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the catalogue of the most recent Botticelli exhibition
This is the catalogue of the most recent Botticelli exhibition in Paris and Florence. It comprises 6 essays by important Renaissance scholars and individual description of the works of art present in the exhibition. The reader is offered, therefore, a comprehensive and useful survey of Botticelli scholarship, sometimes with somewhat contrasting points of view. I would definitely recommend this book for anyone interested in broadening their knowledge and understanding of Botticelli. I don't think, however, that it is a good introductory book to the artist, as it leaves out quite a lot of important works of art that were not present in the exhibition ("Primavera", "The Birth of Venus", "Mars and Venus", etc). ... Read more

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An adventure
Ideas Without End provides a great introduction to Imogen Cunningham's work. It includes a short biography, but focuses mainly on the plethora of beautiful pictures, showing a wide selection of them. Cunningham's photos are the kind that draw you into them, and bring you to the realization that a flower is so much more than just a flower, that there is more to a body than just nudity, and that everyday items possess a beauty of their own. The format is a bit unhandy, but the contents more than make up for that. In short, the book is an experience not to be missed. ... Read more

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An evocative biography of the incomparable Robert Capa, the most famous photojournalist of the twentieth century.

Robert Capa, one of the finest photojournalists and combat photographers of the twentieth century, covered every major conflict from the Spanish Civil War to the early conflict in Vietnam. Always close to the action, he created some of the most enduring images ever made with a camera--perhaps none more memorable than the gritty photos taken on the morning of D-Day.

But the drama of Capa's life wasn't limited to one side of the lens. Born in Budapest as Andre Freidman, Capa fled political repression and anti-Semitism as a teenager by escaping to Berlin, where he first picked up a Leica camera. He founded Magnum, which today remains the most prestigious photographic agency of its kind. He was a gambler and seducer of several of his era's most alluring icons, including Ingrid Bergman, and his friends included Irwin Shaw, John Steinbeck, Ernest Hemingway, and John Huston. From Budapest in the twenties to Paris in the thirties, from postwar Hollywood to Stalin's Russia, from New York to Indochina, Blood and Champagne is a wonderfully evocative account of Capa's life and times. ... Read more

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The 20th Century's greatest photojournalist
The life of Robert Capa is fascinating. Born in Budapest in 1913, he was to die forty years later in Vietnam after establishing himself as one of the great photojournalists of the 20th Century. He captured on film some of the most memorable pictures in the Spanish Civil War, including the iconic "The Falling Soldier." A shameless propagandist for the Republican cause, he thought nothing of having combatants "pose" for some of his most dramatic pictures - including, many think, "The Falling Soldier." Did the republican soldier fall because he was shot or because he tripped? Was it posed? The jury is still out on that one. A Jew at a time when anti-Semitism was rife in Europe, he became a committed anti-fascist and socialist. He established the photographers' co-operative, Magnum, in order that photographers had control over their own photographs and earnings. This was not so different to the kibbutzim established in Israel by highly idealistic settlers whom he so admired. Needless to say, Capa was there to record the birth of the fledgling state of Israel in 1948 and caught on film that nation's birth pains as it battled with its Arab neighbours. War was his medium, even though he hated it. He went over in a landing craft to photograph the D-Day landings and produced some of the most memorable pictures of battle ever taken. This was despite that most of the pictures were ruined during the rushed processing in London and some of those that survived are out of focus.

Capa was talented, generous, humorous, and charismatic. An inveterate gambler, he played poker with the likes of John Huston and Ernest Hemmingway, and inevitably lost. Like most people who don't care about money, money problems plagued him. Highly sexed, he counted some of the most beautiful women of the age amongst his lovers, including Ingrid Bergman. When lovers were not immediately available, he contended himself with prostitutes. Loving and loved in return, he was too much of a bohemian to commit himself to a permanent relationship. He could have been rich, but he never was. He could have happily married, but he never did.

Capa's luck ran out when he went to Vietnam in 1953 to cover the war between the French and the Vietnamese and trod on a landmine.

