5 comments about The Art of Amy Brown.

1. If you are familar with Amy Brown than you already know how fun her art is. I personally bought this particular book for some tatoo ideas. Her fairies all seem to have personalities of their own.



2. Outstanding book - gorgeous images... Fairyland at it's very best. The book is full of imaginative designs, which you can easily see inspired so many other artists. A treasure to add to your collection!



3. Amy's art is absolutely incredible, especially when the designs just come into her mind, all she has to do is paint them!
   
   Get this book together with her volume II, you won't regret it. The first one is more in neutral colours, the second one more colourful.



4. Fasinating and full of aura. I especially liked her Gothic style. Mystical and magical. It is a book that one can enjoy browsing the pages, scrutinizing the drawings and learning more about Amy Brown's experiences. The best book any fairy fan can have.



5. This is a great book for any fairy lover or art lover. The watercolors are beautiful. Her art has a wide range from beautiful/cute, dark/gothic, humorous and so on. A great collection of art.

5 comments about 60 Minutes to Better Painting: Sharpen Your Skills in Oil and Acrylic.

1. I thought this book to be somewhat helpful but really didn't learn anything profoundly new. I loved a few of the paintings but overall other than reinforcing the theme of painting everyday it didn't excite me. It's an alright beginner's or entrance level intermediate artist's manual but there are better oil painting books for beginner's or the advanced intermediate artist such as Bill Creevy's book, Vicki McMurty's or Kevin MacPherson's. I found them to be more beneficial and cover more artistic ground in the areas of color theory and painting structure.



2. Fast Food Art
   
   There is something disturbing to me about the premise of this book. The whole idea that a painting is under a time limit seems counter to all that is art. Whether a painting took 5 minutes, 15 minutes or an hour seems totally irrelevant to me. Even in trying to achieve a spontaneous quality in a painting, a much better painter than the author once said: "a painting should look loose but not be painted loosely". This is a bit of advice I believe the author of this book could benefit from.
   
   To be fair this painting book could be a good way for a beginning painter to loose the fear of paint as has been previously stated. However in trying to rush a painting in just a few minutes, its not too far within the realm of possibilities to imagine that a beginning artist might be so discouraged from his or hers hurried results, that they may quit painting altogether.
   
   As far as the examples of painting in the book itself, the results are inconsistent. Some were good but some were very weak. What do I mean by weak? I am referring to bad drawing, bad color harmony and bad values and edge control. I would site pages 37, 62, 63, 88 as examples of some of the weaker paintings. The author does display good skill in some of the quick studies but I get the feeling he does not know when his painting is good or when his painting is bad. He simply accepts every painting he completes as good. One of the factors that determines a great artist is an artist's taste; being able to determine what is a good painting and what is a bad painting. In addition his paintings are devoid of emotion, and isn't emotion perhaps the most important factor in art? If he took more time in his drawing, values and edges as well as his intent, the results would be better. How much time? As much as the artist feels he needs to do the job right. The painting would still have the spontaneous quality the artist is trying to achieve but look better and nobody would care if it took 5 minutes or an 5 hours. Just that it was a good painting.
   
   Collectors of art are certainly not concerned with how much time it took an artist to complete a painting. If anything, a collector will be discouraged to hear that the painting they purchased was completed in one or two hours. They want to hear that the artist spent countless hours on their craft. They want to feel that the artist poured their heart and soul into the painting, not that they "churned" out the painting in one hour and slapped a frame on it. Producing dozens or even hundreds of paintings within a short time can only result in something trivial, nothing that has any real substance.
   
   So in conclusion I've coined the words "fast food" to describe the approach this book takes. Like fast food, the resulting painting may at first seem good but over time it will only leave a bad taste in your mouth.



3. This is great book to sharpen your skills as a painter. I feel it's better suited for intermediate to profesional artists. The theory behind quickstudies is to make you decide what is or not important in a painting in a limited time span. To be honest, it took a lot of timed paintings to get used to the speed of a quickstudy. It definitely has helped loosen me up and not paint too tight from the getgo.



4. Craig Nelson is right: "studies" are essential to learn painting and evolve into a good painter. It helps to get to the essence of your subject. I do not know any good painter who did not spend years painting before becoming really good.
   This book does not have the perfect title but is excellent in content. The 60 minutes are what it takes to be in tune with what you are painting and finding ways to improve your artwork.
   Each lesson presents a different challenge, and also leads you to explore a full spectrum of techniques. Perfect book to get you started on the "right brush"...and get you really in awe of the whole process.



