5 comments about Egon Schiele: Landscapes.

1. A fine introduction to the extraordinary art of an Austrian painter doomed to a short but productive life.
   
   Professor Rudolf Leopold is a master of explaining the style of Egon Schiele, while revealing to the reader the physical origin of the specific impulse behind many of Schiele's land- and cityscapes.
   
   I urge those with any interest in modern art to buy this book, and, if at all possible, visit the originals in the great museums of Vienna, especially the Leopold.



2. This book is centered on a hitherto less well-known aspect of Egon Schiele's art, i.e. his landscapes. The catalogue for a 2004 exhibition held at the Leopold Museum in Vienna (the largest Schiele collection in the world), it was written by Rudolph Leopold himself (the founder of the museum and largest Schiele collector in the world). It lists most of the landscapes painted by Schiele chronologically, whether painting or drawing, and describes each of them very thoroughly. Some works which at the time (2004) were believed lost (a magnificent Krumau landscape and a beautiful sunflower painting) have since then reappeared on the art market and made headlines as they sold for record prices.
   
   The illustrations are of a good quality, even though not as perfect as the ones that grace another available book on the same subject, "Egon Schiele's landscapes, between ruin and renewal" which is a more literary and less purely factual work.



3. The credit for the first notion of publishing a book strictly devoted to Schiele's landscapes (and cityscapes) deservedly goes to Kimberly A. Smith/Yale University Press. One might say that it was a bit sneaky of Rudolf Leopold & the Leopold Museum, after having been interviewed and providing reproductions for said effort to in the same year mount this comprehensive exhibition and publish this sumptuous catalogue.
   
   I'm not saying that, because the reproductions are better and the text doesn't suffer from the pompousnous of Deconstructionism. This is a gorgeous book. As well, some of the paintings are paired with period photos/postcards of the actual scenes Schiele painted. Leopold vastly expounded upon this conceit by researching and seeking out with camera a large number of photographs of Schiele's motifs. It's hugely interesting to see how little certain corners of Austria have changed in nearly a hundred years.
   
   Of particularly poignant, and instructive, note, is the volume's side-by-side reproduction of Schiele's "Autumn Trees I" of 1911, held in a private collection. The original, as widely reproduced--indeed in the Smith/Yale book, albeit poorly--has been ruined by a "restorer" who decided that the pink striations in the sky had been added by a later hand.
   
   If you're interested in Schiele's landscapes, buy this book. Buy this book and turn to pages 84-5 and weep with me.



4. A chronological presentation of Egon Shielle's landscape paintings, commencing with works produced when he was only sixteen. Each painting is reproduced in colour on one page with brief informative explanatory notes on the facing page, and invariably with additional photographs usually of the actual scene depicted in the painting, and occasionally Shielle's own preliminary sketches. The book concludes with a brief illustrated biography, and bibliography. A most informative and beautifully illustrated publication with text kept to a minimum and free from pompous waffle.



5. Of all the Schiele monographs I own, this is my favourite one. I love Schiele's drawings and watercolors, I can get lost in them, mesmerized by a single casual line that defines a thigh or an arm; I love his portraits, his oils... but most of all I love his townscapes and landscapes, so this book as an absolute treasure.
   Great quality reproductions, wonderful b/w photographs of places/towns/buildings he painted (taken from the same perspective as they appear in his paintings).
   Highly recommended.

5 comments about Painting Light and Shadow in Watercolor.

1. This book contains so much valuable information for artists!! No matter what medium you paint in, you will find the step by step help you need to paint with great techniques!!



2. Wonderful book!!! I collect watercolors and have one of Skip's. His is clearly my favorite of all of my many watercolors, aside from one by my son. I was especially excited to find and to read Skip's book. What a great teacher he is! The book is clear and easy to follow and apply. Incidentally, I have it as one of my coffee-table books, and find myself regularly re-thumbing through it. Many of its illustrations are very pleasing to the eye, and capture the essence of points he makes so well in the text. Oh, to have just a small fraction of his watercolor talent!!!!



3. Whether you're a painter who has worked for years, or a 'newbie' you will appreciate and be inspired by Skip Lawrence's fresh and candid approach to more powerful painting via the tools of light and shadow. This is not a 'paint-like-I-do" guide, it's an intelligent conversation with examples of his and other terrific artists, to show how color and light and design all work together to create compelling and meaningful art that truly expresses your vision as an artist. This is a most essential and useful addition to any painter's resources, and it's valuable for both watercolorists and painters of other media as well.



