Book Description

In 1972, when the packing and crating for a major exhibition made it impossible for him to work in his sculpture studios, Henry Moore retreated to a small studio that looks out on a sheep meadow. Over the course of several months, as sheep were suckled and sheared, Moore produced this delightful flock of sketches and drawings. Sheep are as much a commonplace of the English countryside as hedgerows, but Moore looked at them afresh. Here are ewes nurturing their lambs, lambs playing in the meadow, and the swollen stateliness of sheep with full coats of wool. Many of the sketches evoke themes that are important in all Moore's work. The depiction of a ewe and lamb, for instance, suggests the mother-and-child theme often evoked in Moore's sculpture by a large form sheltering a smaller one. Henry Moore presented the sketchbook to his daughter, Mary. In this facsimile edition, first created under Moore's personal supervision, Mary's little lambs will charm anyone who sees these tender, vigorous drawings. ... Read more

Reviews (1)

This is his actual sketchbook of his very own sheep.
This book is one of the most helpful sources to understanding and looking at Henry Moore's world, work and learning his regard for the objects of reality he transformed into his sculptures. It is truly amazing and it is the actual sketchbook of his very own sheep. It is a wonderful book. ... Read more

Book Description

White Women, Helmut Newton's legendary first work, appeared more than twenty years ago. With it's superior mixture of aesthetics, technical perfection and bourgeois decadence it has lost nothing of its potency and attractiveness. Newton's work encompasses a wealth of themes, also embodying facets of the mass-media world of glamour, masquerade and show. Using subtle, yet striking images--like those of Paloma Picasso, Veruschka, Elsa Peretti, Karl Lagerfeld, David Hockney, and Charlotte Rampling--Newton embraces the delicate, natural beauty of the naked female body. White Women is a masterpiece of erotic visual literature. ... Read more

Reviews (2)

Separate But Equal?
Why is this book titled "White Women"? Does he have books titled "Asian Women", "Black Women" or "Latino Women"? Why didn't he just make a book titled "Women"? It is interesting that he likes to "color code" his women.

Extreme Fashion Fantasies Involving Available Women
Before reviewing this book, let me point out that it contains much female nudity in sexual situations that are sometimes on the hard side of what would be rated "R" in a motion picture.

This book is a reissue of Helmut Newton's first book from the 1970s. The shock value of that work continues in this very well produced volume with images of high reproduction quality featuring carefully posed compositions involving sumptuous fashion and beautiful models.

The introduction captures the spirit of the book. "It is the visual inventiveness that make the images memorable." Newton peels away respectability from the outer aura of powerful, well-dressed women to show their carnal natures. For example, in one of the first images, he shows a woman wearing a beautiful dress, who is perfectly coiffed. But the dress is totally see-through. She wears it as though it is totally opaque.

He expresses these personal visions in his own language in brief paragraphs and through the visual images that often suggest a taste for some "rough sexual trade" through the use of props and body positions.

The settings in the book are mostly at the Villa D'Este on Lake Como in northern Italy, in or around swimming pools on the French Riviera, in powerful cars and limousines, on public streets and in public places, and in hotel rooms and bedrooms.

The photographs are all reproduced here in large size with virtually flawless technical details of composition, lighting, and exposure. I have seen many of these images reproduced elsewhere (including the recent retrospective, Helmut Newton Work), but not as well as they are done here.

Through the combination of the text, notes, and large size photographs, you can appreciate more of his subtle work here than elsewhere. At his best, fashion, celebrity, and exposure are intertwined in almost inseparable ways. For example, Paloma Picasso appears wearing her own jewelry in a dress by Karl Langerfeld (who is seen on the facing page wearing a similar outfit) from which one shoulder has been peeled away to reveal her left breast, which in turn is artfully obscured behind her left arm. In a famous Newton image on the rue Aubriot in Paris in 1975, one mannish-appearing model sports a suit by St. Laurent in close proximity to a nude model wearing a chapeau by Paulette. The two and the street scene serve to focus attention unerringly on the contrast in clothing and on the clothes themselves. Nicely done!

As fine as this book is, I graded the book down one star because many of the photographs fall far below the best in the book. Many of the nudes in and around the swimming pool and in the cars were pretty ordinary, in my estimation. It would have been better to create a shorter version of the book that maintained the high standard of the best fashion work.

