No comments about More 3D Origami: Step-By-Step Illustrations.

2 comments about Living Willow Sculpture.

1. If you've never heard of willow sculpture, this is a great introduction. If you've ever wanted to try willow sculpture, this book will give you the basic "how to" knowledge and lots of ideas.



2. I got this book for my mother, an 84-year-old avid gardener and she was delighted. It's a small book from England and has lots of photos of garden projects to do with living willow. I think it was well worth the inexpensive price and we both look forward to trying some of the projects described.

3 comments about Ceramics.

1. The book itself is informative but not all that captivating. Other than that the item was brand new and arrived in fabulous condition in a short amount of time. I was very happy with the sender.



2. This book is not a glossy full-color presentation of the world's spectacular ceramic pieces. It does contain a hundred or so black and white illustrations of ceramics from almost all cultures; ancient and modern. Philip Rawson writes about the general concept of ceramics, the techniques, and the philosophy and symbolism. I found this book to be very helpful in that it gives an overview of all types of ceramics and allows the interested potter or sculptor to survey Rawson's intriguing perceptions. This book promotes ideas and facilitates their coming to the reader through discussions of his seemingly infinite observations. Rawson was a brilliant art professor and brings amazing viewpoints to his readers. Ideas, after all, are the most important factor in creating works of art.



3. Every potter and vessel maker, every student and teacher of ceramics, every person interested in ceramics should read CERAMICS by Philip Rawson. In fact, you will want to own a copy of this book so you can re-read it and loan it to other people. (I received no compensation for that statement.) CERAMICS is an exceptional source for expanding your knowledge of and vocabulary for critically viewing, appreciating, discussing, and writing about ceramics.

   In CERAMICS, Philip Rawson, a prolific writer and art critic, gives a fascinating and lucid examination of the evolution and aesthetics of ceramic form. He states, "One of the prime reasons why ceramics is such an interesting art is that it fills the gap which now yawns between art and life as most people understand their relationship."(6) Rawson then introduces ideas critical to looking at and fully understanding ceramics such as the relationship of function to the origins of most ceramic forms and how that relationship affects our experience of ceramic objects. He also addresses the inherent attraction of a recognizable material transformed by the human hand into a new object with symbolic or metaphorical value.

   Following a comprehensive but concise overview of the techniques and processes involved in making ceramics, Rawson gives an in-depth discussion of how form, surface and design, combined with the ideas of transformation and forms' residual relationships to function, create meaning in pottery. Well-chosen photographs, illustrations, and vessel profiles accompany the text.

4 comments about The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece (High Museum of Art Series).

1. The book is excellent. Each chapter is written by a different person with his or her own area of expertise. Somewhat redundant comments at the beginning of some chapters recounting the history of the doors but overall each chapter is very good. Image quality is good and text is readily understood by the average person . . not an overly technical book and is thus good reading. However, the format of the book is absolutely stupid. Who would create a book illustrating SQUARE panels such as these and then print it in a tall rectangular format. Someone wasn't thinking and it leaves the reader longing for a full page image of each panel in its entirety. All we get are vertical slices of panels and no complete image of any of them. One of the silliest mistakes in a book I have seen. Also some pages are not numbered and the numerous notes at the end of each chapter can have you jumping back and forth a bit. We went to the exhibition in Seattle and the book was a great background read. Shortcomings aside it is well worth buying. Enjoy it! By the way I have not yet purchased the other book available here at Amazon but may yet do so.



2. This book, actually the catelog for an exhibit of 3 of the panels, tells you everything you want to know about the panels and the doors that are one of the signature achievements of the Renaissance. It's got well written chapters on the narratives in each panel and a detailed step-by-step description of how they were made, with beautiful diagrams.
   
   A must read if you're going to see the panels or doors...



3. "The Gates of Paradise" is the title Michaelangelo gave to the extraordinary bronze doors on the Baptistery in Florence created by Lorenzo Ghiberti in the mid-1400's. This book is not a "coffee-table book" for impressing friends, but is for lovers of great art or the Italian Renaissance who want to look at beautiful photos of these doors (recently restored after years of painstaking work), and to learn more about them in a serious way. The book is a collection of essays, each focusing on a different aspect of the doors; their origin (questions of authenticity, date of the work, the extent that Ghiberti [and not his apprentices] were involved; the technical aspects of casting, and then gilding, bronze in the 15th century (how Ghiberti was truly at the leading edge of his time, not just in artistry, but in technology); the difficulty and technical aspects of restoration; and more. I found this book fascinating and would recommend it highly.



