Book Description

560 pps., 475+ color illus; 50+ black and whites; bibliography.A history of the styles of California Art from the time of the first explorers to the present day.See quotes from reviews cited in current listing of book. ... Read more

Reviews (1)

Quotes from reviews appearing in journals
"Moure is the dean of California art historians... Here is her magnum opus. There is no single volume that even approaches this work in scope, depth and scholarship. Every high school, college and university in the State needs this book. Every serious collector of California art, the humanities and material culture needs this book." West Coast Peddler, Sept. 1999, p. 60

"California Art fills a vast cultural void in art history that has created a general lack of awareness concerning the development of art in this region. It may well be instrumental in changing long-held notions in New York that characterize California as an artistic backwater. In covering such a broad topic, author Nancy Dustin Wall Moure has taken on a daunting task, and has risen to the occasion..." Artweek, July/Aug., 1999, pp. 26-7.

"this volume is the authoritative record of left coast visual history...Miraculously...Moure has...recognized the underdogs of the realm with objectivity and democracy, including members of the school of Mexican barrio muralism." Juxtapoz, January/February, 1999.

"A de rigueur purchase for West Coast libraries and larger collections nationwide." Library Journal, February 1999.

"Her prose is serviceable and clear, the breadth of information impressive." San Diego Union-Tribune, Friday, Dec. 11, 1998, p. E-3.

Winner of Special Mention, George Wittenborn Memorial Book Award, 1999, ARLIS/NA, Art Libraries Society of North America. ... Read more

Book Description

Frank Frazetta's paintings and illustrations have set the standard for fantasy artists for the past 50 years. This collection focuses on his influence in a variety of media and genres and on his place in 20th century art history. Coedited by Hugo Award-winning editor Arnie Fenner, it includes many of Frazetta's most memorable paintings as well as revised and previously unpublished works. The art is accompanied by the artist's own observations and commentary by a number of his contemporaries. ... Read more

Reviews (10)

A fine collection of fantastic images
"Legacy: Selected Drawings & Paintings by Frank Frazetta" brings together many examples from the career of this distinctive artist. The book has been edited by Arnie Fenner and Cathy Fenner, and includes a foreword by Danton Burroughs.

"Legacy" gives examples of Frazetta's covers for books, magazines, and comic books, as well as movie posters and even comedy album covers. Many memorable characters from pop culture are depicted: King Kong, Dracula, Tarzan, etc. I especially liked the illustrations from Edgar Rice Burroughs' Mars books, with their six-limbed Martian apes and tusked, green-skinned warriors.

Some of Frazetta's illustrations are haunting, even melancholy, and others are exciting and action-packed. A sorcerer summoning a demon, a scuba diver facing a sea monster, and of course, voluptuous maidens will be found in this book. In some cases, alternate versions of the same commission are given (making this book especially useful for art students and cultural historians). I recommend this book to those interested in the visual art of the sci-fi, fantasy, and adventure genres.

Comics emphasis, plus more famous paintings. Whoa!
This is book 2 of a trilogy. This one seems to have more emphasis on his comic book and comic strip work, than what appears in the other two books of the trilogy, "Icon" and "Testament." This one includes an 8-page romance comic book story by Frank, from 1952.

There are also plenty more Tarzan/Burroughs/John Carter of Mars works, and terrific paintings of Savage Pellucidar.

Frank's work for Warren magazines, like Eerie, Creepy, and Vampirella get shown and discussed in this book (and also in the other two books of this series).

All of the different eras and decades of Frank's life and career are discussed and shown, in all three books, but always with different paintings, drawings, personal photos, and different commentary by different friends and business associates.

I would recommend starting with "Icon" if you're new to Frazetta's work, but "Legacy" is a close second, containing the works that he is best known for. "Testament" has a focus on unpublished, never before seen work.

One thing that is surprising in all three of these books is seeing how Frazetta would often paint over his paintings, to improve them and change major elements, after they were originally published. So, many of his paintings look different than the way they were printed on paperback covers in the 1960's and '70's.

I am very pleased with all three of these books, but "Legacy" is my favorite of the three, if I really had to choose.

The end of an era
Frank Frazetta is a once in an era painter. He was as much an inspiration to my own large scale figure art as was Michaelangelo. This book is brimming with lush and lavish color reproductions. Frazetta, a true natural and the father of powerful and darkly and richly, colorful, anatomically creative, fantasy art. He has been imitated by dozenz, surpassed by none of them. One would have to go back to the Renaissance to find anyone more free, comfortable and creative in use of anatomy and composition. He would hold his own with the great painters of the past 700 years. This is a great book for artists and art lovers. I bought several for my grandchildren, it will be a valuable collectible in 5-10 years.