My favorite images in the book include:

Villa D'Este (Woman with riding crop), April 1975 (p. 9)

Elsa Peretti in Halston's bunny costume, New York, November 1975 (p. 15)

Winnie off the coast of Cannes, 1975 (p. 32)

Lisa in Saint-Tropez, 1975 (p. 34)

Peter in Saint-Tropez, 1975 (same day) (p. 35)

Photographed in Saint-Tropez, June 1975 (p. 46)

Charlotte Rampling, Arles, France, 1973 (p. 89)

My favorite quote in the book is from Mr. Newton's father, "My boy, you'll end up in the gutter."

After you examine these photographs, I encourage you to think about the ways we reduce our communication by keeping a placid, masked exterior to the world. How much more could we accomplish if we were more open? What are the best ways to express that openness?

Look deeply to see the human reality and honesty in every moment! ... Read more

Book Description

55 b/w photographs Ten years of research and the discovery of long-forgotten letters and photos enabled Patricia Albers to bring new recognition to this talented, intelligent, and independent photographer whose life embodied the cultural and political values of many artists of the post-World War I generation. ... Read more

Reviews (4)

A person worth reading about!
"I look upon people now not in terms of race...but in terms of classes..." wrote Tina Modotti to a friend towards the end of this excellent biography. A complex woman with many passions, Modotti's life is described by Patricia Albers in vibrant terms, totally capturing the reader's attention and taking that reader on a journey through the Italy of Modotti's childhood to the United States and finally Mexico, her chosen home. Along the way Modotti's relationships with such artists as Diego Rivera and Frida Kahlo is explored as well as with other notables of her time. Through Albers' exploration of her subject, the reader discovers the evolution of Modotti from actress to noted photographer to active politico. Because of Modotti's many facets the book would be an excellent gift choice. This is a story that makes the reader want to snuggle up in a comfortable chair on a rainy day and read until the sun comes out. It is well-written, informative, colorful and very human.

What a Life! - What a book!
Finally! At last, Tina Modotti's fascinating life is fully realized in print! Albers' attentive eye coupled with the gorgeous photos make this an incomparable experience.

fascinating portrait of a complex woman
As someone who has followed the Modotti saga for several years, I was struck by the depth and beauty of Albers' rendering of Tina Modotti's complex life. Shadows, Fire, Snow is a joy to read!

disappointed
Tina Modotti had a fascinating life and she is a great role model for women because of her independence and strength. I think this book does not really make her come alive and concentrated too much on her lovers. I had read a lot of the details on Tina's life in other books on her and I didn't like the way the author uses facile, pop psychology to explain a very complex woman. ... Read more

Book Description

The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafés, parks, and suburban pleasure grounds--the birthplace of those habits of commerce and leisure that constitute "modern life." Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives--be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author. ... Read more

Reviews (2)

As perfect as the paintings he discusses?
As a student of nineteenth century French painting, I think this may in fact be the finest book ever written on Parisian painting in the time of Haussmanization. Clark manages to offer an intelligent Marxist-based claim about class and the emerging Parisian landscape in the 60's without losing sight of the paintings themselves. While most scholars feel the genius of this book lies in his wonderful discussion of "what couldn't be seen in Olympia", I find the first chapter "Environs of Paris" equally fascinating in its discussion of Manet's Exposition Universelle of 1867. A MUST read for any lover of Parisian history or Manet.

An Art History Book For Anyone Interested in History
I like to think of myself as a person who is curious about a wide range of things, especially in the realm of culture and the arts. Most art history books, however, put me right to sleep, with their endless catalogs of curatorial details about brushstrokes and paint textures and influences and provenance. These detailed analyses almost never situate the paintings in any sort of context and almost never explain WHY we should be interested in these details, other than to prove ourselves worthy connoiseurs to others in the know. Clark's book is a refreshing change from such mandarin drivel. Clark begins with a lengthy discussion of the social context of the paintings he is about to discuss and only then proceeds to extended analyses of particular paintings. Clark is interested in the larger ideas and trends of the period and, most important of all, actually USES the details of the paintings as evidence in the course of making an ARGUMENT about what the paintings mean (hint to other art historians: having an argument contributes significantly to the interest of a book or article). In addition, Clark's argument about the nature of the social changes occuring in France in the 1860's and 70's is compelling and thought-provoking (be forewarned: some Marxism is involved). I found myself actually learning things about the paintings Clark discusses, and looking at them over and over again, trying to find more in them, in much the same way as I would go back to a book or a poem after reading a good piece of literary criticism. I think this book will appeal to anyone who wants to learn more about either 19th-century French painting or 19th-century France. Clark is a stimulating and perceptive guide to this crucial period in the history of painting. Bravo! ... Read more