4. This is the luxuriously published catalogue on the occasion of the exhibition "The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece", till January 13, 2008 at The Metropolitan Museum of Art in New York after having been on show at Atlanta's High Museum of Art and the Art Institute of Chicago. It's about the gilded bronze reliefs on the East Doors of the Baptistery of San Giovanni, Florence (Italy), made by the Florentine sculptor Lorenzo Ghiberti between 1425 and 1452. The book contains seperate quires with photographs, mostly in detail, of the three reliefs on show: the "Adam and Eve" relief, the "Jacob and Esau" relief, and the "David and Goliath" relief, which allow the spectator to see what great masterpiece indeed Ghiberti made in his reliefs, depicting intricate scenes from the Old Testament. And these photographs do capture --since but few people will be so lucky as to see these reliefs in reality-- Ghiberti's artistry and amazing craft: his originality of invention, his majesty of designs, his vivid illusion and clarity of space as well as the diversity, intensity, and meticulousness in his depiction of the figures' physical, mental, and emotional states of mind, the aforementioned being a new realm of representation in Renaissance art. For all the expressive power and convincing vitality of human figures in early Renaissance art and their seeming to be intensely alive, only rarely are their individual and distinct states of mind and sentiment indicated if not captured the way Ghiberti managed to achieve.
   The book contains very readable essays on the artist Ghiberti and on the art and innovation in his amazing reliefs. In his essay, Andrew Butterfield offers scholars and students who still put their trust in Richard Krautheimer's 1956 book on Ghiberti (the 1970 hardcover and the 1983 paperback editions are still available) convincing arguments --based on the latest research-- to question Krautheimer's methods and results (in despite of their overall importance) which are largely based on Krautheimer's basic principal of the "single-point perspective". Mr. Butterfield argues that "single-point perspective" is a system intended for the projection of space on a two-dimensional surface, whereas relief sculptures are three-dimensional and have complex surfaces. It's a basic problem that figures in a relief must have real three-dimensional volume, and consequently there must be a projection at the bottom of a relief for these figures to stand on. This being rather self-evident for us now, Mr. Butterfield pursues his point by explaining the requirements of narrative and setting that Ghiberti faced, and fulfilled, among them the direct confrontation of but a few (usually two) figures in one scene of a relief, against the necessary depiction of large groups of figures in events in the biblical history of a nation or people in another scene of the same relief. All this is connected with Ghiberti's other primary concerns: legibility and a desire for clarity. Which stresses the need to look beyond the prejudicial notion that Ghiberti was in essence a Gothic and conservative artist, as advocated a.o. by J. Pope-Hennessy ("Italian Gothic Sculpture", 1986).
   Gary M. Radke's essay explores the realms of collaboration Ghiberti had to enter into and looked for. In his days, most public commissions knew a high amount of interaction and Ghiberti had manipulative relations with his patrons, at the same time furthering his own best interests. Furthermore, this book explores historical documentation on the Gates of Paradise, reconsiders the creative sequence of Ghiberti's doors, documents the now almost finished restauration and examines both Ghiberti's art of chasing and casting technique of the Gates of Paradise reliefs, abundantly supplied with photographs and illustrations giving overviews and many details of each relief under survey. There also is a chronology of Ghiberti's life. See "The New York Review of Books", Vol. LIV, Nr. 17, November 8, 2007 for a more professional review of this catalogue.

5 comments about Kovels' Dictionary of Marks -- Pottery And Porcelain: 1650 to 1850 (Kovel's Dictionary of Marks).

1. Exactly what I was expecting. A bit difficult to understand at first, but once you understand the layout it really makes it easy to use for reference.



2. Overall it is helpful. I am really just getting into this, so it is great to have something I can refer to to get an idea of where the item I have comes from.



3. As with the Kovels other books, this reference is very exhaustive and complete. There are, perhaps, some mistakes, but given the volume of information here that is to be expected. I find I reach for this book first when I'm trying to identify a piece of this age group, and usually find what I'm looking for here. Easy to travel with, from antique shop to auction. A good buy.



