No comments about The New Testament: Through 100 Masterpieces of Art.

No comments about Dong Kingman's watercolors.

3 comments about I'll Be Home for Christmas (Lighted Path Collection®).

1. I have purchased Thomas Kinkade books numerous times and I am very pleased everytime I do. I usually give the books as gifts and I always receive compliments. Thomas Kinkade is a favorite painter of mine. His paintings and inspirational sayings always help to calm a person when having a stressfull day.



2. The book has beautiful illustrations and very touching and inspirational messages, quotes, etc. on each page. It was given to me as a gift and I love it! It will be something I treasure through my life.



3. Anyone not aware of Thomas Kinkade's artwork hasn't been paying attention in stores for the last five years or so. With his old-fashioned images of a romantic yesteryear that probably never existed, Kinkade has become America's most-published artist. In "I'll Be Home for Christmas," he specializes in snowy landscapes, glowing cottages with smoke coming from rock chimneys and horse-drawn sleighs bringing visitors for Yule festivities. Text for the book comes from seasonal writings by Charles Dickens, Louisa May Alcott, Washington Irving, Laura Ingalls Wilder, Kenneth Grahame, Isaac Watts and, of course, the Gospel of Luke. The artwork is the most notable feature: Large scenes are mixed with close-up details that reveal Kinkade's brushstrokes. People familiar with Kinkade's work know that he hides little letter 'N's throughout his paintings (the number that appears under his signature indicates how many are in that particular painting) in honor of his wife, Nanette. The printing in "I'll Be Home for Christmas" is so good that they are visible on almost every page. This isn't a thick book, nor heavy Christmas reading, but it certainly sheds some beautiful light on the spirit of the season.

No comments about Ceramic Painter's Pattern Book.

4 comments about On Location - Plein Air Painting In Pastel.

1. If you are inspired by nature but feel overwhelmed with information when you reach your painting site, then you must read this book. Richard McDaniel shows you how to see the structure behind the landscape. He presents you with a logical sequence of steps that allow you to focus on the important features without getting bogged down with details. The author describes his approach with precision and clarity. The examples of works in progress also help solidify your understanding by allowing you to virtually see the paintings come alive. There are also countless helpful hints for keeping yourself on track, like implementing practical organizational skills and working on value studies in the studio.
   This is a great book. I'm still applying the lessons I've learned from it and I can see a definite improvement in some of my paintings. Thanks, Richard.



2. This beautifully executed book is not just for pastels. I use it for watercolor painting. The colors and layering are similar. Many, many breathtakingly beautiful artwork in this book. His work is excellent. If you aren't afraid to use deep, rich colors in your artwork, this is a very good book for ideas. I can't say enough about the use of color in this book. It is exquisite.



3. The paintings, text, color schemes in this beautiful book are exactly to my taste, as are his other books. I even bought his great american pastel set to go along and am fired up to go paint- not easy to get me motivated but I am now!



4. As beautifully written as painted, this book "On Location" makes me want to paint in pastel even though I am a die hard oil painter of 25 years. Richard McDaniel will undoubtedly be recognized as one of the leading painters working on location in this era of plein air painting. As a painter he brings to the art world well composed, drawn, and executed works of art and yet never loses his sense of artistic touch in the delicate balance between bold color, subtle nuance and overlay upon this sound structure. What is all the more remarkable is his sense of paint, his touch and "brushwork" is as fresh, creamy and alive as any oil painter using the alla prima technique.
   
   As a writer his skills match his range in drawing and painting with his ability to interpret, explain and diagram his method to others... no easy task. This text is richly illustrated and also organized with logic and layout, it shows a thorough understanding of the subject and a clear mind at work carrying the reader from one point to the next. Ideas flowing, the text is a reference book of information and far more than just a simple "how to".
   
   I have seen all the great works of plein air painters of the past through exhibits in the Louvre, Musee d'Orsay, Metropolitan, Terra and the National Gallery during Carter Brown's era. Very few works by contemporary artists' stand up to my scrutiny on mental comparison to these works in touch, color, composition and technique as well as Richard's work. Any student or professional could benefit by adding "On Location" to their library and studying and reflecting upon this man's work.

No comments about Watercolor Techniques.

4 comments about Noa Noa: The Tahitian Journal (Fine Art Series).