Book Description

The long and stellar career of John Everett Millais (1829-1896) hasbeen framed in terms of his rise to notoriety as an original member of the Pre-RaphaeliteBrotherhood followed by a compromising descent into comfortable success as a popularpainter and leading figure in the Royal Academy. But this dismissal of Millais's post- Raphaelite work overlooks more than forty years of artistic endeavor and distinction. Inthis book, nine scholars reexamine Millais's entire career from a variety of perspectives,arriving at a new vision of his place in the history of British art and finding that fame andrecognition did not represent the end of this important Victorian artist's development. The contributors consider the whole fabric of Millais's work, seeking the patterns ofcontinuity through his career. They acknowledge the significance of Millais's associationwith the Pre-Raphaelite Brotherhood yet place that brief phase into the context of hisentire body of work. Exploring such topics as Millais's position among contemporaryartists; his active interests in theater, literature, and science; his life-long love of nature;his role as a celebrity and a popular artist; and his enduring fascination with the poignantspecter of mortality, the book presents a portrait of Millais not limited by the parametersof the Pre-Raphaelite movement. It is a portrait of a supremely gifted artist, a rival ofFrederic Leighton, and a counterpart to Alfred Lord Tennyson. ... Read more

Book Description

The result of a pioneering technical examination, this fresh look at the painting techniques of Masolino and Massaccio sheds new light on the life, oeuvre, and working methods of two great masters of early Renaissance Italy. In addition to technical revelations, including examples of Masaccio's underdrawing and Masolino's innovative use of oil mediums, the study reveals a greater understanding of the nature of the collaboration of the two artists and the chronology of their works. All technical information has been correlated to art-historical concerns regarding early Renaissance art such as the role of the guilds; the nature of collaboration between artists and craftsmen such as carpenters and guilders; and the relationship between patron and artist, showing how a detailed technical study can answer questions that have previously been the purview of art historians alone. Also discussed are the vicissitudes and reconstruction of the Pisa altarpiece, and the artists' final collaboration on the Santa Maria Maggiore altarpiece. A glossary defining the many technical terms is also included. ... Read more

Reviews (7)

One of the most famous contemporary photographers
While many people criticize Scott Mutter's work, there is a true meaning behind almost all of his pieces. People do not like his work because they do not understand it or the difficult tasks he completed to make these works. I recently attended a lecture given by Mr. Mutter where he explained the thought process behind most of his photographs. He is truly an artistic genius. For Example, in his piece the Grave there is a revolving door. While most people say that he is implying reincarnation, this is incorrect. If you look closely you can see another door behind it that is closed. He told us that with this piece he meant to say that we can try and try to find out what is behind that solid door (representing death), but we can never know until we have passed because the door is locked. Many of the images in the book are not finished. During his lecture, Mr. Mutter constantly told us that he was eventually going to go back to pieces and work on them more. I know that a lot of what I'm saying doesn't concern the book, but my point is that this man is a creative genius and his work is truly mesmerizing. This book will make you look twice at many of the pictures. And if you really try to think about the pieces and look at the detail in them, you can find deeper meanings in them. Do not pass this book by. There is a reason why so many of his pieces have been made into posters. It is because this man's work is unbelievably amazing.

Real art and much more than mere camera trickery
Photo montage is not an art form that I was familiar with prior to receiving this collection as a gift. Having studied this book, it seems to me that photo montage, unlike painting, straight photography or other visual arts, has a quality of novelty about it that would make it easy for the snobbish to disregard the form as a lesser artistic effort.

Well, I am not a snob and for me the novelty of Mr. Mutter's work has not worn off. I must say that not all of the images in this book "work" for me (hence four stars). Those that do, however, impact me at a level that is profound and just as deep as any painting, poem or movie has ever touched. In particular I am thinking of the grave with the revolving door, the trees growing from the parquet floor, the swan swimming atop a marble floor and the house residing in a copse of trees from which a dark and monolithic statue arises. All of the images in this book are black and white, which somehow lends each one a certain quality of veracity. It is really pointless, however, to describe these images as they must be seen to be appreciated.

So let us describe the book itself. A true coffee table edition, it is oversized just enough to allow each image a full page to itself (and sometimes more). The last few pages of the book are comprised of notes (listed by numbers which correspond to each picture) from the artist regarding the inspiration, execution and intent of each piece. This text is generally illuminating but occasionally sparse - as with the aforementioned grave image.