4. Rather coplete book but-alas-full of mistakes in entries concerning German and Austrian porcelain.Take for example the Meissen porcelain:the authors put together in one large pile Meissen proper,Thieme factory,Fr.Hirsch,Helena Wolfsohn and other factories,though these are absolutely different things.The authors should make a bit of research before starting the project:What amazes me is that this is the 46th edition of the book and nobody ever corrected those mistakes.



5. Good research, accurate information, and voluminous (if not exhaustive) representation of marks. Brief yet succinct information identifying maker, circa date and geographical location are offered with marks. Don't expect a good read or scholarly discourse. Small and light; easy to take on the road.

2 comments about Destruction of the Father / Reconstruction of the Father: Writings and Interviews, 1923-1997.

1. I saw a film and the works of Louise Bourgeois at the Tate Modern in London while I was on vacation. She was a fascinating woman! Brutally honest with raw insight on her life, emotions, and works! Fascinating! This is a great book showing the many sides of this artist!



2. The artist's diaries reveal so much about her fascinating creativity. It is very helful to read her comments over the decades as wintess and participant to the changing art world. The Walters Art Museum is presently exhibiting 39 of her works in "dialogue" with works from our permananet collection of Ancient, Medieval and Renaissanc art through May 21st, 2006. If you are in Baltimore, please take advantage of this amazing opportunity. The text of the diaries (that covers over 60 years)was very helpful to both staff and docents/guides in preparing for our tours. I recomemnd this text to all students and professors of contremporary art.

5 comments about Terracotta: The Technique of Fired Clay Sculpture.

1. How do you compliment a master? There is none except "thank you."
   
   In a real sense Bruno is a man that should have been born in another time. His sensitivity to the human figure and his love for fired earth is the stuff of a true Renaissance man. He captures the imagination and brings life out of clay.
   
   What is most inspiring aspect of this Italian born sculptor is love to teach and share his skills, tips and tricks with other aspiring sculptors around the world. Sculptors like me. No studio library is complete with out all of his books and tapes.
   
   Bruno works with slabs of clay smashed on the floor and then quickly forms them into layers of mass that are shaped into the maquette. His attention to proportion makes him the artist that others have sought to imitate, and none can completely duplicate.



2. This is a super book, very informative and easy to follow. It answered many questions I had, and introduced many new (to me) ideas.



3. The first time I browsed the book, I was blown away by the beauty of Bruno's work.
   The second time, I was disappointed because of the limited explanation and technical descriptions.
   But once I understood what this book was really about, I loved it.
   It really is a documentary of Lucchesi at work. You can witness him working. The book is very visual.
   You will not learn sculpturing, but you will get the chance to see an accomplished sculptor and his creation.
   The book does not tell the why's, you can see the how's.

   My copy is now really filthy, with stains of terracota all over it. I keep it by my working bench, and quite frequently, in the middle of my work, I open it to see how Bruno does it.

   My recommendation is to buy this book in addition to "From Clay to Bronze " of Lagland.




4. I'm a student working in wax, but the most important concepts in this book are definitely cross media; it was a good buy. I mainly use the book as a reference tool and posing guide -- it is a great problem solver. There can't be many issues in posing or proportioning that a beginner won't find help for somewhere in this book. Ms. Malmstrom has such a talent for photographing sculpture that you almost feel like you have the actual piece in front of you. And Mr. Lucchesi's work... it's tough to imagine a day so bad that his sculpture can't make you feel more at peace.



5. I found this book to be a wonderful tool for the beginner or advanced sculptor. It leads you step by step and, as a 3rd-year sculptor, the techniques Lucchesi provides have greatly inspired and helped me improve my own techniques.

3 comments about Cloisonne Enameling and Jewelry Making.

1. The book is useful for a broad spectrum of initial enameling skills. While it doesn't delve into minute detail, enameling is a hands-on learning and application art. So I found the directions and and steps useful for my needs. I will take care of the details.