Frank Frazetta is leaving a Legacy
I bought the book ICON at the same time I bought this book. LEGACY has a slightly different tone than the ICON book. It is a wonderful tone and in complete harmony with the other book. It's kind of like two tubes on a wind chime. I use this analogy in hopes that more chimes, I mean books will come along to complete the symphony.

The ink sketches are great too. I'm partial to the full color oil paintings. What colors, what force, what passion jumps from the pages of this book. These Frazetta books are not only a legacy to the artist but to art in our culture. Imagine Frank painting in the same studio as say... N.C. Wyeth; or even Hal Foster of Prince Valiant fame. I wonder how each artist would influence the other. I bet Mr. Frazetta would set the tone.

Once again, you can't go wrong buying this book. To read more remarks about the Frazetta books, please see my review of the book ICON.

A thing of beauty...
I'm a Frazetta fan, and knew before hand that I would love this book. However, I was surprised and amused to discover so much about the artist's personality, how he describes his love & respect for women, etc...

There's also a great painting of his wife, without (obviously) any of the violence & eroticism that Frazetta is mostly known for. It's just a sweet, beautiful painting of a nice looking, every day person... Very interesting... ... Read more

Book Description

Millions of people have learned to draw using the methods of Dr. Betty Edwards. Now, in an essential companion to her bestselling classic, Edwards offers readers the key to mastering this art form: guided practice in their newfound creative abilities.

Here are forty new exercises that cover each of the five basic skills of drawing. Each practice session includes a brief explanation and instructional drawings, suggestions for materials, sample drawings, and blank pages for the reader's own drawings. Also provided in this spiral-bound workbook is a pullout viewfinder, a crucial tool for effective practice.While The New Drawing on the Right Side of the Brain focused primarily on portrait drawing with pencil, this workbook gives readers experience in various subject matter-still life, landscape, imaginative drawing-using alternative mediums such as pen and ink, charcoal, and cont&eacute crayon.

For all those who are taking a drawing class, who have already received instruction through a book or course, or who prefer to learn by doing, this volume of carefully structured "homework" offers the perfect opportunity to reinforce and improve their skills and expand their repertoire. ... Read more

Reviews (7)

A Portable Classroom
I started out as an insecure, fumble-fingered incompetent -- couldn't even doodle. With the techniques Edwards puts forth, I've been able to learn a tremendous amount about drawing, and about looking at the world (a side-effect not to be understimated). This workbook provides a classroom experience for those who can't find or afford a classroom. For those of us with some experience, it's a great refresher course. I recommend it very highly. In fact, I'm ordering my second copy, for an insecure, fumble-fingered friend.

80% "wordy" text, but only 20% illustration
"DRAWING ON THE RIGHT SIDE OF THE BRAIN"?

Same author also wrote: "Drawing on the Artist Within".

In one instance, it is drawing on one side of the brain, and in the other, it's drawing on the "artist within". Next year, perhaps "drawing on" the cash in your wallet. Betty Edwards is an art fad theorist.

What EDWARDS actually offers is a psychological crutch, for all the drawing instruction is founded upon a singular theory. Art has never been founded upon a singular theory. Often as not, ART is the anti-thesis, the opposite, of all theorizing. EDWARDS makes the practice of ART a theory-dependent activity. I cannot recall it was ever considered beneficial that we all be bound by a confusing theory. It's a very undemocratic idea; but at the same time, credit Edwards with coy marketing.

What does one actually draw WITH? Is it one half of the human brain? ...OR... Is it the Heart? Because if it is the latter, EDWARDS' art theorizing collapses. To put this in simplest terms, I venture to state that strong artists draw from their HEART, and that is what makes Edwards' rambling intellectualizing so corny.

ART is the opposite of any such instruction that reduces itself to any kind of theoretical hand-holding. And for these reasons, EDWARDS books are a conflicting hodge-podge of New Age metaphysics, pseudo-scientific jargon, infectious ideas, the nature of which, great ART has been combating from time immemorial, for all such ideas place a crippling limitation upon free spirits. Art is about freedom, rather than the binding or crippling attachment to intellectualizations, human fear, doubt, insecurity or angst. If you are not burdened with such negativisms, there is no reason to buy Edwards' theory; no need to draw-on-the-cash-in-your-wallet.