5. Yeah, right... I read this book and was completely overwhelmed. The author thinks I can do a painting like this in 60 seconds?
   I don't think so. Thanks for trying. I would sell this book in a heartbeat...but my husband likes it... so on the shelf with other " How to books" ... It remains.

1 comments about Watercolor Techniques.

1. I have always wanted to try watercolours, but was always put off by everyone telling me it was very hard, luckily a tenant was clearing out all her books and donated this one to our small libary, I took it out and my interest in watercolour was instantly renewed....I have since purchased this and ALL of his other works, and a couple of his video's.
   He was a truly gifted artist, and I was sad to hear that he has passed away.

3 comments about Van Gogh and God: A Creative Spiritual Quest (Campion Book).

1. Eventhough my studies do not allow me a great deal of time to read books of my choice, I could not deny the work of Dr. "Cliffy-baby" Edwards. His book, "Van Gogh and God: A Creative Spiritual Quest" was just that. It was, in every sense of the phrase, a creatively spiritual page turner. His language and content captures the reader's mind and by doing so, captures the reader's spiritual core. Once mesmerized by the life, work, and creative madness of the artist, the reader becomes smoothly inundated with the thorough biographical information that Dr. Edwards so eloquently puts to page. At the risk of sounding mildly educated, I had never realized the influence Zen Buddhism had on the artist until reading Dr. Edwards' book. I did, of course, realize the "oriental" aspect of Van Gogh's approach to painting but I never knew of his "Zen Buddhist" approach to living. Sometimes the samurai leaves the monarchy and spends his life in caves painting. Congratulations Dr. E. for a fine work indeed.



2. I recently heard the author of Van Gogh and God, Dr. Cliff Edwards, speak about Vincent. At this particular gathering, he also showed wonderful slides of the artist's work. As a result of that encounter with Dr. Edwards and Vincent Van Gogh, I bought Dr. Edwards' warm and accessible book, Van Gogh and God. While reading it, much like the disciples who spoke to Christ without recognizing him on the road to Emmaus, I felt my heart burn within me while Vincent's life opened up before me like a lotus flower. I especially connected with Van Gogh's insistence that he was "not an admirer" of biblical subjects (to paint). Apparently he felt that paintings such as The Nativity and Christ in the Garden of Gethsemane avoided getting to the "reality of things" and gave him "a powerful feeling of collapse instead of progress." To paint biblical material must have felt inauthentic to Vincent as he journeyed on his spiritual quest. Lois Lowry in her book, The Giver, addresses this very issue of authenticity. Jonas, the hero, lives in a community where sameness and conformity are valued. Jonas sees things differently, though, and is chosen to become the one who acts as receptacle and transmitter of the community's collective memory. Jonas receives these memories/stories from the Giver, someone who currently has the task of holding memory. One of the questions the book raises in the reader's mind is, "When does a story become MY story?" People in Jonas' community lived without authenticity because the locus of memory was institutionalized within an individual. I couldn't help but think that Vincent, striving for authenticity, wanted to show that those sacred memories (institutionalized in the Church and in biblical paintings) gave him "a powerful feeling of collapse instead of progress." For a story (either word or image) to have meaning, it must first connect with an individual's experience. Vincent Van Gogh, like Jonas, saw things differently. Both struggled in a world that would have preferred their acquiesence to the status quo. Dr. Edwards convincingly shows that Vincent imaged God outside the parameters and conventions of the Church. Dr. Edwards suggests that "[p]erhps such profound power revealed through one's life task was a more accurate description of the divine than the word 'God.' " Another powerful image is "the child in a cradle as best evidence for God." As Dr. Edwards points out, "Vincent experiences God in the concreteness of his own most intense and significant personal history." We all do. Vincent found meaning in his life's work, his care and concern for the prostitute Sien, her daughter, and newborn son, and also in nature--wheat, flowers, olive groves, cypress trees. To image and paint a Christ that has no personal connection is, again, to live inauthentically. It would appear that Vincent would have none of that. One of my favorite parts in Dr. Edwards' book is in the Preface. "[M]ost Judeo-Christian scholars...[take] the unyielding position that religion must be expressed primarily as hearing and obeying, and cannot be expressed significantly as seeing and creating. Dr. Edwards shows how Vincent navigated those waters. It gives hope to those of us who have felt stifled by the Church's insistence that memory/story resides within its embrace.