Alex Kershaw deserves credit for writing such a meticulously researched and readable biography. ... Read more

Book Description

The latest book from a renowned Church expert. ... Read more

Book Description

In his Illuminated Books, William Blake combined text and imagery on a single page in a way that had not been done since the Middle Ages. For Blake, religion and politics, intellect and emotion, mind and body were both unified and in conflict with each other: his work is expressive of his personal mythology, and his methods of conveying it were integral to its meaning. There is no comparison with reading books such as Jerusalem, America, and Songs of Innocence and of Experience in Blake's own medium, infused with his sublime and exhilarating colors. Tiny figures and forms dance among the lines of the text, flames appear to burn up the page, and dense passages of Biblical-sounding text are brought to a jarring halt by startling images of death, destruction, and liberation. Blake's hope that his books would obtain wide circulation was unfulfilled: some exist only in unique copies and none was printed in more than very small numbers. Now, for the first time, the plates from the William Blake Trust's Collected Edition have been brought together in a single volume, with transcripts of the texts and an introduction by the noted scholar David Bindman. A major retrospective exhibition of Blake's work can be seen at the Metropolitan Museum of Art (March-June 2001). 400 color illustrations.

Includes:
Jerusalem
Songs of Innocence and of Experience
All Religions are One
There is No Natural Religion
The Book of Thel
The Marriage of Heaven and Hell
Visions of the Daughters of Albion
America a Prophecy
Europe a Prophecy
The Song of Los
Milton a Poem
The Ghost of Abel
On Homers Poetry [and] On Virgil
Laocoon
The First Book of Urizen
The Book of Ahania
The Book of Los ... Read more

Reviews (1)

Beautiful and powerful
This book brings the words and images of Blake to brilliant life. The volume is gorgeous, and the colors extremely rich. Having read Blake's poetry in un-illuminated format before, I now am even more appreciative of the value of seeing the work as Blake originally intended. Blake is a marvelous poet and artist, and this collection of his illuminated work is a marvelous book. ... Read more

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Bellosi on Cimabue
Bellosi's review of Cimabue's works is both informative and intresting. He clearly identifies the arguments surrounding many of the attribution problems associated with Cimabue's work as well as providing a detailed and accurate analysis of both the iconographical and narrative content of Cimabue's various paintings. At no time does Bellosi's analysis seem trivial and it is indeed supplemented by outstanding illustrations. Highly academic and thoroughly researched this book is a must for anyone interested in early Italian painting, regardless of their prior knowledge. ... Read more

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excellent!
the zoom system is amazing! Ansel Adams is always great! i would buy it right now ... Read more

Book Description

The task Charles Simic undertakes in this diverse, essentially unclassifiable book is one of illumination and tribute. Rather than constrict his response to Joseph Cornell's surreal art to the objective terms of critical analysis, Simic sets out to recreate in a differentmedium - the written language of the poet - the experience of viewing Cornell's enigmatic constructions of boxes, collages, and film. Partly an appreciation of Cornell's work, partly an appropriation of his method, Dime-Store Alchemy interweaves elements of art history, poetry, and biography in a series of short texts that create a kind of poetic equivalent to Cornell's visual art. The artist's premise that the world is beautiful, but not sayable becomes Simic's as well. From incisive meditations on Cornell's methods and aims, Simic moves to create his own assemblages in the spirit of Cornell and the poets he admired - Dickinson, Whitman, and Poe. The resulting prose poems are studded with the same unlikely combinations of found objects and dime-store jewels that inhabit Cornell's boxes. Simic's evocative images, like Cornell's, defy rational explanation but instead invite the viewer to participate in the imaginative life of the art, "to make up stories about what one sees." This highly personal consideration of one of the most important visual artists of the twentieth century conveys the same spirit of chance, the same playful celebration of the miraculous properties of the commonplace, that distinguishes the work of an artist who is, as Simic writes, "in the end unknowable." ... Read more