Excellent tool for artists and non-artists
I have to disagree with the few negative reviews that have recently appeared for the Edwards workbook.

This is a fine gift for anyone interested in learning to draw. While it doesn't go into depth as "Drawing on the Right Side of the Brain" does, it does provide enough information to get started - the methods and approach of Dr. Edwards are groundbreaking and absolutely essential information if you want to use your WHOLE brain. (And yes, Nicolaides' book is important, too, but Edwards work is very complementary to it, and carries his work many steps further...)

A fine workbook - worth the price!
This isn't meant to replace Edwards' outstanding books, including the classic Drawing on the Right Side of the Brain. But it is helpful with its exercises, drawing tool, and current research. Don't expect miracles, but do expect improvement in your drawing skills! ...

A great resource!
I have loved every book that Betty Edwards has published, and this workbook is an excellent "companion" to those. If you already know how to draw and want to brush up on your skills, this book has some excellent tools and tricks to support you. If you're just learning to draw, it is a supportive guide. Buy it along with THE NEW DRAWING ON THE RIGHT SIDE OF THE BRAIN, and they will change your life! ... Read more

Book Description

The Great Buildings Collection on CD-ROM documents over 750 buildings and 400 leading architects from around the world and across history, with more than 2200 photographic images and over 2500 architectural drawings, plus commentaries, bibliographies, dozens of digital video clips, and more than 300 live 3D walkthrough computer models (software included).For Windows 95/98/NT and Power Macintosh. ... Read more

Reviews (4)

Not so Great Building documentation
Dont't buy this book unless you are looking for low resolution images and minimal information. Is a start as a building index but you're better off with a good book. Expensive and I regret my purchase.

ONE OF THE MOST USEFUL BOOKS
if you are interested in architecture, this is a great book for you, at least it is something that you would go back to from time to time.
for architecture students, this book is a must. enough said. :)

(...)

Touring Europe without leaving home
I recently returned from Europe, and wanting to revisit some of the buildings I'd seen, I turned to Great Buildings Collection. I was able to view the buildings, and in some cases even walk through them at my leisure (no tourists in my way!) This is a "one of a kind" CD that enables the user to browse through centuries of great architecture without ever leaving home. I'm especially impressed by the numerous ways in which one can browse: by architect, country, city, and other cross references. Anyone with an interest in architecture would enjoy finding this CD in their christmas stocking.

I've also visited the GreatBuildings.com website, where you can see hundreds of the buildings free of charge, but it's even better having it on the CD , because there are thousands more images, and you're not slowed down by the modem.

SOURCES ON THERMAE OF CARACALLA
the name of book is sources on thermae of carcalla ... Read more

Book Description

"Impressively erudite...richly illustrated...A sound reference for all readers."--Choice

Spanning more than three centuries, this beautiful and authoritative work brings to life the rich tapestry of Italian Renaissance society and the art works that are its enduring legacy. Fresh and broad in approach, this is the only serious book on the subject to integrate both social and art history for the whole of Italy--not just Florence, Siena, and Rome.

Art lovers and history students alike will welcome this new edition of a highly regarded work previously issued for the academic market. The art is gorgeous and the contextual discussions--of Renaissance artists in their world and of Renaissance art in Western art history--are unmatched.

600 illustrations, 210 in full color, 512 pages, 9 1/2 x 11" ... Read more

Reviews (1)

A must for any artist!
This book is far and above what I had expected. Emphasis was placed on being user friendly, which is paramount with such a heavy topic. Side bars on the inner political, religious, and general public life help to clarify what influenced the artist in making choices of subject, style, and composition. I now have a clearer understanding of why I paint how I do, and why we as a culture critique art the way we do. ... Read more

Book Description

The Polaroid camera combined two of Andy Warhol’s obsessions--the disposable nature of modern consumerism and the photograph as ready-made. An inveterate and relentless user of Polaroid cameras, he made tens of thousands of instant photographs during the 1970s. Many of these were made over a short time span and focused on one individual or subject, sometimes a formal sitting for a portrait, an informal event with friends, or a party at The Factory.

Between 1970 and 1976, Warhol established a rigorous system of cataloguing. He would take home the Polaroids, edit and sequence them, and then enter them in individual red Holson Polaroid albums. These albums, with Warhol’s original sequence and themes, have remained intact.