3. The author misleads the reader by perpetuating two myths about van Gogh's religious life 1) that he was raised Calvinist and 2) that he was Buddist. If the author had taken the time to research van Gogh's biography, he would have found that van Gogh's family rejected Calvinism entirely, particularly the notions of sin and limited salvation, for a more liberal theology, favoring universal salvation and the belief that God dwells within us all. The author continues his false representation of van Gogh by arguing that he became a Buddist after he left the Christian ministry. This is based on one simple painting that van Gogh made for his friend, Gauguin, with his head shaven like a Buddist monk. Although van Gogh was thoroughly fascinated with Oriental culture, he never visted the Far East, never studied Buddism, nor did he show any real understanding of its basic ideas. In fact, all he learned of Asian culture and religion came from what he saw in the Japanese woodblock prints that came into Europe in the late 19th century and also what he garnered from reading 19th century French novels. Mr. Edwards only clouds our understanding of van Gogh with his own personal interests. For example, his discussion of van Gogh's famous work, "Crows over the Wheatfield," reads "The painting itself enters the mode of being of all things in their impermanence yet transformation, becoming a koan that poses the Zen Master's question: 'If you call this wheat you cling to it; if you do not call it wheat you depart from the facts, so what do you call it then?'" (What does this have to do with van Gogh?) The reader is best to stay away from this book entirely.

5 comments about How To Draw Manga Volume 15: Girls' Life Illustration File (How to Draw Manga).

1. Its nice to get a How to draw manga book drawn by a woman about girls. It helps people not fammillar with girl rituals like painting nails and puting on makeup( It makes me feel really ungirly...). They're lots of nice color images in it! I actually prefer this one to Vol 20Techniques for Drawing Female Manga Characters. Its got less fan service poses in it (though theirs some nude shots their not done in a perverted way.)



2. Honestly, I found the book to be very intersting. It illustrated the different girl's lives. "Perky" girl, "Precocious" girl, "Uppity" girl, "Dreamy" girl, and "Shy" girl, and "Sporty" girl.
   
   So it generated on those six types of girls lifestyles. It was pretty cool. It gave an insight on how each one of their bedrooms would be, what clothes they wear, what undergarments they wear, what their bathrooms would be like and the list goes on.
   
   It does also show what Nude positions they would be on, based on their personality. But whatever, I mean come on. That's how we all start out when we're born right. If someone's complaining about that, just make sure you send a slip to your teacher not to be assigned to a health class. It goes MUCH more into detail. A health class will not hide anything. This book only shows the nude body, keeping all private parts hidden.
   
   Anyway yeah like I said it's pretty cool. But i wouldn't buy it. I mean all I had to do was read over it and I had a general understanding of how to set up the different types of girls. I suggest if you have a friend who already has this book, you ask them if you can borrow. You can buy it, but I feel like it would be a waste after a bit.



3. This is a great book to give you an idea of various girls of variours personalities ranging from a perky girl to a shy girl. This shows some of the most loveliest illustrations that are both black and white and color. It's mostly in color though which is absolutely amazing and great! I recommend this book for those who like to draw females to kimonos to various other things. Perfect if you want to make your female character come out great



4. This makes five of the "How to Draw Manga..." series I own, and I have browsed others at the bookstore. I also own a fair smattering of books about the art and architecture of modern Japan, and have visited (briefly) myself. Thus my reaction to this book is that it basically duplicates information you can get elsewhere, but it is nice to have it collected in one place.
   
   The best part is the actual floor plans of several girl's bedrooms/apartments, although these would be even more useful if they included a little more of the complete house/flat/apartment floor. Annoyingly, these are not duplicated by floor plans of locker room, classroom, sento...these are annoyingly difficult for a westerner to get right, in the detail needed to draw a complete manga scene in one of those settings.
   
   The details of bedroom and entry-way furniture are a handy reference, as are the cosmetics, and some of the handbag and other contents give tantalizing glimpses into activities (like blotting paper or mini-photo books) that could be worked into great little bits of on-stage business in a well-drawn manga.
   
   As with many of the books in this series, I could do with a smaller font that would allow at least twice the text. Too often the captions or explanations are too brief to be informative.
   