A great book on the whole that should prove inspiring, intriguing and entertaining for anyone with a sense of wonder and imagination

Hmmm
Scott Mutter's collection has motivated me to evaluate our culture. Postmodernism and The Ecclectic have really become essential to the way that our society, as a whole, thinks. Sometimes I sit and stare at his work and try to understand. They are so odd. What does he mean? What do the photographs mean? Because this body of work has helped me to think, I rate it very highly. It has been the beginning of many meaningful and intelligent discussions.

Surrational Reaction
I personally think this book is clever and extreamly creative as a collection of work that re-looks at a form of photography that almost died. The fact that these are photograph montages and done with an amazing amount of skill blows me away.

Only a few good images...
Although this book contains a few great images (the Library, the Escalator, the Grave), the price of the book is definitely not worth it. I had seen Mutter's images on posters, and figured the rest of his images in this book would be just as intriguing. I was wrong. Most of his images in this book have little artistic value, and seem like cheap photographic gimics. Save yourself the money and just look at his posters. If you see one you like, buy it--don't waste your money on this book. If you're looking for an exceptional photomontage book with tons of great images, check out Photo Synthesis by the original photomontage master, Jerry N. Uelsmann. ... Read more

Reviews (3)

Matisse Opens the Way
If you want to extend the boundaries of ordinary perception, in order to produce unique, distinctive visions read "Matisse on Art." It is a critical piece of literature written by a masterfully innovative painter. I recommend it as a professional artist for nearly 20 years and as an art professor.

not looking but listening
Painters are often their own worst enemies when speaking about their work, obscuring rather than enlightening. But not Matisse. The intelligent and painter knew the trap that speaking of his art could be, yet his own comments on it are intelligent and illuminating. This book is fine reading that's a help to the working painter, as well as the viewer. You'll look at Matisse's great paintings with a fresh eye after reading it. And that's what matters.

A very interesting book.
Here are compiled the writings of and interviews with Matísse. It is not only about his estethic concerns but also about his feeling for life. The latter was his underlying motif in his paintings. This book is very interesting also for people without artistic concerns since Matísse here conveys his fine-tuned philosophy of life. A highly rewarding book that one can return to many times.

Mats Winther ... Read more

Book Description

José Clemente Orozco (1883–1949) was one of the three great Mexican muralists, along with Diego Rivera and David Alfaro Siqueiros, all of whom worked in the United States and had great influence on artists here. During his self-imposed exile in New York City (1927–34), Orozco painted two important murals—at the New School for Social Research in 1930–31 and a portable work for the Museum of Modern Art in 1940. He also made nineteen lithographs and produced countless drawings and easel paintings covering both Mexican and New York themes. He turned his anti-imperialist eye on the Mexican Revolution and peasant life as well as on the Gringo reality and alienating metropolitan world he encountered in New York. His bold, expressionistic work from this period has never before been analyzed in such detail.

The New York years represented a crossroads for Orozco as his revolutionary hope gave way to a pessimistic critique of modern society, while at the same time he vastly expanded his artistic vision. These years were critical in Orozco’s career as he found expression for his developing vision of a complex and turbulent world. ... Read more

Reviews (5)

Enjoyed reading it, lousy illustrations
Anreus' "Orozco in Gringoland" is a good read; clearly written with a profound understanding of context and a genuine love for the art itself. Even if one does not share the author's leftist methodology, the seriousness of his scholarship cannot be questioned.
The design of the book is terrible, so are the lousy illustrations, which are a diservice to the author's seriousness.
As a PhD candidate working on the art of Mexico and this very period, I must say that Anreus is a voice of clarity and unpretentiousness, one unfortunately missing from the Hood Museum catalogue of 2002.

Scholarly life and times
Author Alejandro Anreus produces a compelling look at the life and times of Jose Clemente Orozco during hisr stay in New York. The author points out the issues bothering Orozco, his resulting attitude and ultimitely his creative surges. Orozco, the lesser known of the "tres grandes"(three great) Mexican muralists is brought to life as the brilliant one armed artist in a foreign land. The book can be a little confusing at times as the time period, issues and art work created goes back and forth and there is somewhat of a lack of continuity. It helps to have some background information on the subject for clarity. As a single piece of analysis it is very good. The author draws upon various sources that came before his project. The book is good but like a dress shirt with too much starch it can be a bit much. Definitely on the scholarly side the book demands your attention and deserves to be read for what it is, an examination of Jose Clemente Orozcos years in New York. If you want an Orozco art book this is not for you, however there are plenty of oversized full color reproduction books available. This is a book to be read and enjoyed for it's scholarship.