1. Very readable translation. This is not the best edition if you want good reproductions of drawings. But in terms of getting a good text for a good price it's great.
   
   I'm not really going to review the book itself as I assume most people who are here know that this was Gauguin's attempt to put together a what he hoped would be a best selling travelogue that would promote his art. He was hoping to cash in on the success of Pierre Loti's best seller the Marriage of Loti which was set in exotic Tahiti. It never made any money, but this is mostly because of it's idiosyncratic style. But for anyone interested in Gauguin's Tahitian experience it's great. Also check out his intimate journals which came out posthumously and cover also his life before Tahiti.



2. Typically considered a journal or memoir, Gauguin's book is in fact an early type of experimental multimedia novel. Thematically, Gauguin burlesques Pierre Loti's "Marriage of Loti", while structurally he interleaves narrative with his own highly-inventive Post-impressionist woodcarvings. It's a fine book: Gauguin could have been a great novelist, if he weren't already busy.



3. Though you may quarrel with Guaguin tactics or motivations, his art stands alone--brilliant, moving, subtle. It is always intriquing to hear the voice of a master painter and "Noa, Noa," affords that opportunity.



4. Contemplations visual, intellectual and spiritual. In 1891, French painter Paul Gauguin fled to the island of Tahiti - "a sixty-three days' voyage, sixty-three days of feverish expactancy;" begun as an unofficial visit regarding the imminent death of the island's king Pomare -- and resulting in a profoundly moving sea-change (spirit, observation, happiness). The Tahitian theology, natural history, and especially the progress of his relationships - a gift. This is a good book to read BEFORE embarking on your "desert island" voyage, but beware! Hard to top once you're there on some other island. An exceptional journal, with a graceful translation (it seems) by O. F. Theis from the French. Rated 9 (needs more color plates of paintings! but a lovely, portable paper edition) Other recommended travel/discovery books: Off the Map: Bicycling Across Siberia, by Mark Jenkins. 1993 HarperPerennial pb. Letters from Iceland, by W. H. Auden & Louis MacNeice. 1990 Paragon House pb. Why Come To Slaka? by Malcolm Bradbury. 1991 Penguin Books pb. Travels With Lizbeth (writing/homelessness), by Lars Eighner. The Starship & the Canoe (Freeman Dyson & son George) Bird of Jove (falconry), by David Bruce. 1994 Texas A&M pb. The Earthsea Trilogy, by Ursula K. Le Guin Ishi (anthropology/Native American history), by Theodora Kroeber

3 comments about The Book of Kells: Selected Plates in Full Color.

1. This book offers lots of visual examples of the topic. I was able to use it successfully in my classroom with my students.



2. This book of color plates seems amazing, and almost is. However, the quality of the plates falls short of the mark. The colors are dull and faded, and the image resolution far lower than it should be. The Chi Rho page, probably the most beautiful page in the Book of Kells, shows almost none of the amazingly minute detail that it should. Other books--like the Thames & Hudson--show far more detail with more vivid colors than this. On the other hand, this book has larger pages than others, which is nice.



3. 32 full color plates from one of the world's greatest books. Although it is Christian art, the Kells reflects centuries of preChristian style & mystery in its bestiary of cats & dragons, its peacock feathers, poses & intertwining lines. There is something in this art that transcends time & religion. The price is a bargain.

   Bob Rixon

5 comments about Let Them Eat Cheesecake: The Art Of Olivia Volume I.

1. At first you can't help but chuckle, especially if you were around during the 80's. Alot of the work in here is very time based and looks like posters hair metal bands would drool over. Regardless of the decade inspiration, the sheer talent Olivia has will keep you studying a piece long after your nostalgia for the days of air guitar and Iron Maiden ware off you can't help but see nothing but beauty on page after page. My favorite piece is "Cat and Mouse" it's a bettie page number. Enjoy!!



2. Who better to draw women than a woman? Olivia De Barardinis is the undisputed queen of cheesecake art, that wonderful if ill-defined blend of sensuality, sexuality, humor, and glamor.
   