Red Books is a red wooden box containing 11 of Warhol's Holson Polaroid albums. Each book contains a facsimile reproduction of Warhol’s sequence. The themes include a study of Paloma Picasso, a day trip to Montauk, Mick Jagger, the "Asshole" painting, and John and Yoko. In addition to the 11 red books, a black book is included which contains a text by François-Marie Banier explaining the significance of these albums within Warhol’s oeuvre and how they act as a visual diary of his work, offering unrivaled insight into his creative process. Essay by François Marie Banier. Other, 5.5 x 3.5 in. / 300 pgs / 220 color. ... Read more

Book Description

Designed to address the issues of how to paint and what to paint, PAINTING AS A LANGUAGE covers a wide range of information of central importance to beginning and intermediate painting instruction. The authors emphasize the value of the student's cognitive understanding of the process and potential of painting in the student's overall progress in the studio. Blending journal writing with painting and drawing exercises, they guide the student through selecting meaningful subject matter as well as becoming adept at shaping and interpreting that material through the language of painting. ... Read more

Reviews (1)

The best book on painting for student and professional
I can't recommend this book too highly. It is the only one I've ever seen written for the college level, containing both excellent technical information and discussion on why we paint and how to communicate with painting. Any painter who got his or her training (or no training) even ten years ago could use this book and become enthusiastic again about the contemporary approaches and choices, respectfully delineated here with no agenda! If you are baffled by what is going on in art or if you just need a refresher, you will like this excellent book. Please buy it. ... Read more

Reviews (1)

the spiritual in art: abstract painting 1890 - 1985
There is a fantastic quality to the compliation of works in the Spiritual in Art, that indicates a profound understanding of the mystical forces of inspiration involved with the process of artistic endeavor. The book chronicles the exhibition of the same name organized by Maurice Truchman and Judi Freeman at the Los Angeles County Museum of Art. Many of the major artists of the 20th century are represented; Mondrian, Duchamps and Kandinsky to name a few. The ideosyncratic spin to the show lies in the examination of their work from a philospophical and spiritual standpoint that involves a more involved examination than is often given with the popular criticism styles of art history - ie; socio-political and aesthetic. With the aid of this book, the reader gleans a more profound understanding of the motivational forces at work in these artists whose creations transport viewers to new worlds and dimensions with only a glance. ... Read more

Reviews (2)

quilt art
a book with a text written by one of the most important art critics. Finally quilts seen as art pieces.An incredibly beautiful collection of amish quilts to show you the world of this religious group artistic crafts. If you look for new ideas for your quilting palette, don't miss this book.

An excellent investment for lovers of Amish quilts.
Amish: The Art of the Quilt by Robert Hughes chronicles the quilt collection at Esprit corporate headquarters in San Francisco.Begun haphazardly by Doug Tompkins in 1971 as a way to cover bare office walls, it has evolved into a showcase of exquisite examples of Amish artistry.

Robert Hughes writes a concise history of the Amish people and their distinctive quilts.But best of all are the 9" by 9" full-color plates of 82 representative quilts.Julie Silber, who became the collection's curator in 1983, shares her comments on each quilt, pointing out its adherence to or deviation from Amish tradition.

This book represents an excellent investment for all lovers of the vibrant colors and intricate stitching so characteristic of Amish quiltmaking.

reviewed by Andrea R. Huelsenbeck ... Read more

Book Description

"The scope and depth are unparalleled," raved Midwest Journal when Marilyn Stokstad's Art History appeared in 1995. Booklist wrote:"Stokstad's sense of the grand continuity of art through time and across oceans make this an exceptional, thoroughly enjoyable survey."

Now this landmark work, with its unique perspective on art in the context of the period in which it was created, is thoroughly revised and updated with heavily reworked sections on the Renaissance and Baroque periods and on Modern art. The exciting changes also include: a completely new design providing greater clarity in the narrative and boxed materials; larger illustrations with a greater proportion in full color; and hundreds of new pictures including recently restored artworks and monuments.

With its fine cloth binding and ribboned slipcase, this authoritative family reference on world art and culture is a luxurious and significant addition to any home library.
1,295 illustrations, 914 in full color, 1,312 pages, 85/8 x 111/2" ... Read more

Reviews (9)

A Masterpiece...
Marilyn Stokstad has put together a real masterpiece of art history with her book, Art History. In collaboration with Bradford Collins, and with contributed chapters from Stephen Addiss, Chu-tsing Li, Marylin Rhie and Christopher Roy, this large volume published by noted art publishers Henry N. Abrams, Inc. is deserving of pride of place on any art bookshelf.