4. This book is much different than the usual technique books because it clearly stays with one goal - light. Everything in the book is organised around achieving the perception of light and shadow in your paintings. It is a wonderfully elegant and logical approach.



5. Concise use of Paintings to convey clear thought

3 comments about Messenger of Beauty: The Life and Visionary Art of Nicholas Roerich.

1. This is an exquisitely beautiful book and immediately transports one to 'another dimention'. Roerich's paintings,his unusual use of colour and hues capture a luminous quality that speaks to the soul. His writing, paintings and travels are a true inspiration of the human spirit.



2. This is an excellent book on the beautiful and inspiring paintings of Russian artist Nicholas Roerich. Exceptional value with 88 colour reproductions of his work. The written material is faultless and fascinating. Roerich was dedicated to Beauty and I find that whenever I dip into this book I am completely captivated by his ability to speak to my innermost heart and spirit through the language of colour and the rich symbolism of his paintings. Fascinated by the legends of Shambhala and the wisdom of the ancients, Roerich's paintings and Decter's words take us on a wonderful journey that will enrich our lives. Roerich was a very deeply spiritual man and so his paintings serve this higher purpose. If you wish to light the inner fire of your spirit through art and beauty, then this is the book for you.



3. If you are looking for a book about the life and art of Nicholas Roerich or if you are looking for a fascinating account of a modern mystic, one of the great men of this time, this is it. The book contains over 80 of his paintings, drawings and theatrical set designs. The biographical accounting is fascinating and inspiring. I found this book very enjoyable and highly recommend it. Also suggest checking out the web site of the Nicholas Roerich museum in N.Y. city. Paul Huston

5 comments about Jackson Pollock.

1. This is the catalogue for the landmark Pollock exhibition held at the Moma and the Tate in 1998-1999. Considering the steep rise in the insurance value of Pollock's paintings, such a comprehensive retrospective is not likely to be repeated in the near future and we are therefore fortunate to have such a brilliant book to help us remember it. The late Kirk Varnedoe was one of the best interpreters of contemporary American art and his text, never anecdotical and always informative without being pedantic, does justice to the masterpieces without falling into any of the cliches that often pollute our view of this great artist.
   
   Beautiful illustrations make this book an indispensable presence in any arts library.



2. This breathtaking catalogue is simply the best single volume available on Jackson Pollock, and this is primarily--but not only--because of the number and quality of the reproductions it offers. Almost every one of the dozen or so Pollock books in my library contains a painting not available in the others, but this book collects and beautifully photographs the greatest number and variety of his canvases--outside of a catalogue raisonee.

   As the other reviewers state, there are many generously-sized fold-out pages here, and the crispness and resolution of these big reprints and of the more modest pages are simply amazing. To take two essential examples, this book's reprints of "One: Number 31, 1950" and "Blue Poles: Number 11, 1952" are astoundingly clear, better than any of the many other versions I've seen in art books, even in Ellen Landau's large-format survey, a book which also includes gatefolds.

   (Another reviewer, by the by, states that "Lucifer" is not available in any other book, which is not true. Among other places, it appears in Landau, in Elizabeth's Frank's concise volume, and as the sole color reproduction in the book for the 1965 MOMA retrospective. Anyway, it gets terrific treatment here.)

   Another invaluable inclusion in this book is a great number of full-sized detail photos of the canvases. For example, on a page adjacent to "Lucifer" and "Autumn Rhythm" and "Full Fathom Five," we see another photo of just one small section of that same painting but in 1-to-1 scale; these details reveal much of the dynamic, kinetic, urgent quality of these works, their encrustations of sand, glass, pennies, paint caps--traits which even this book could otherwise never offer a livingroom Pollock-viewer.

   Further, having seen the exhibit in January of 1999, I can attest to the generally excellent fidelity of the color-balance. (Curiously, no one seems to be able to capture "Autumn Rhythm"'s grey-teal passages in a book, but if you were at this show or have viewed the painting at the Met you've seen them.)

   The accompanying articles are excellent. Kirk Varnedoe overviews of Pollock's life, artistic aims, his accomplishments, all illustrated with family and archival photographs and drawing on Pollock quotations. Pepe Karmel uses the extensive photographic and film record of Pollock painting to analyze Pollock's physical movements. Most wonderful are Karmel's computer reconstructions of early states of the painting "Autumn Rythm," based on Hans Namuth's photos of Pollock at work.

   In sum, this book gives the finest, fullest offering of both Pollock's life and art.




