hobby artist. At least that is my opinion of the book.



2. It only offered a very few basics. Those were good but nothing that really was worth buying the book.



3. A fun and interesting book. Easy enough for a beginning painter but different enough from the usual brush and palette knife to spark the more advanced artist to try a new technique.

3 comments about Patterns of Intention: On the Historical Explanation of Pictures.

1. This book is so conspicuosly intelligent, and its exercises in criticism so involving, that it is a great pleasure to read. Baxandall begins by developing a scheme for the explanation of concrete historical objects in general.

   He takes the Forth bridge in Scotland. Baxandall, more than it makes it beautiful, he shows you that it really is beautiful. But wait, there's more. He takes Picasso's Kahweiler and shows it to you as beautiful, and damn well you believe it.

   Baxandall shows us how to interpret art.

   But he claims modesty: he is a historian, he says, and is only offering one method of many to think about pictures. I think this is the only place where he has gone wrong. After going through his method of understanding art, you will know there are no others. All the other ones are wrong. Baxandall is right.

   If you want to be someone who talks about art intelligently, buy this book and you will be able to talk of art in the only way you should




2. This book is a genuinely informative and at times engrossing view into the making and understanding of pictures. However, it reads (not surprisingly) like a textbook; it is brilliant and thought-provoking in some parts but dryly monotonous in others. (The bridge-building bit stands out as particularly tedious.) The points Baxandall makes via this tediousness are no less brilliant, but their lustre is lost beneath layers of dull, yawn-worthy prose. Baxandall's stylistic shortcomings should not scare away anyone with a passionate interest in the study of Art and its interpretation. But for the layman in search of a clear and down-to-earth discussion of how to look at pictures, this is probably a book to avoid.



3. Through three well-chosen case studies, Baxandall examines the question of artistic intention: how the constraints of the culture, the artistic medium, and the intended use of a work of art shape the process of its creation. Particularly penetrating is his "excursus on influence", in which he argues that participants in an artistic tradition shape and change how their predecessors are understood. This is an ingenious and satisfying book: I read it twice for two different college classes, and expect to read it again and continue to profit from it.