   This book contains essentially nothing on anatomy, perspective, manga drawing conventions, or how to draw. It is strictly a reference, and a very specific reference at that. If you are building up the books to draw your own shoujo manga (or something very similar), this fits on the short shelf. If your interests are larger, look elsewhere in the series.



5. im 11, and i found NOTHING provocative because im a manga artist and sometimes when i draw comic or a pic you need to draw them putting on make-up, or taking a shower!
   aleast its not show there private parts!
   and i found it very useful, sometimes you need detail like that.
   and i have a brother who draws too and he being a boy he dosen't know all about girls like i do, so it was helpful.
   so if you need a book to help you draw girls and things like their rooms and stuff. its a VERY good book!
   and all the revews that kids wrote found nothing wrong with it! only the parents found something wrong with it! and its not going to wreck your childhood anything!

2 comments about Karl Blossfeldt: The Alphabet of Plants.

1. The photographs in this book of nature will inspire any artist or crafts person...or architect. The work provides inspiration when it can't be found in the field or back yard. Its a book that is pleasurable to leaf through.



2. Form is highly mimetic in nature. A limited number of what might be called prototypical patterns find their way into an infinite number of fomal structures. For example, it is apparent upon close inspection that branching patterns of trees (best seen in winter, of course) eerily resemble arterial branching patterns of the heart as revealed by cardiologic angiography. Despite divergent functionality of the two systems, the formal architecture is almost identical! This is no accident of nature, to be sure. Karl Blossfeldt: The Alphabet Of Plants is a survey of some basic forms in nature. Its premise, as articulated in an introductory essay by Gert Mattenklott, is that "the architectonics of the modern age are built upon archaic, elemental forces. The rationally calculated workings of machines is in secret correspondence with the eternal rythym of life, and the plant serves as the model." Thus a careful, aesthetically mindful examination of the plant world is important in the first instance because it has the power to inform and expand our perceptual vocabulary. And, following on from that, to enhance our capacity for developing efficient, durable industry and for creating visually resonant art and architecture. Indeed, Blossfeldt was a sculptor by training and so the primacy and importance of form in his photography need hardly surprise us. What does surprise, however, in this eye-opening series of high contrast, texturally detailed duotone photographs (created some seventy to eighty years ago) of mostly quite unusual plant morphology, is the obvious correspondence of the geometry of plant life to so many of the constituitive and ornamental forms that make up the physical manifestations of modernity. There are only a limited number of (archetypal) patterns to be made use of, it seems, and their inventory is definable.

5 comments about Methods and Materials of Painting of the Great Schools and Masters.

1. I am working on my MFA in art. While I am not a strict conservative in the tradition of painting, I am very serious about my training in the techniques of the old masters. Many new books have been published that claim to give you the substance needed, but most of these books show you what you can do, not how you can do it. We are in a period of time in art education where the late modernist and early postmodernist curriculum is strongly emphasized. It is a rare opportunity to find a teacher that has the information this book contains. A true painter ought to know where his materials come from and how they are made. This book gives direct translations from the old masters on how to create pigments and vehicles for oil painting. Like the fact that masters would save the bones from dinner and them char them to create lamp black. This book also gives techniques for purifying raw linseed oil. Little facts like these have been a mystery to me for so long because few teachers know this information.
   
   This is actually a two volume book compiled into one. The first volume deals primarily with recipes of the masters and correlating schools of their time. The second volume deals with techniques such as sfumato(Da Vinci) chiaroscuro(Caravaggio) and other important concepts in painting.
   
   If you learn more about the materials you work with, you will be a better artist, no matter what type of art you do. I recommend this book to the traditionalist, modernist, and postmodernist.



2. It took me several days to bull through the first 50 pages. I found out that must cultures used some sort of "drying oil" -- linseed or other for oil painting. This discovery astounded me so much, that Ii have been unable to continue reading. Perhaps the people who gave it a high rating could tell me something to encourage further reading.
   
   By the way this system won't let me give this book a zero star rating.



3. Out of the thousands of dollars I've spent on art books over the years to understand and improve my knowledge as a realist artist, this has to be the only one I've ever bought so far that I found completly useless.
   If you want to impress another artist, sure, hit them over the head with it. But apart from that I can't really see the point of it being marketed to modern day artists. Written in 1847 with language to match, it just simply describes what most realist artists can usually figure out for themselves by looking at the pictures. And come to much clearer conclusions. Something that your average artist without a generous income and the time to travel round europe during that time period probably couldn't do. Hence the reason I imagine, this book was written.
   