3. I picked this book up at the MOMA Pollock retrospective a couple years ago and have used it extensively. Having seen many of the paintings in this book firsthand, I can say that these are some of the best reproductions offerred in book form on Pollock's work. Another plus is that several paintings are printed on fold-out pages, so that the work doesn't cross the book's seam. So many of his paintings are extremely wide that this makes a lot of sense (otherwise, there would be hardly any resolution in the height dimension).

   If you're interested in Pollock and need to refer to the reproductions, I absolutely recommend this book above all others out there.




4. Excellent companion piece to the MOMA show (which traveled to London's Tate) goes beyond all other Pollock explorations. A "must" for students of modern American art as well as those just wanting to get a better understanding of what Pollock was REALLY DOING.

   Large format features fold-out reproductions of breathtakingly high quality. Among these, incredibly, are paintings not found in any other published sources. (The incomparable Lucifer (1947) is one such work).

   The text is scholarly but readable, and although there is a considerable amount of it, each open page of writing offers at least a couple relevant and highly interesting photos or other illustrations. The many large color plates would certainly make a gorgeous and impressive coffee table book for anyone who doesn't choose to read it.

   Kirk Varnedoe writes definitively about Pollock's mercurial life & career. Varnedoe's nearly 75 pages of biographical analysis are a welcome alternative to the kind of misguided mythologizing about Pollock that has for a long time colored the artist as an overrated art "star."

   Pepe Karmel's contribution to this book is an amazing analysis of Pollock's painting process through an exhaustive examination of the famous films and photographs of Pollock at work. This was a fascinating, ground-breaking part of the exhibition, and is equally wonderful in the book.

   Well worth the price.




5. Having just taken in the MoMA show, I was very satisfied with the Pollock catalog. Very nice job reproducing the works (a difficult task in the printing of art catalogs!) Many fold-outs assist in conveying the size of Pollock's larger works. Large, full-bleed detail shots add a nice touch, complimenting the entire painting. While I'm not thrilled with the cover design, the interior is well-written, well-presented, and well-worth reading.

2 comments about Building Brilliant Watercolors.

1. This is an excellent book for any level watercolorist.I have read an uncommonly large number of how-to books(being self -taught) yet still found much helpful info here. In particular,her advice to avoid using tube paints that have dried, goes against info provided by every other source I have read----but I am sure she is right. You need to read her section on this subject---worth the price of the book by itself(and I am not being paid for this)!!!



2. Instructive chapters beautifully illustrated by Treman cover ideas and concepts for the beginner to the advanced watercolorist. She gives watercolor basics and gradually builds to more complex instruction (composition, importance of value, mixing colors). Especially unique to Treman is her chapter on "disappearing purple" which gives insight into new concepts of shading while still maintaining fresh clean colors.

2 comments about Roman Painting.

1. A comprehensive book loaded with well-documented examples. The color plates are fine; however, everything else is black and white and cross-eyed tiny. (I guess I could buy a loop!) I realize Cambridge UP didn't put this out as a coffee-table book, but the examples should be large enough to enjoy the details. In its present format, this is a scholarly text illustrated with a collection of Roman smudges. Very frustrating.



2. I took a class on Pompeii and I read the entire book for the class. The illustrations are mostly in color, which is helpful and nice-looking. Overall, a concise and accessible survey of Roman painting, most of which was preserved in Pompeii.

3 comments about Home Is Where the Heart Is (Thomas Kinkades Lighted Path Collection)).

1. Here is a coffee table book that will demonstrate your lack of taste to all your friends. It's a perfect compliment to one of Kinkade's over-priced, mass-produced, numbered reproduction art products that some people hang over their Levitz sofa. Be sure to check for the letter of authenticity to be sure it's a genuine copy! (Now where did I place that velvet Elvis?)



2. I gave this book for a gift. I really wanted to keep it for myself, so will be buying another copy. Many of the pictures trigger memories for me- especially of my childhood. This book is a little serenity and comfort and get-away from a busy day. Kind of like spiritual refreshment. Love it!



3. I gave this book for a gift. I really wanted to keep it for myself, so will be buying another copy. Many of the pictures trigger memories for me- especially of my childhood. This book is a little serenity and comfort and get-away from a busy day. Kind of like spiritual refreshment. Love it!

5 comments about Painting Ships, Shores and the Sea.

1. Very disappointing!!! Messy layout,...mostly mediocre artists who write just as poorly. What substance there is could have been covered in one of their two page magazine articles. And what's with all those pretentious triple barreled names?