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Delicious!!
Reading Dime-Store Alchemy is a fine way to get to know Joseph Cornell's work (and of course Charles Simic's). Simic uses a writing style which pieces together different elements of Cornell's favorite authors and poets, beautifully reflecting the montage operation created by Cornell himself. As Simic ambiguously reveals aspects of Cornell's life in New York City, the reader finds him/herself on the same search for an understanding of beauty that the artist spent his entire life investigating. Don't miss it! ... Read more

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BONNARD THE MASTER OF COLOR
Having missed the 1998 NEW YORK exibition because i live 400 milles from the city, i could catch up with that book that i found well done. PIERRE BONNARD is one of the artist i admire the most. For those of you unfamiliar with him, i suggest you buy ANTOINE TERRASSE's book. It's not to expensive and it is worth it.His works often have a dreamlike atmosphere to them ,and his wife MARTHE has been represented in the bathtub many times.Among BONNARD's friends were the NATHANSON:THADEE the editor of the REVUE BLANCHE and his beautiful WIFE MISIA, who was fond of artists;VUILLARD was his lifelong friend, and PIERRE had a long correspondance with HENRI MATISSE. When they met, they used to compare eachother's works. ... Read more

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Men like Benvenuto, unique in their profession, need not be subject to the law. --Pope Paul III on learning that Cellini had murdered a fellow artistBenvenuto Cellini was beloved in Renaissance Florence. A renowned sculptor and goldsmith whose works include the famous salt-cellar made for the King of France, and the statue of Perseus with the head of the Medusa, Cellini's life was as vivid and enthralling as his creations.A man of action as well as an artist, he took part in the Sack of Rome in 1527; he was temperamental, passionate, and conceited, capable of committing criminal acts ranging from brawling and sodomy to theft and murder. He numbered among his patrons popes and kings and members of the Medici family, and his autobiography is a fascinating account of sixteenth-century Italy and France written with all the verve of a novel. This new translation, which captures the freshness and vivacity of the original, is based on the latest critical edition. It examines in detail the central event in Cellini's narrative, the casting of the statue of Perseus. ... Read more

Book Description

Three Italian Renaissance artists—Jacopo da Pontormo, Agnolo Bronzino, and Alessandro Allori—were closely related personally and professionally anddominated Florentine art for almost a century. In this highly original study, ElizabethPilliod offers a reassessment of their lives, work, and artistic lineage, challenging theview that has prevailed since Giorgio Vasari wrote dismissively about them in hissixteenth-century Lives.

Pilliod compares information from documents she has discovered to Vasari's versions ofthe artists' lives and shows how Vasari manipulated their biographies—for examplesupressing any mention of Pontormo's status as a court artist, including his salary fromDuke Cosimo I—in order to diminish their reputations, to obliterate memory of thetraditional Florentine workshops, and to enhance the importance of the academy instead.She also discusses such subjects as the evidence for Pontormo's association with theMedici court; Pontormo's house and its place in the urban fabric of Florence; Bronzino'sand Pontormo's intimate association with poets and theatrical spectacles; and Allori'spainted challenge to Vasari's view of the artistic scene in sixteenth-century Florence. Thebook is a major revision of our understanding of Florentine art and society of thesixteenth century, a new way of looking at Vasari's Lives, and consequently a significantreconsideration of the historiography of Renaissance art. ... Read more

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Pontormo, Bronzino, Allori: Mission Accomplished
I learned a new word the other day, and through coincidence it seems to refer directly to Elizabeth Pilliod's "Pontormo, Bronzino, Allori." "Microstoria" is a term for historical information discovered through the analysis of documents that recount the daily activities of ordinary individuals. Though it's arguable that many of the individuals whose stories Pilliod weaves into "Pontormo, Bronzino, Allori" were anything but ordinary, microstoria is still her method, and her book demonstrates her mastery of it. The book is about the difference between the evaluation of the three eponymous painters in Giorgio Vasari's canonical "Lives of the Artists"-the 16th-century compendium that still shapes today's received ideas about the Italian Renaissance-and the actual facts about their lives, their interrelations, and their contemporary reputations, as painstakingly unearthed by Pilliod in the course of ten years of research. What she discovers-that Pontormo, Bronzino, and Allori held very different places in the art world and in the evaluations of their peers and patrons than the second-string status ascribed to them by Vasari and perpetuated by centuries of unquestioning acceptance of his work-should come as no surprise to anyone more familiar with the painters' works (scores of which are beautifully reproduced throughout the text) than with the traditional scholarship that has served to obscure them.