Skim, don't buy.
This book is only useful because there has been so little published recently on Orozco's important work. The book is not fun to read (text needed some serious editing) and the illustrations (in black and white) look like they were scanned from photocopies--worthless. UNM is to be blamed for the terrible production values here. A book to skim, but not own.

Profiles the great Mexican muralist
Alejandro Anreus' Orozco In Gringoland (0-8263-2067-8, ...) profiles the great Mexican muralist and the years he spent in New York, focusing on the major projects done during the period. More general overviews provide casual focus; this in-depth profile is recommended for any who want a more detailed analysis of his works and achievements.

Finally, the Whole Picture!
Anreus' account of Orozco's New York years is clearly written and gives the reader insight into the complex thinking of the least known of the big three Mexican muralists. The author offers a thorough and well ordered analysis of Orozco's New York production (especially of the easel paintings and the works on paper), but the significance of his examination lies in his grasp of the social and political environment in which Orozco lived and worked, not only in Mexico, but in America and Europe as well. Anreus gives a vivid account of the period, Orozco's beliefs, how he acquired them, and how they influenced his work. While it is limited to a specific time and place and specific works, it discusses issues that clearly influenced Oroazco's work throughout his life. Anreus also gives us a look at a private side of Orozco, showing us a struggling artist who never wanted to compromise his work for popularity and who was highly critical (and obviously jealous) of his compatriots Rivera and Siqueiros for what he perceived as the wavering beliefs they exposed in their art, their pandering to popular taste and their image-building. Many of Anreus' sources have never before been published and so this book should be of crucial importance to scholars of the period. To the author's credit it is not another overworked, formal art historical analysis of a well-known artist. It is an interesting discussion of an artist who has been referred to ad nauseam, but whose life and work has never before been integrated to explain his particular style and iconography. ... Read more

Reviews (1)

I expected prictures, instead the book is 99% interviews
Bruce Nauman is the most amazing artist I have ever seen.
I was not much into moder art, until I saw Clown Torture and From Hand to Mouth at the Tate Modern in London.
Since then I am a looking for his work whetherever I can find it.

I felt a bit let down by this book because I expected reproductions of his work instead it is almost exclusively made up by interviews with him or short articles written by him. There might be 10 pages of reproduction in the whole book. Some of his neon work.

In particular there is no reproduction of Clown Torture in the whole book, inspite of the fact that the head of the clown is on the cover.

I think the book could be great if you are a scolar, or (for wathever reason) want to read what he says about his work, but it is not very good if you want to see reproductions. ... Read more

Book Description

Reviews (1)

Great Book
This was a great book and it was very interesting. I learned many things about Miro and his styles of painting. ... Read more

Book Description

Best known for his iconic painting The Scream, the celebrated Norwegian painter and printmaker Edvard Munch (1863-1944) had the greatest impact on Expressionism of any Scandinavian artist. His intense, evocative treatment of psychological and emotional themes exerted a major influence on the art of the entire 20th century. Often biographical, his work offers a fascinating insight into the psyche of an artist. No artist observed and painted himself throughout his life as frequently as Munch, and few have revealed their weaknesses and anxieties as frankly.

This handsome volume, which accompanies a major traveling exhibition, contains beautiful reproductions of 150 paintings, drawings, and rarely seen photographic self-portraits of startling originality. The texts set them in the context of the artist's life and career, and also examine how many of Munch's preoccupations remain relevant today. AUTHOR BIO: Iris Müller-Westermann is a curator of international art at the Moderna Museet, Stockholm, and a Munch specialist. ... Read more

Book Description

Besides containing photographs and recipes from Miss O'Keeffe's kitchen, the book describes in charming detail Miss O'Keeffe's outlook on food, philosophy, life, art, and the world. ... Read more

Reviews (4)

Bogus reviews, one and all!
Yeah, right. Have you ever seen such bogus drivel as the fake reviews posted here by the publisher?