The scope of this work is as broad as is the expanse of human history. Indeed, the first chapter begins with a survey of prehistoric art and prehistory. Spanning all the ancient cultures, there are chapters devoted to the art of the ancient Near East, Egypt, the Aegean, Etruscan and Roman art, Christian, Jewish and Byzantine art, Islamic art, the art of India, China, Japan, the Americas and Africa. And from there, it gets complicated!

This book tackles all the issues of art: philosophical considerations (the relationship between art and reality, and the meaning and importance of beauty in art), focus on artists in general and in particular, society's relationship to art, including the role of the patron, the importance of museums, and an investigation that goes behind the phrase, 'I know what I like.'

'Art history, in contrast to art criticism, combines the formal analysis of works of art--concentrating mainly on the visual elements in the work of art--with the study of the works' broad historical context. Art historians draw on biography to learn about artists' lives, social history to understand the economic and political forces shaping artists, their patrons, and their public, and the history of ideas to gain an understanding of the intellectual currents influencing artists' work.'

In addition to presenting a history of art, Stokstad and her contributors also present an introduction to various aspects of art appreciation, without with art history loses much meaning. Each chapter has an explanation of the techniques that were developed and important during the time under examination (for instance, lost wax casting, glassamking and Egyptian faience, Japanese woodblock technique, and Islamic carpet making, among many others, are illustrated in detail to enhance the knowledge and appreciation of the finished art works). Each chapter and time period also has a section entitled Elements of Architecture, which include discussion on elements from pyramids to skyscrapers and much in between.

The text is clear and concise, carefully explaining technical terms when they are used, and then using them sparingly. Every page is a visual feast, with full colour plates of photographs of paintings, sculpture, artists, locations, or architectural examples in great form, as Henry N. Abrams, Inc. publishers are famous for doing. There are literally thousands of illustrations, as there are often many per page; almost no page is without one, and the book is nearly 1200 pages long.

As an aid for those who will use this book for more scholarly purposes, there is an extensive bibliography in the back, in three classifications of listings -- general surveys and art history references, a selected list of art history journals, and then a chapter-specific directory of further reading for each art topic/period. Additionally, it has after the bibliography as Website Directory of Museums, which includes museums in every state in the United States and most major museums around the world. The index includes listings by artist, period, topic, and particular works of art.

This book has been intended to be useful as a text for a course in art appreciation, but also designed to be a joy to read for the casual reader who might not want an academically rigourous presentation. As Stokstad says in her preface, the intention was make this book itself a work of art, and in that task she has succeeded admirably.

Superb overview & reference!
This book is simply wonderful. It is indeed physically ponderous (this 2nd edition is one very, very large book, not two slipcased books as shown in some illustrations). However, its content easily compensates for its considerable bulk. All historical periods of art history are chronicled, with copious illustrations well-produced and nearly all in color. The text is incisive and easy to follow, yet never boring.

I recommend this book to any and all art lovers, whether beginners, advanced students, or just those who desire a comprehensive reference for library or home use. I personally consider this publication a better choice than the otherwise excellent Janson "History of Art" for most readers-- the writing is just more user-friendly, in my opinion (and the content is more inclusive, especially regarding non-Western art).

Art History: Second Edition
After taking an art history class, I found this book to be very handy in many ways, although if preparing for an AP test, it does leave some major works of art out. I found using The Annotated Mona Lisa, and Janson's Art History also helped majorly in preparing for the AP test.

Excellent
I'm an art history major; I've used many different texts but this is the best I've seen for a genreal overview. I find myself referring to it every time I become interested in a particular artist or period. It's great!

A Very Thorough Book, Only for Reference
The book is perhaps one of the most thorough art history books ever printed. It goes through a long art history, and is filled with many art pictures that complement the text. But when I was reading this for an art history course, the length was something of a problem. This book would be okay as a coffeetable book. However, the language, is somewhat too wordy and upscale. Still, a good book to have in a book collection. ... Read more

Book Description

This brilliantly illustrated book blends two unique subjects: character design and painting. It details how to put thoughts and ideas together to create characters that elicit specific emotions (joy, fear, anger, sadness, etc.), and it teaches how to beautifully render these characters by applying traditional painting skills with digital tools. This edition has been completely updated to use Photoshop CS as the primary tool, and includes many new characters and tutorials.