Pilliod's mission here is the rescue of these three great artists from an official history based on ancient, unreliable, and hostile opinion. In order to execute it successfully, she needed to be fluent in various versions of various languages from the 16th century to the present; adept at discovering, navigating, and mining myriad libraries, archives, collections, correspondences, museums, and middens; au courant with about 450 years of previous criticism; a skilled, sensitive psychohistorian; a fearless detective; and an x-ray-eyed connoisseur. Part of the treat of reading "Pontormo, Bronzino, Allori" is witnessing the author's command of all those skills and more, displayed in lucid and entertaining prose.

"Pontormo, Bronzino, Allori" may well mark a pivot point in our understanding not only of the artists it vindicates, but of the too-infrequently examined mechanisms of art history as well. Read it if you're an art lover; read it if you're an art historian; be sure to read it if you're a scholar of the period. ... Read more

Book Description

This original and thought-provoking book compares the art, lives, andachievements of three artists, each of whom became the preeminent twentieth-centuryfemale painter of her country: Emily Carr of Canada, Georgia O'Keeffe of the UnitedStates, and Frida Kahlo of Mexico. Important themes tie these artists' visually disparatework together, the book shows, and viewing their work collectively sheds new light onthe art of the continent. ... Read more

Book Description

An exploration of the interplay between photography and painting in the work of Francis Bacon.

Francis Bacon famously found inspiration in photographs, film stills, and mass-media imagery. This book draws on a broad range of source images and documents, many hitherto unknown, to reveal how these media informed some of Bacon's most important paintings and helped to trigger significant turning points in his stylistic development.

Martin Harrison locates Bacon's work in a tradition of artists making use of mechanical reproductions, including Picasso and Walter Sickert. Harrison also reviews Bacon's painting in the context of key influences: film directors such as Sergei Eisenstein, photographers such as Eadweard Muybridge and John Deakin, and masters such as Velázquez, Poussin, and Rodin. In addition, Bacon's work is considered in the context of his contemporaries, including Lucian Freud, Mark Rothko, Graham Sutherland, and Patrick Heron.

Analysis of elements of Bacon's biography and psychology leads to some startling and original insights into the man and the unique iconography of his art. With the aid of over 260 superb illustrations and the advantage of privileged access to unpublished material from the artist's archives, this is a book that addresses important questions about Bacon's practice and that, in reassessing key paintings, sheds new light on his life and work. 265 illustrations in color and duotone. ... Read more

Reviews (1)

A fascinating exploration of photography and painting
"In Camera" is one of the most interesting books on Francis Bacon, one of the greatest painters of the 20th century, ever published for several reasons: First, it takes good advantage of the meanwhile fairly large array of books, catalogs and articles which have been published on Bacon. Second, Harrison had access to materials, mainly photographs that have not been published before. Third, he was able to interview several persons close to Bacon, notably John Edwards, Bacon's last companion. Fourth, and most importantly, the book has a clear thesis that the author is able to present convincingly. It is Harrison's position that Bacon used mainly photographs either taken by photographers by his request or from books and magazines to the effect that they: "triggered decisive turning points in his stylistic development" (from book jacket).