   As a teaching aid for your modern day realist artist, in my opinion forget it. If you want a book this thick and scholastic that will actually help you, get Ralph Mayers 'The Artist's Handbook of Materials & Techniques' instead.
   
   Beware of impressive, studious sounding reviews - I'm sorry I wasted my money on it.



4. A seminal work - referred to by authorities (Ralph mayer, etc) on painting technique. A must have if you're interested in painting technique throught the centuries.



5. My initial reaction on receiving this book was "Bloody hell is it big enough!?" At 1024 pages you're certainly getting a lot of information for your buck.
   
   Eastlake (1793-1865) was a former president of the British Royal Academy, director of the National Gallery, and in his day an major expert on painting techniques. Do note the book was first published in 1847, hence the writing style can be somewhat turbid. Perseverance pays with there being more information in here than you can shake a stick at.
   
   My comment about caution is based upon recent studies of old master paintings. The old masters would typically have a team of apprentices working alongside them, mixing paint, painting parts of the painting that the master was probably too bored to bother with (as well as good training for the apprentice) etc. The Master/Apprentice setup allowed for a continuous stream of knowledge being passed along the generations. However as oil paint technology advanced, in particular the ability to buy premixed paints off the shelf, the painter no longer needed a team of apprentices. He could pretty much get by on his own. Hence there was no longer anyone for the painter to pass on his knowledge to. This resulted in a considerable amount of technical knowledge being lost. (A good example is the recent theory promulgated by David Hockney that the old masters were able to paint such realistic paintings as they used rudimentary projection techniques to place a guide image on the canvas, overwhich they painted. No one knows if he is right or wrong).
   
   From the 1800's on, technical experts such as Eastlake and Max Doerner ("The Materials of the Artist") began to impart their wisdom on how the old master paintings were created. But the techniques thay had available were very rudimentary, more often than not being a case of the expert trying to reproduce a certain style and looking at the painting surface close up. The experts proferred their theories and techniques, often with much aplomb leaving no room for doubt. Unfortunately they were often quite off the mark - they could emulate a style somewhat but never 100%. There are too many variables involved even for a discerning eye. It has only been with recent advances in scientific analysis, chemical and visual, that a truer understanding of the old master technique is finally being determined. Van Wettering's excellent "Rembrandt - the painter at work" book details the findings of extensive research carried out on a number of paintings considered to have been painted by Rembrandt. The book is 340 pages, and they still haven't got all the answers. But what they have done is to throw in to doubt the theories and techniques of the 19th/20th C experts.
   
   There is a welter of information in this book, but if you are trying to perfectly replicate a certain old master painterly technique, and failing to do so, then be warned the experts might not be such experts afterall.
   
   All said and done, I do recommend this book for the wealth of information it contains. Numerous recipes for mediums, varnishes etc. along with many techniques that it lends itself to study in its own right. Dover books have once again provided an excellent product at an excellent price.

2 comments about Adorable Animals You Can Paint (Painter's Quick Reference).

1. This book answered my question about how to approach the subject matter in the best way. Jane Maday's tips saved me lots of trials and errors and added to the enjoyment of painting adorable animals.



2. Besides being a beautiful book to look at, the in-depth step-by-step instructions are incredible. A unique hands on manual that walks you through the tools needed, demonstrations for painting in acrylic and watercolor. A must purchase for any artist.

5 comments about American Impressionism, 2nd Edition.

1. This impressive volume has much to recommend it; well written the very readable text is both illuminating and interesting and the high quality reproduction of the paintings is a delight. The author divides the text into four sections: Prelude, to 1886; Rising Perceptions 1886-1893; The Years of Truth 1893-1898; and The Impressionist Establishment 1889-1915.
   It concludes with an extensive general and artist specific bibliography.
   
   The illustrations run with the text, and as is often the cases in such publications the text and the illustration to which it refers rarely appear on the same page. A large number, but by no means all, of the images are reproduced in colour; and they vary in size from little more than thumb-nail to the impressive full page. In some cases the photography is superb, and the reproduction vividly conveys the richness of the original along with the brush work and texture of the paint, but the standard here is not consistent and some reproductions appear flat by comparison, and the black and white images are not inspiring. It is a well laid out book with good typography, and it certainly has a feel of quality.
   