2. This is one of those books that you are giddy that Dover reprinted! it isn't for the very beginner in enameling but it will take the enameler thru all the steps for making some basic cloisonnes and then the settings and chains for them. The jewelry working/metal smithing section is worth the price of admission. The chain making section is old school just enough to get people thinking about the need for all the fancy gizmo's they sell today. I enjoyed the book as a whole. the B&W pictures are good being reprints. the project drawings, pictures and the wire bend diagrams are great. To bad more of the newer books don't include them. The resource pages were very complete and you will find most of them still doing biz and with web sites. If you have old Thompson Enamels you have picked up from some ole timer the list with numbers will be worth the cost itself. I own it, use it



3. Well written with many photos and a step-by-step guide for cloisonné. Sound advice and useful trouble shooting. It touches briefly on other techniques without enough detail information to use but enough to start an interest in expanding enamels and a few trial experiments.

5 comments about Art of Coppersmithing: A Practical Treatise on Working Sheet Copper into All Forms.

1. a very informative treatise on an "Old World" art that few know how to do in todays industrialized and technological society. Remarkable, Very easy to read and follow. Will become your reference when need arises!



2. The book is an interesting history of coppersmithing, but too much is relating to boring the apprentice. The style of the book is in the old English wording (late 1800's) which is a slow read for today. The needs of the day were well explained but don't relate well today. Most current artist keep their skills a secret, so you will be looking for more.



3. This book shows how to make every kind of pot, pan, still, kettle, teakettle or brewry gadget that you would want to make out of copper. Big and small. Household and industrial.
   
   Although, dealing exclusively with copper, most of the techniques shown can be applied to other common sheet metals.
   
   This book doesn't deal with raising from the whole, as in silversmithing, but with piecing something together, and using dovetail joints along with soldering to make a whole.
   
   Lots of woodcut illustrations and concise text. There is some obscure and obsolete terminology; such as 'spelter'. Do you know what that is?
   
   Spinning, dies, power presses and such are not delt with in this book. Neither are the common sheet metal gadgets and tools, such as slip rolls, brakes, shears, roll crimps, and such. Hand hammering, stakes, charcoal firepots; that is what you will find in here. This is like blacksmithing for copper.
   
   If you are interested in working with copper sheet, or brass,I have not seen another book out there as good as this one. Especially if you want to make utilitarian objects. The book is packed with information.
   
   If you are interested in artistic copper forming you will still find the basic techniques in here as to how to work the copper. But there isn't much in the way of artistic design, like how to make a copper rooster weather vane.



4. This book I believe deserves much praise. The Astragal Press have here reprinted a book written in 1893 which highlights skills that in my part of the world have essentially disappeared. With the technological progress that has sweep across the western world since this book was written you would I suspect have to travel to India, Iran or maybe Eygpt to see this sort of hand skill in use today.
   In the authors day copper was the metal of choice for making the Glue Pots and Tea kettles, the Stock Pots, Frying Pans, Tallow Coppers and Brewing Coppers to name just a small aray of items listed in this book. Today the vast bulk of these would be manufactured from either Stainless Steel or may Aluminium.
   So the author desribes with words and some outstanding drawings how these items could have been constructed during this period. Pattern Development of some of the items is also covered. The universal subjects of Soldering and Brazing do get good coverage as does the subject of Tinning a copper to be used for cooking purposes. He has included formula for working out some of the blanks required to start from and some good descriptions of the hand tools and stakes etc. to form the work with and on.
   A previous reviewer has said that this book is mainly a historical text and of little practical worth today. This is valid only up to a point. It is my belief that this book does have a practical worth and anyone who is looking at this book will be looking precisely for what this book delivers on. That is that this book is about crafting and the art of working metal. The skill to plastically deform a metal to a desired shape is very well covered here and I think that there is a movement, even if a small one, to relearn some of the skills lost in the last few decades with the march of technology. I work in a sheetmetal fabrication shop and no one has these skills anymore and some will say "so what!". But when a job comes in with compounding curved surfaces it is to books from this generation that we must return.
   The book itself has been well manufactured though I would have perferred a hard cover. Both the Table of Contents and the Index are clear and concise.
   I therefore give this book 5 stars and believe that if you want to do some serious metal working in your job or at home as a hobby then this book will serve you very well.



5. This is a book which may be of historical significance but is of little practical value today. It was originally published in 1894. Do not get this as some kind of how-to guide or you will be disappointed.

1 comments about Glass Etching: 46 Full-Size Patterns with Complete Instructions.

1. If you are just beginning to learn glass etching, this book is a must. Wonderful and easy to follow instructions and great patterns. I made some beautiful pieces with this book.