   Although her style covers a wide range, each illustration depicts a lone model. Based on Olivia's notes at the end of the book, it sounds as if each woman's presence is just too big to share a page with any other. Each time Olivia paints, she captures something unique to the model, so two models might confuse the directness of the image. Other visual elements appear in her work often enough to form a recognizable ensemble: happily erotic poses, improbably high heels, and lingerie ranging from antique to futuristic fanatasy. Various of the paintings here show other influences, including Bettie Page, Klimt, Marilyn Monroe, Erte, and generations of other sensualists.
   
   Olivia uses the last few pages to add notes describing the paintings. The text identifies each one by title (if any), year, medium, and usually the name of the model. In many cases, Olivia says a bit more about the woman depicted, the inspiration for the image, or something else to help the reader enjoy the picture - as if help were needed. Then, the last two pages let her talk about the creative process in each of her media, including watercolor, gouache, acrylic, and her trademark oil. I recommend this to anyone fascinated by Olivia's voluptuous, vivacious vamps and vixens.
   
   -- wiredweird



3. Second Slice, The Art of Olivia is two books in one...sort of...about ¾ of the book is displays Olivia's paintings in portrait format. Flip it over, and the rest of the book is in landscape format...a flip book for adults! Olivia's second slice is every bit as filling and delectable as the first offering featuring 124 pages with 140 paintings in full color. Each of the two sections provides a detailed index with the name of the piece, size of the original painting, materials used, the name of the model, as well as Olivia's own commentary on her works. These comments are often as entertaining to read, as the paintings are to view.
   
   The models used in this edition include Pamela Anderson, Rhonda Shear, Bettie Page, Julie Strain, and Sandra Taylor. The paintings of the saucy Julie Strain are some of my favorites in the book. With her long, kinky black hair, ample curves, and playfully wicked smile, Strain made a wonderful pin-up queen for the 1990's, when most of these pieces were completed.
   
   Olivia experiments with many forms of style and color, which make for some of her most striking and exotic work to date. This is well displayed in "Zebra Lady III" as the nude, striped model (Rhonda Rydell) blends into and almost disappears into the striped backdrop. While not necessarily known for darker, gothic works, Olivia clearly shows she can compete with the best in that genre with works such as the female vampire on display in "Things that Go Bump in the Night" and the winged, horned "Banshee" which serves as one of the book' covers.
   
   Flipping to the landscape side, the buxom blonde bombshell Shear is captivating in the painting entitled "Pomeranians" as she finds herself lying on the ground, covered in a wrap made out of those furry, little dogs.
   
   Second Slice is another gorgeous collection of Olivia's works, all from the 80's and 90's. It is filled with gorgeous women and bold, sassy, and exotic colors and settings. Olivia continues to prove why she is at the top of her game.
   
   Reviewed by Tim Janson



4. Olivia is the Vargas of our time. As Vargas took the reigns from Petty, Olivia has done the same, and Just like Vargas went beyond Petty in terms of realism, and delicate beauty, Olivia De Berardinis has taken cheesecake to a whole new level. Every pose, expression, and little bit of body language is put to use. Every Shot is beyond what a glamor photographer would dream of. Utter Perfection on so many levels. There is definitely some of her art that pays tribute to Petty, and Vargas among other legends of pinup in many of her pieces in most of her books. This one is a collection that spans many realms, and genres as would only be appropriate in our day. (Frank Frazetta influence spans the universe) There are no pieces that are over the top goriffic, or Horrific works like Clevenger, but there is some definite influence from Fantasy art in a portion of this book. The cover of this book was also a cover on Heavy Metal Magazine of which Olivia did many covers for in the past. This book is like an homage to the beauty of the feminine and female form, as is all of her work. Mouthwatering is the only description I can give it. If your looking for extreme fantasy, or horrific, gorrific works go for Clevenger. But if you want to see the beauty of the female form that can only be described as: like looking into the eyes of an angel". Olivia's books will do you no wrong. This one is no exception.



5. Olivia was one of my favorite artist, and in my collection of Illustrations books she can't be absent. This new collection of paintings shows her skills to mold all kind of techniques.
   A must have release.

5 comments about The Art of Handpainting Photographs (Amphoto Crafts).

1. "The Art of Handpainting Photographs" provides detailed instructions for handcoloring black-and-white photographs with Marshall's Photo Oils, which generally impart somewhat muted colors. Colored pencils are often used in conjunction with the oils. Author Cheryl Machat Dorskind briefly mentions other media that can be used in handcoloring photographs, but she does not discuss them. Although there is a chapter on landscapes, Dorskind is primarily a portrait artist, so this book's emphasis is portraiture.
   