   American Impressionism is a fine most valuable volume, but put alongside the recently revised Soviet Impressionist Painting by Vern G Swanson, ISBN 0789207370, the quality and consistency of the reproductions is shown to be lacking.



2. This large volume may have the broadest coverage of the American impressionists of any book in print. So, if this topic interests you, I would heartily recommend this book. Gerdts attempts the ambitious job of presenting works, many in color, of hundreds of artists. He covers the major American impressionists pretty thoroughly. Cassatt, Robinson, Metcalf, Hassam, Bunker, Sargent, Twachtman, Chase, Weir, etc. are described in reasonable depth and the examples selected to illustrate their bodies of work are well chosen. Second and third tier artists, however, are usually covered in a very cursory fashion and with greater variability in the quality of the works selected for illustration. J. J. Enneking, for example, gets a few sentences of text and, although there are reproductions of two of his paintings, the one titled "The Brook, North Newry, Maine" could hardly be considered one of his best works. On the other hand, several very mediochre artists are covered too thoroughly. Some fairly significant artists, like Charles Hawthorne are left out entirely. In summary, I do like the book and I am glad to own it, but for all but the most famous twenty or so artists in the book, it can not be relied upon for significant information or for depicting the best examples of their work.



3. The Boston Museum of Fine Arts has some of the best works of American Impressionism. The Americans are, I think, underappreciated compared to the more popular French artists like Monet, Manet and Degas. (Well, except for John Singer Sargent, I guess. He's well-known and his work Madame X is the subject of novels.) But if you aren't familiar with the Americans, this little book is packed with information on ten artists included my favorite, Childe Hassam and also Twachtman, Frieske, Tarbell, and others. The writing is informative for so short a work, and this slips nicely into a bag or briefcase for that trip to the museum.



4. Whether you're a collector of miniature books or not, this 4" by 4" palm-size volume is both unique and fun. It's well constructed and offers a wealth of pictorial pleasures that can be appreciated again and again.

   Beginning with a prelude to Impressionism in our country in 1886, American Impressionism charts a vivid history of that genre with wonderful reproductions of works by Edmund Tarbell, Childe Hassam, Frank Benson and others.

   The text by Dr. William H. Gerdts offers a well balanced chronological study of the movement.




5. All too often when we think of "The Impressionists," or "Impressionism," we immediately think of the French Impressionists, awesome as they are, and perhaps simply leave it at that. Yet what about the American Impressionists? Hold onto your hats, folks! I am here to tell you about a group of artists as every bit as awesome as their fellow French artists, and they are all lavishly presented in this huge, incredible book. If you have a passion for art in general, or for Impressionism, and history too, you will cherish this book. There are over 400 paintings beautifully reproduced within the pages by 125 artists, along with the very fascinating text Dr. Gerdts has written about them all. Don't think this book can only be grasped by art scholars and is for them. The well written text is easy to grasp, and certainly will be enjoyed. The book begins by focusing on painting as it was in the mid-1800's, the very roots of Impressionism. Now then, for those who have never really thought about exactly WHAT Impressionism is, the name comes from a painting exhibited by Claude Monet in 1874, entitled "Impression Sunrise," and the rest is history, however, the meaning has to do with the play of light upon a scene at that VERY moment, while the artist is painting it. In Monet's own words: "a spontaneous work rather than a calculated one." Anyway, Dr. Gerdts then presents the relationship between the American and French Impressionists, and gives wonderful anecdotes about the American artists' adventures as they flocked to Giverny to study with Monet. From here, we learn how the critics attacked the artists here, as they did the French artists abroad. But they soon triumphed during the 1893 Chicago World's Fair. From there, we follow their progress, until eventually, Impressionism was replaced by Cubism and Surrealism. Some of the most well known American Impressionists are Childe Hassam, J. Alden Weir, Philip Hale, John Twachtman, Willard Metcalf, Edmund Tarbell, William Merritt Chase, and Frank Benson, to name a few. The book focuses upon more though, oh, so much more. This is a splendid book, and well worth having. I highly recommend "American Impressionism."

1 comments about Drawing & Painting Flowers - Problems & Solutions.

1. Very good book. Excellent instruction on what not to do as well as how to do it correctly. highly recommended.