Written for artists interested in learning how to use Photoshop CS as a real painting tool, the book is divided into three primary sections. The first section deals with character design and provides strategies for developing worthwhile ideas. In the next section, you'll find fundamentals artistic principles that are often overlooked in the digital world, and learn how to incorporate them into your efforts. And in the final section, you'll work through practical tutorials that teach insightful techniques and tips for solving common visual problems that emerge when painting. The tutorials start off simple covering the basics of value, edges, color, and light. From there they evolve into in-depth techniques for blending, eyes, faces, cloth, hair, Photoshop brushes, and portraits.

Whether you are a seasoned professional or aspiring artist, you'll find a plethora of useful ideas and techniques that will improve your skills and help you create and paint masterful digital art!

On the CD!
Tutorial Files: Includes the sketches, texture images, brushes, and gradients, needed to complete the tutorials in Chapters 12-23
Brushes Folder: Provides all of the custom brushes, in their rough state, as used in the painting tutorials for each chapter
Textures Folder: Contains 137 different textures to experiment with when making your own patterns and brush files
Photoshop CS: Contains both the Mac and PC tryout versions

System Requirements:
Both systems require Photoshop CS. WINDOWS: Intel Pentium III or 4 processor; Microsoft Windows 2000 with Service Pack 3 or Windows XP, 192 MB of RAM; 280 MB of available hard-disk space; Color monitor with 16-bit color or greater video card; 1,024x768 or greater resolution; CD-ROM drive; Internet or phone connection required for product activation. MACINTOSH: PowerPC G3, G4, or G5 processor; Mac OS X v.10.2.4 though v.10.3 with Java Runtime Environment 1.4; 192 MB of RAM; 320 MB of available hard-disk space; 1,024x768 or greater resolution; CD-ROM drive. ... Read more

Reviews (5)

A Rare and Treasured Treat
Talk about magnificently beautiful! THE ART OF FLORENCE does full justice to its subject -- and it's a lot cheaper than plane fare to Italy.

The last time I was in Italy I witnessed three muggings, one in the Church of Santa Maria Novella, and those experiences were so unnerving that I couldn't fully concentrate on the loveliness of the many treasures before me. I barely remember any of them. So what a delight to discover so many of them in stunning full-color plates, to be enjoyed again and again in the comfort and safety of my own home.

The dual volume book is divided into historical sections of about a generation each in length. Each begins with a lucid account of the history of the city during that period with emphasis on the political, social and economic events that influenced the patronage of art at that time. There are separate accounts of the architecture, sculpute and painting done in each period. A rich and exciting interplay unfolds between the arts, the politics and the social structure of each time period. No wonder Florence was the artistic and political leader for all of Europe during the 13th through 16th centuries.

The authors confine themselves to Florentine artists or those who lived for some time in Florence. References to other artists, when necessary, are minimal. Michaelangelo, for instance, is discussed only in terms of the Dona Madonna, since it is the only painting of his in the city. His limning of the Sistine Chapel in Rome is mentioned only in passing.

These two volumes are special -- so special they'll draw you to the reading chair even when the siren of Spring calls through your window.

A work of art about the art of Florence - a treasure
This is one of those books I wish I could give six or even seven starts. This is not only a book about great art; it is itself a beautiful work of art. The care lavished in making this book shows from the beautifully decorated slipcase to the wonderfully textured covers (my kids say they feel furry), to its large format and glorious reproductions. There are many foldouts showing large-scale works in broad sweep and even full-page reproductions of details of works shown in the book.

While the artwork shown is dazzling to the eye and overwhelming to the mind, the articles illuminating the works are first rate as well. One really nice feature of the articles is that there are marginal listings of the plates and figures discussed in each paragraph so it is easy to find text related to the images in which you are interested.

There are two volumes and over 1,300 pages. Volume 1 begins with a brief essay on Florence's prelude to greatness (59 B.C. 0 A.D. 1200). Then the book is organized into sections of varying size: Civic Price and Prosperity (1200 - 1340), An Age of Crisis (1340-1400), Images of a Free Republic (The Early 15th Century), and The Era of Cosimo De' Medici (1430-69). Volume two has: Lorenzo Il Magnifico (1469-92), The End of the Republic (1492-1530, and ends with The Medicean Principate (1530 - c. 1600). Each of these larger sections is organized in the same way - Architecture, then sculpture, and then painting. It is quite fascinating to watch how tastes and techniques evolve over the centuries.