In five chapters Harrison explores different type of media and images and how these affected Bacon's painting: Motion pictures, Interior Design, different artists such as Picasso and Michelangelo, the photography of Eadweard Muybridge, and the photographers that he hired to take photographs for him such as Deakin and Edwards. From the thousands of objects found in Bacon's studio at his death many were photographs from the above mentioned sources, but also taken from magazines and torn from books. Of these many had paint splatters and finger smudges in paint proving that Bacon used these for his paintings. A cut out photo of George Dyer, Bacon's lover from the 60's until his suicide in 1971 was even used as a template for several paintings. For many paintings Harrison shows the painting and the image or photograph that it was based on side by side. For example the Triptych (1991) used a front cover of "The Correspondent Magazine", a Muybridge photograph of mane wrestling, and a photo of Bacon. The book has over 270 excellent illustrations, of which at least 100 I saw for the first time and I own an extensive collection of Bacon books and catalogs.

The fact that Bacon used other images for inspiration does not mean that he merely copied these. One look at Bacon's paintings will prove that this is not the case. It is well-known that Bacon did not use models for his paintings and the images acted as catalysts for Bacon triggering other images, emotions or memories which then manifested themselves in his extraordinary paintings. Bacon was always reluctant to discuss the meaning of his paintings, insisting that they had none. Harrison goes farther than any book since the Sylvester interviews in proving that this is not the case and that the paintings were highly personal. The following two quotes from the end of the book are in my opinion right on the mark:

"..it should be remembered that most of Bacon's paintingswere explorations of selfhood". (p.228)

"He conveyed his inner life without compromise, but in code, in his paintings." (p.229)

I highly recommend this book to anyone interested in Bacon's art and Bacon the artist and man. The book is well presented, written and organized and the many images are fascinating. Though published by Thames & Hudson, it is printed and bound by Steidl an excellent German printer.

For more information on books about Francis Bacon, please see the listmania list I compiled. Readers are also welcome to email me for more information on Bacon books and web sites.

Review by Walter O. Koenig
... Read more

Amazon.com

Henri Cartier-Bresson's Tête à Tête contains the photographer's portraits of some of the most potent icons of the latter half of the 20th century. The book is understated, yet powerful and challenging--a masterpiece of the photographer's art of composition and expression. Presented in nonchronological order, yet arranged to provide links and parallels in posture and facial likenesses, familiar icons easily mix with anonymous subjects: a very young Truman Capote in crumpled T-shirt, on the brink of literary fame; a very old Colette, who retains her inquisitorial gaze; Matisse with his birds; Sartre with his pipe; Igor Stravinsky, astonishingly similar in 1946 and 1967; a beaming Che Guevara. There are also group portraits of unknowns, but none the less resonant for that: besuited men in 1950s Iran, tribespeople from Kashmir, prostitutes in Mexico, the women of southern Spain, dressed eternally in black. As the art historian E.H. Gombrich comments in his introduction to Tête à Tête, in these portraits Cartier-Bresson moved significantly away from the received techniques of the "society" photographer. Instead, he "always preferred to lie in wait for the telling moment." --Catherine Taylor, Amazon.co.uk ... Read more

Reviews (5)

Just a classic
Some of the definitive portraits of personalities have been made by Cartier-Bresson. Sartre, Camus, Guevara and Marilyn Monroe are here, in a sensitive work. Bresson's "decisive moment" concept also works to a kind of photography that is usually related to posed and static pictures. He goes one step beyond a face's register.

The BEST portraits in the world
If you are interested in portraits, then this is the book you MUST look at. It contains the best portraits ever made. Just get it, it can only enrich your life.

A true portraitist
C-B's portraits challenge his journalistic work with their grace and power. I almost find them to be more historically important than his other work for two reasons- 1) his style photojournalism is artful but perhaps less documentative than it could be. 2) The significant style with which he captures his often famous portaitees encapsulates their entire being- they are often the first image to come to mind when one thinks of the sitter, they are simply extremely telling and powerful pictures.

HCB is the subtle master of moment and composition.
This is a very nice collection of portraits by HCB, showing the master's uncanny touch at framing and capturing the moment. This book is a cumulative experience - look at all the photos in the book - they look deceptively simple, but you'll end up wondering how he did it. The reproduction is very nice, but I found the sepia-like tone slightly annoying, but easy to ignore.