A very lovely cookbook full of recipes for delicious dishes.
This exciting cookbook presents a sampling of the artist's Georgia O'Keefe's favorites dishes. The author worked for Ms. O'Keefe for several years. The recipes are not complicated. I have made several of the dishes and all have been delicious! I highly recommend this book! Doug Moring

Simple, natural and delightful.
Lavishly sprinkled with black-and-white photographs of the artist as well as full-color food photos, A Painter's Kitchen is a feast for the eyes as well as the mind and the stomach. MAIL ORDER GOURMET

More than just a cookbook.
Through anecdotes, personal recollections of conversations, black-and-white photographs of Georgia O'Keeffe, full-colored shots of the simple, but elegant food displays, and the unpretentious, sometimes austere recipes of Miss O'Keeffe's favorite foods, one gets a very personal, warm feeling about this celebrated artist. Southwest International Wine & Food Revie ... Read more

Reviews (4)

not nearly enough
As a longtime fan of the fantastic Newton visual universe, I finally got to read this much awaited autobiography while on vacation under the unforgiving tropic sun....much like his favorite light. Unfortunately, the book left me wanting much, much more than mr. Newton chose to share. The first half or so of the Newton tale is rich in detail and held my imagination captive ( I almost forgot all about his life as a photographer). Newton's pre-vogue life was truly fascinating , filled with twists and turns, fate and chance , portrayed with great passion and humor...a juicy read indeed.
However, once he starts to produce work that helps define his genius, the book became very dull and lifeless. mr. Newton rushes through a very short list of moments to highlight the vogue universe that he ruled in the seventies. I was hoping to get much more insight about the great designers (YSL, mugler,valentino, versace , chanel) , models (jerry hall, lisa taylor, vibeke, iman, the entire crew of exotic -YSL-vamps), editors (polly mellon, leon tally) and art directors that participated in 'creating' Helmut Newton. Many key names were glaringly missing (one can only imagine the reasons),after all, he is the man who brought images of glamourized death to the polished pages of vogue. ....and so the mystery continues.

Gossipy self-portrait
I've been a fan of Helmut Newton since I was about 13 when, Woody Allenish, I miraculously happened upon his pictures of women. Unfortunately this book captures none of the excitement those pictures generate. He tells of growing up in Nazi Germany, his escape to China and his move to Australia. He also shares many (and there are many to share) of his sexual exploits. The problem I had, is if you take the pictures out of the book, it could almost be about anybody with an overactive libido (or imagination). All-in-all it is a gossipy read and amusing at that level but with very little to indicate what makes Newton's photographs some of the most recognizable around. If you're thinking about this book because you know his work, consider one of the books containing his photographs instead.

A revealing look at an innovative artist
I enjoyed reading the author's recollections, even though sometimes I wondered if they were wishful thinking (find it hard to believe that a 21 year old woman would be interested in a 14 year old boy - re: the bus story).

The only annoying part was having to constantly switch to the back of the book to read the photo illustrations.

A Thoroughly Enjoyable Book
There are probably very few human beings who live life, as Tennyson would say, to the lees and on their own terms. If we are to believe him in this very readable autobiography, Helmut Newton is one of them. He has always listened to his own drummer and has walked away from assignments that lesser individuals would have been afraid to leave. A lover of both beautiful women and fast cars, he names names although he does say that some of the names have been changed to protect people's privacy.

I'm a great admirer of Mr. Newton so I read this chatty memoir with relish. Born in Berlin of Jewish parents, he has lived in and travelled to many places in his career as a fashion photographer. Although obviously a perfectionist when it comes to his art, Mr. Newton doesn't appear to take himself too seriously, a great attribute for one so talented as he.

Mr. Newton's life has not always been fun and games, however. He understands the horrors of Nazi Germany from first-hand experience and spent time during World War II in an internment camp for Nazis in Australia because he was a German. Never mind that he was a despised Jew and hated Hitler as much as the Allies did.

The last third of the book is entitled "Part II: The Photographs." Here Newton shows and discusses many of his now easily recognizable images. There is no particular order to this section. There is one photograph that he calls "pornographic", in case you are interested. And we learn that he hates the PR people who surround famous actresses. I doubt that anyone would be suprised to learn that tidbit.

If you are looking for a good collection of Newton's work, you should buy any of the books that are collections of his fine photographs printed on high quality paper. (I own his book of portraits, one of my favorite photography books.) The paper here is so-so, and the photographs are not identified on the pages where they are reproduced. While this is customary in fine art books, at least the many photographs from Newton's own life that accompany the text should be captioned. I understand that this is probably the fault of the publisher and not Newton's, however.

If you are a fan of this great photographer, as I am, you will enjoy this book thoroughly. ... Read more