There is also a glossary, bibliography, a section on the photographer and authors, an index and photo credits.

This isn't a book you will likely read from beginning to end. It is almost an ocean you will want to spend time exploring for years in order to take in all that it has to offer. It is almost impossible to not take away something new every time you open its magnificent pages. This is a real treasure for your library. I know is one in mine.

Before you go, or to relive a trip read this book!
An amazing book! Elegant, informative, photos and history that just won't quit. The only downside is that this book (there are 2 volumes actually) is so large it is hard to manage. I got a copy for my 10 year old granddaughter for a trip we are taking this Summer. She has been dazzled and is working her way through (finding the photos that attract and then diving into the chapter text). It has also become an addiction for me. If you are going to Florence, get this book and read it!!

Beautiful, worth any price
Clearly this publication was a newsworthy event when it was first issued, garnering praise from the New York Times Book Review andthe Washington Post alike. Now these magnificent slipcased volumes are making news once again.Nothing else has changed about this popular monument of scholarly and publishing history and winner of the prestigious Prix Vasari in France. Matching an elegant and sophisticated text by three leading art historians with more than 700 glorious color photographs and another 854 duotones and architectural drawings, The Art of Florence immerses us in the creative life of the city that gave birth to the Renaissance.

This important and uncommonly beautiful publication gracefully links the city's architecture, sculpture, and painting to its rich social fabric and dramatic political life. The Art of Florence is truly a masterpiece...

Outstanding in text and picture quality
This magnificent two volume book is a rare combination of outstanding substantive scholarship and state of the art photography. If you are looking for a light-weight book--physically or intellectually--this is not the book for you. Rather, the book provides a comprehensive history of Florence, both art history and political history, by noted scholars. The illustrations are lavish and compare extremely favorably with other art books in our library that illustrate the art treasures of Florence. Given the length of the book and the quality of the illustrations, the price is reasonable. The book can be enjoyed by the armchair traveler as well as by the tourist. ... Read more

Book Description

An intimate photographic journey through Edward Gorey's home. ... Read more

Reviews (9)

A specialty item for the true Gorey collector
Even dedicated fans of Edward Gorey will probably know very little about his personal life: he was an enigmatic recluse and few were permitted past his front door. Photographer Kevin McDermott's Elephant House will delight students of architecture and photography, providing rich duotone works of Gorey's intriguing home and its contents. A specialty item for the true Gorey collector, Elephant House is an impressive photographic showcase and a welcome addition to both architectural studies and photographic studies reference collections.

Fruitful Coursework
M. McDermott's luxuriant photos admirably capture the subversive hermeneutics of desire at work in every compartment of Edward Gorey's capacious mind. To judge from these photos, at home as much as in his work Gorey enacted a subaltern erotics of duplicity and dialectic: the precise, almost fussy, arrangements of salt shakers and stones, frog spectators and secret guests which echo the Edwardian-styled detail of his famous books and their ecstatic decodification of heterosexual longing into a polysemous weave of interleaved multitextuality illuminate a life's work spent dancing on a metacritical pin. Queer and gender theorists take note: Elephant House will reinvigorate your every critique -- about Edward Gorey and his work, and of course, the texts his prism redacts.

At Home With Edward Gorey
Kevin McDermott's Elephant House is an impressive new photography book. The photographs, taken only days after Edward Gorey's death, afford us an intimate portrait of the man as he lived. The book contains insightful photographs that capture the fine details of the way Edward lived and worked in his own space. Gorey clearly had a fascination with light and texture. He scattered a massive array of objects all about his home with a nearly curatorial eye. McDermott's well composed photos not only capture this aspect of Gorey but illustrate a common thread between these two artists: texture. One photograph depicts groups of small stones as they congregate idly on the rough wood of the porch. The cityscape of salt and pepper shakers and a plate of gourd-like, spherical shapes are beautiful studies in the texture and form of ordinary objects abstracted from their normal contexts, while many others are still lives made of the house's windows and the eclectically arranged objects in front of them. The blue bottles in a few images glow like stained glass as the washed-out light of a cloudy day streams in through them. What makes many of the color images so interesting is the spare, nearly monochromatic palette of colors in the rooms which are offset by only the blue luminosity of bottles or the green leaves of spring showing in the background. These are beautiful photographs independent of their connection to Edward Gorey, but serve also to enhance our understanding of him. The text is an entertaining and candid glimpse of Gorey as a friend knew him, and provides a nicely guided tour through each room. This book is handsomely crafted and thoughtfully designed, and I highly recommend it to anyone with an interest in photography or Edward Gorey.