Fantastically Modern!
it had wonderous sorts of pictures ... Read more

Book Description

By far the most comprehensive guide available to the bird and quadruped prints of John James Audubon (1785-1851), Audubon Art Prints offers buyers, sellers, and collectors an easy-to-use, one-volume source of information for these widely sought-after prints. When Bill Steiner first became interested in acquiring original Audubon prints, he was surprised by the dearth of conveniently accessible, accurate information on the subject. In an effort to catalog all things Audubon, he unearthed obscure references, surveyed the contemporary marketplace, and consulted specialists from around the world. The results of his labors, gathered here in this lavishly illustrated volume, provide an invaluable and fascinating encyclopedic reference.

Addressing one of the more complex aspects of print collection, Steiner clarifies the task of distinguishing the octavo prints of the successive editions of Audubon's Birds of America (1840-1871) and Quadrupeds of North America (1849-1870). He describes the publication histories of each edition since the first; offers information about printers, engravers, and subscribers; and provides practical information on price histories, accessibility, and preservation. Steiner also explores the increasingly popular markets for subsidiary prints, posters, and Audubon ephemera. ... Read more

Reviews (8)

Excellent Resource to Amateur Collectors of Audubon Prints
I got my copy a few months ago from Amazon.Com, and essentially read through it cover-to-cover, so to speak. I am an amateur collector of Audubon prints, and an enthusiast of Audubon's life, and the legacy he left behind for all the Americans. I think Bill Steiner's book is an invaluable resource that fills a major void about Audubon's prints - - It provides information on what to look for in collecting prints, which prints have significant value now and likely to appreciate in future, the technical details of production of Havells, Imperials, Biens, and the Octavos, some details on restoration and conservation, tips on internet-based sales, his own assesment of the Quality of various double-elephant folio prints (including modern day real high-quality reproductions such as the Amsterdams and the Princetons),and the names of several Audubon galleries (I didn't know some of them existed until after reading the book). Last but not the least, I enjoyed Bill's sense of humor (I particularly had a good laugh reading the recount of his experience at Christie's Auction House). I only wish his book were available to me a couple of years ago when I first started collecting the prints ! I recommend this book highly.

The perfect launching pad for a jump into Audubon prints
As an art dealer specializing in original Audubon prints, I hear from many people who hope the Carolina Parrot print they found in the attic will turn out to be worth a fortune. Finally, there is a book that will help them...and me!

This well-illustrated book is the first to read if you have an interest (old or new) in Audubon prints. The book covers the original prints, the valuable full-sized facsimiles, and the not-so-valuable undersized reproductions. Steiner discusses all the major categories (and editions) of original prints including octavo (small) and folio (large), the birds and animals, the copper-plate etchings and the stone lithographs. He also provides a helpful overview of the vast number of facsimile and reproduction editions in circulation. While not complete, it is remarkably comprehensive and will help answer many an Audubon newcomer's questions.

Novice collectors will find everything they need to begin either a serious or casual exploration of Audubon's art--biography, glossary of terms, authentication guidelines (much easier than you may think!), sample prices, information on dealers and guidance on how to buy or sell prints. Seasoned collectors will find previously unpublished information that disproves or amends rules-of thumb that have been gospel for years; they will also find many new sources for prints, books, and educational pursuits.

Steiner has strong opinions and personal interests with regard to Audubon, and they are reflected in the text, but he is diligent about labeling them as such, and putting the more esoteric of his interests where they belong--in one of the book's many appendices. Overall, he has done an excellent job pulling together information from disparate sources, making available to collectors for the first time much "dealer lore"--information previously known only by Audubon specialists. This is a quick-reading book, and one that both dealers and collectors will refer to for years to come.