2. Rachel R Wolf used a simple approach to deal with the painiting of the seascape. Not only the painiting of the sea is dealt with but the items that interact with the sea are also discussed. Items like boats, shorelines, people, animals, birds etc that compose the picture are discussed.

   Mix media are also explored in the book. The autheor used different media like water colour, oil ink and pastel to illustrate how to bring out the mood for the various coposition. It also discuss how some of the tips to help overcome mistakes and mask its effects.




3. I go to Maine every year to paint the wonderful rocks and seas and boats. Seeing a sailboat from the safety of the shore (Iget seasick on a boat), doesn't give you nearly the perspective nor information that this book gives you. I have it, I've read it, I've used it, and now I'm sending it to a friend who loves to paint seascapes also.



4. Oops- I spoke to soon. Information for contacting the American Society of Marine Artists IS in the book after all. A little blue sidebar box... I just missed it, in the back of the book, just before the index.



5. This book is very thoughtfully done. Filled with fresh new work. The layout is satisfying, reproduction is excellent. If contemporary sailboats and tugboats are your thing, you'll especially enjoy this work. It serves as a very good introduction to the techniques of painting marine art. The topics are useful, the demonstrations are interesting. This should be a real boost to ASMA (American Society of Marine Artists). The only thing I missed was information for contacting ASMA ...

   Cam Martin Tehachapi, California

3 comments about Drawing From The Modern.

1. I purchased book 1 & 2 from Amazon. The illustrations are far too small to be a professionally represented art book from MOMA I've decided to save my money rather than pay out for the 3rd edition. It sounds a good buy from its description but I don't consider this trilogy to be very satisfactory.



2. This is not a good artbook. The images are way too small to be satisfying. This book could have been great, but falls way short of its potential. Don't buy it, you will be disappointed.



3. DRAWING from the MODERN is the first of a three part series published by MOMA as catalogue to accompany the chronologically arranged exhibitions of their drawing collection; in part, celebration of the seventy fifth anniversary of the founding of the Museum.
   
   This first book looks at the late nineteenth century through the beginning of the twentieth. Care and preservation of these drawings dictate that they are displayed infrequently, paper being a delicate medium, subject to fading, discoloration and brittleness. The publication of this series then allows us to have at hand a history of drawings seldom seen, and a visual education demonstrating how problems of that era both evolved and worked themselves out.
   
   The introduction by Jodi Hauptman is broad and well worth reading. Aside from her entertaining "end of art" stories, she addresses artists and process leading to the dissolution of prevalent notions: relationship of "mark" to "ground", took new form; spatial notions of an orderly page, questioned; the element of chance, explored as process; the ego relationship of an artist to work, dissolving. New imagery happened: collage, abstraction, grids, enhanced emotions, metaphors of feeling, the sublime re-imaged. New subjects explored brutalities of war, notions of "city", identity, the spiritual, and the abstract.
   
   As perhaps with all process of art, the uncertainty of change brought forth much that is new. The 139 plates of drawings both demonstrate and give testimony by leading artists of the time to new era in process. Drawing as subject matter is fascinating. To be expected, the book is well printed. Of course, what is book one without book two and three?
   
   Nancy Gutrich

2 comments about Brushes: A Handbook for Artists and Artisans.

1. As a practicing artist, I am always looking for new ways to make expressive and appealing images. I work mainly in porcelain pottery, decorated with slips and glazes.
   
   I bought this book to learn how to make brushes, brushes which will enable me to create more distinctive images. My needs are somewhat different from what the book provides, but I found enough information to assist me in experimentation with making tools for expression.
   
   The book is more geared toward industrial manufacture, but there is more than enough information and example for the individual to make implements of good quality and function. The difficulty lies in gathering materials and finding a place to work where the cat will not try to supervise...
   
   I recommend this book for all artists who like to make their own tools.



2. There are countless books written on watercolor, acrylics, oil paints and even a few on gouache and casein, but the common thread linking all of the painting media has been overlooked . . . until now. Brushes are the most common of all artist's tools, yet the vast majority of artists are woefully uninformed about how to pick out a good brush and, even what the difference is between the good, the bad and the mediocre brushes.

   In writing this book, Jacques Turner has drawn from long experience in the brush-making business to provide us with a truly useful manual on what goes into the manufacture of a good artist's brush as well as the reasons and uses for the various shapes and hairs that seem to complicate and confuse our choice.

   For me, this book has opened up possibilities that would have been remained closed. My new-found knowledge has certainly proved its worth when buying brushes.

   A quick and easy read, Turner writes for the artist, not the research scholar.