   Chapter 1, "Selecting a Good Photographic Print" makes suggestions in how to best photograph for handpainting, including choosing appropriate film and photographic paper. This is the book's weakest chapter. The advice could be confusing to beginning or intermediate photographers. For example, it recommends bracketing exposures, but does not explain that, unless you tell the lab, they will try to print them all the same. And there is not much point in bracketing old chemistry black-and-white film by just one EV anyway. It's better to vary the exposure in printing. The author doesn't mention chromogenic black-and-white film at all, which is less expensive, easier for amateurs to obtain, and would be fine if printed on a fiber-based paper. Dorskind doesn't recommend T-grain films or high speed films, but doesn't explain why. Her suggestion of infrared film is interesting, however, as its characteristic white foliage (when used with a dark red filter) is well-suited to handpainting. A handy chart lists texture, tone and contrast for recommended fiber-based and resin-coated papers. The option of toning prints prior to handcoloring is mentioned, but no instructions are provided. Oddly, I have never seen a book on handcoloring photographs mention digital prints. Most ink jet prints are unsuitable as the ink will run, but I am curious as to how permanent inks and dye-sublimation prints fare. No answer is forthcoming. The information about papers for conventional printing is very good, though.
   
   Chapter 2, "Materials and the Work Station", explains supplies you will need and what conditions provide the best working environment for coloring photographs. Chapter 3 is dedicated to "Basic Color Theory". There are explanations of the color wheel, complementary colors, hue, value, intensity, color temperature and advice on how best to choose the most appropriate color to convey your intentions.
   
   Chapter 4 discusses the five steps involved in "Preparing Your Photograph for Color Application": Spotting the photograph (retouching spots and scratches), masking the border, making wood/cotton skewers, arranging your color palette, and priming your photograph with Marshall's P.M. Solution.
   
   Chapter 5 provides a step-by-step explanation of "The Basic Painting Process". The example the author uses is a portrait. She explains how to mix colors, paint the photo, and use pencils on top of oil paints. These instructions are very good and would be invaluable if you are handcoloring a portrait, as there are specific suggestions for how to achieve the correct skin tone. Chapter 6, "More About Portraiture", provides further valuable advice to portraitists by explaining how to best paint red, blond, brown and gray hair. There is also some discussion of painting portrait backgrounds for various effects.
   
   Chapter 7, "Focusing on the Environment" is about handpainting landscapes. The author discusses color, tone, and composition in rural and urban landscapes, but there are no detailed instructions. Chapter 8, "Presenting Your Artwork" gives advice for how to store, mat, and frame your painted photographs. Chapter 9, "Special Assignments" mentions some specialized uses of handpainting, such as vintage photographs. There is a list of Resources in the back of the book.



2. I have researched and bought everything I can find on this subject and this book is by far the most helpful that I have found. It is easy reading. The photographs are inspiring. Even people who aren't interested in the technique love looking at the beauty of this book. I am a professional hand colorist and I use this book almost every day as a reference tool and also as inspiration. Anyone who wants to learn this technique should own their own copy of this book.



3. This wildly popular and highly comprehensive treatise on Handpainted Photography has become the bible for its genre. (A big seller in Michigan art stores) I noticed that competing publishers (see the phony review by Photobuff) have tried everything to stop this giant, but quality always succeeds. I learned the art of handpainting from Cheryl Dorskind. Great work! Can't wait for your next book.



4. While the subjects of the photographs in this book may be a little too saccharin for everyone, the author makes up for this in content. There is much useful information on techniques, supplies, and use of color. Of the three books I have read on the subject, this is the one I would recommend -- regardless of whether the subject matter appeals to you or not. The information provided can readily be transferred to the subject matter of your choice. If you can only buy one book, buy this one!



5. Highly sophisticated images grace the pages of this unique guide to an otherwise complicated craft. Professor Dorskind's compassion for the beginner and respect for the expert shine in this brilliant work. In addition to step by step instruction, she generously shares her personal photopainting struggles. Her college teaching experience and fine arts background help define "The Art of Handpainting Photography" as the outstanding work (and probably the best) in the field.

   A must buy for the true "photo buff."