Compiled by a field ecologist and veteran bird-watcher
Compiled by field ecologist and veteran bird-watcher Bill Steiner, Audubon Art Prints: A Collector's Guide To Every Edition is a first-rate guide to the many distinctive avian prints and paintings of John James Audubon (1785-1851). The informative and scholarly text definitively recounts what these great works of art have sold for, as well as the stories behind the creation of the individual artworks. A superb resource for collectors and an indispensable addition to academic American Art History reference collections, Audubon Art Prints is a superbly organized and very strongly recommended presentation enhanced with twenty-two color illustrations and fifty-five halftones.

Unlocking the Door to the World of Audubon Prints
One of the most common stories you hear while visiting purveyors of original Audubon prints is how they constantly receive phone calls asking "is my Audubon print an original?" Of course, this is due to the combination of two phenomena - people have the general notion that Audubon prints are valuable, but there are millions of reproductions out there which, although they may be aesthetically pleasing, are not worth much. How to tell if you hit the jackpot (an Antiques Roadshow moment) without making that phone call? Buy this book. Bill Steiner has written the first extensive treatment on Audubon prints from the viewpoint of the collector. There are lots of books about Audubon out there, and some scholarly books on the original prints (most notably by Susanne Low). But, this book lays out all the knowledge gathered by an avid collector, accumulated over many years of poking through print shops and galleries and examining large numbers of Audubon prints, of all kinds. If you don't have the time to learn all these details the old fashioned way, as Bill Steiner did, then this is your best key to the world of collecting Audubon prints. It is written in an almost folksy style, and is very accessible to the reader. Of great importance to anyone thinking of starting to obtain some of those actually genuine original Audubon prints is an evaluation of how to do this via auction, and in particular, via online auction sites. But, this book is more than just for the beginner, and long-time connoisseurs of Audubon will immensely enjoy it, both for validation of what they already knew, as well as to see if the author knows something they don't!

ALL THINGS AUDUBON - GUIDANCE FOR THE COLLECTOR
As a collector and publisher of Audubon prints, I am finding Bill Steiner's fresh and realistic approach to Audubon collecting quite refreshing. With the growing interest in collecting all things Audubon, Bill Steiner separates the dream from the fantasy, and those who are now just setting out in the sometimes confusing world of Audubon print collecting would be well-advised to study this book. Steiner's book is a primer for the novice and a most useful handbook for experienced collectors. Those new to collecting Audubon's beautiful images will be given wisdom beyond their years, and will be spared the common and costly initial mistakes newer collectors often make. Often I have seen Audubon reproduction prints that were worth a few dollars at most, auctioned off on eBay for hundreds of dollars. I have also seen prints described as 'first edition octavos' when they were in reality just pages torn from a modern-day book. Steiner will step by step guide you through this area, and show you what is valuable, and what is worthless. Further, his thorough research will help anyone identify the Audubon prints they may already have, as he lists characteristics of all the major editions available today on the market. There is also excellent background information on the original prints themselves, such as how and when they were produced, how to determine their value, and how to care for them. Chapter 7 speaks about buying and selling Audubon prints, such as through eBay, and is filled with practical suggestions that will make this experience productive. Audubon print collectors, or those who just want to purchase one or two prints for their home, will benefit from this instructive publication. ... Read more

Book Description

Reviews (1)

A delightful sketchbook
"A Cezanne Sketchbook: Figures, Portraits, Landscapes and Still Lifes" is a reproduction of the informal drawings of the artist Paul Cezanne. These are all black-and-white sketches, accompanied by an informative introduction by Carl O. Schniewind. The sketchbook captures Cezanne's monumental human figures, haunting faces, and lyrical landscapes.

The really wonderful surprise in the sketchbook is the fact that the artist allowed his young son Paul (b. 1872) to also draw in the sketchbook. Thus we see these charming childish sketches alongside the work of a master artist. When you also consider the many portraits of little Paul by his father in this volume, the "Cezanne Sketchbook" becomes a moving testament to the love that binds a father to his son. ... Read more

Amazon.com

There was little that fin-de-siècle artist Aubrey Beardsley's famous gold-nibbed pen could not illustrate--drawings, posters, bookbindings. Though he died of tuberculosis at the age of 25, he left an enormous body of work behind that found a willing audience during his lifetime in the more outré circles of the "naughty '90s" and now symbolizes the decadence of the 1890s. Beardsley possessed an astonishing range of expression, but he is perhaps most famous for his outrageous erotic drawings--many of which adorned such artistic magazines as the Savoy and the Yellow Book. He pushed public opinion to the limit with his sequence of graphic illustrations for Aristophanes's Lysistrata, which, deemed obscene, remained unpublished until 1966.

Biographer Stephen Calloway curated the centenary exhibition of Beardsley's work at the Victoria and Albert Museum in London during autumn of 1998. He closely scrutinizes Beardsley's life in the light of his subversive drawings in this in-depth, superbly illustrated biography that coincides with the exhibition. ... Read more

Reviews (1)

Fantastic overview, great reproduction, must have book
This is an excellent addition to any Beardsley fan's bookshelf. Great reproductions, some rare drawings I've never seen, and interesting photos and supporting artwork and photos of the same era. Very readable, jolly good show! ... Read more

Amazon.com

Pierre Rosenberg, the Chardin scholar and President-Director of the Musée du Louvre, had one overriding goal in mind when assembling the exhibition of which Chardin is the catalog: "to present the artist's finest paintings, the most perfect, the most harmonious, the paintings that leave nothing to be desired." The 99 paintings reproduced in this book are a testimony to the success of that endeavor. There are also six essays by Chardin experts and an extensively researched chronology.

Chardin's still lifes and genre scenes have been deeply appreciated for centuries for what Rosenberg calls "the grave, silent quality that encourages the onlooker to silent reverie." He is incapable of untruth: his subjects--jugs and bowls, glasses, cherries, housemaids, boys at play, dogs and cats--are painted without a touch of irony, embellishment, or drama.

It is painful to report that this volume is extremely disappointing visually, with plates that are either poorly reproduced or reproduced from poor transparencies and are slightly greenish or washed out. Except for details, which do show Chardin's close harmonies and painterly touch, the pictures look flat and dull. Art historians, of course, will see the paintings in the flesh and use this book as only an aide-memoire, but for ordinary, nonprofessional art lovers, the 20-year-old catalog of the great 1979 Chardin exhibition gives a far better sense of the quiet perfection of this subtle artist. Even a pocket book from Abrams' Discoveries series, Chardin: An Intimate Art, by Helene Prigent and Pierre Rosenberg, is far superior. Although its reproductions are minuscule by comparison, they are at least clear and clean, with colors that appear to be close to those of the original works. The little book may be only an hors d'oeuvre, but it has all the flavor that is missing in the full-course meal. --Peggy Moorman ... Read more

Reviews (2)

A very satisfying book
I have to disagree with the above editorial. I compared the reproductions with others that I have, and although there are sometimes subtle differences they are not always to the disadvantage of this book. Some pictures are better than others, but the advantage here is that each reproduction is on a page by itself with commentary on an adjoining page-a catalogue layout that I always prefer in that it give the painting room to breathe and because I'm not reading on one page and finding the relevant painting six pages later. The book is obviously done by true lovers of the painter. Chardin is profound and a painter's painter. You can see and feel why he was adored by Cezanne, Soutine, Manet, Proust, and I'm sure many other significant artists. He has rightly been called a virtuoso of stillness. Even in reproduction, pieces of fruit, kitchenware and game animals arealive and quietly glowing from within with a warmth, compassion and a kind of subtle majesty-it's really deep in an indescribable way.In my opinion a very worthwhile purchase.

Beautiful!
This book is simply gorgeous.I had been well acquainted with Chardin a number of years ago, and picked up this book on a whim at the store.Rediscovering this master was a true delight.His paintings aredeceptively simple: behind the cool colors and the measured scenes lies acaptivating energy.This particular volume is very well done.Thereproductions are of superior quality and the accompanying essays by theworld's most renowned Chardin expert are enjoyable and enlightening.Artbooks are expensive, but this is one that is well worth the investment. ... Read more