Elephant House or the home of Edward Gorey
Edward Gorey was a mysterious personage. His works often leave one thinking "what next?". Elephant House by Kevin McDermott helps relieve much of this worry. Mr. McDermott has captured through his photographs and text what it was like to spend time with the elusive Mr. Gorey. This is a personal and moving tribute to a friend that never feels intrusive, but rather illuminates Mr. Gorey and the daily world he invented and inhabited. For those of us who have made Mr. Gorey a part of our own daily lives, Elephant House lets us spend some quality time with the man through his surroundings. A gem and a gift.

Elephant House, Or the Home of Edward Gorey
This Fabulous book gives us a photographic incite into Edward Gorey, the man. It enlightens the reader with an increased knowledge of the sources of the characters and whimsy of the Groey books. The personal anecdotes of McDermott, made you wish you could have known the man in real life. Gorey would have been pleased with his friend's understanding of who he was. The photographers eye, saw the "art" of Gorey in his everyday surroundings. It was like walking in Gorey's shoes from room to room. A must have book for every Gorey fan. ... Read more

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No art history student can get through a semester without the twindoorstops of Art Through the Ages. Chronicling the history of art fromthe earliest known cave paintings to postmodern architecture, as well as mostmajor artists, works, and styles in between, these books are must-haves forthose interested in understanding art in context. Both books are surveys, andexperts may notice the omission of more esoteric movements and artists.Regardless, these volumes are invaluable references--especially since eachedition of this classic improves noticeably in its coverage of non-Western art. ... Read more

Reviews (16)

Comprehensive Source
As a high school sophomore using this book as a reference source for art history AP class has been quite an experience. Whileencompassing many of the major aspects of art history, there are some points it fails to acknowledge and which can only be addressed by a teacher who actually knows his stuff. The only other complaint that at 13 1/2 lbs., it's very hard to trudge up four flights of stairs.

New!
Book came within a week and was still in original wrapping.No complaints.

Essential for anybody interested in art
Short review: ... buy it. If it requires selling vital organs or loved ones to pay for it, it's worth it.

Long review: I enrolled in an Art History course with no idea what I was going to get as a textbook. This book is well-written, intelligent, informative without being overly esoteric, and above all beautiful. The prints are generally in color and always well-reproduced. Historical context is always provided, which gives a solid background for anybody looking to learn about the time any artwork was created. The text also offers insightful commentary about each piece selected for display. This book is so good, in fact, that it's become known as the semi-official Art History 101 textbook. Even if the history's not your thing (and for crying out loud, why not?), the book provides untold hours of beauty.

One word: perfection.

Beautiful book, but poorly edited
This is lushly detailed book with fine reproductions.However, I found the book to be full of editorial errors and blunders.Why should consumers be asked to pay one-hundred dollars for a book that is this poorly edited?Profits should go towards finding new editorial help.Let's hope the new edition finds someone in charge that is more organized and observant.

Beautiful book, but poorly edited.
This is lushly detailed book with fine reproductions.However, I found the book to be full of editorial errors and blunders.Why should consumers be asked to pay one-hundred dollars for a book that is this poorly edited?Profits should go towards finding new editorial help.Let's hope the new edition finds someone in charge that is more organized and observant. ... Read more

Reviews (5)

What a work of creative and artistic genius!
What a work of creative and artistic genius!

What to say about such an amazing work? For the first few times I
mainly absorbed the photos of his works, with only reading the
little captions and it wiped me off my feet. After a few rounds
of these I decided to read all of the writing in the book that
accompany the works he made and it totally blew me away. This
book has definitely altered something deep inside about the way
Ilook at nature, change, the seasons and time in general.

Time, as the title of the book suggests is the main topic of the
book and Andy Goldsworthy's art in general or at least his
approach and intention towards it. The body of work presented in
numerous photos and with corresponding writing in the form of a
journal covers the whole range Goldsworthy's work. For example
works made from stone, wood, leaves, snow, ice,...

As a result it gives an excellent overview and introduction of
his work and via the numerous writings a very deep, personal and
detailed insight into how he approaches different places, how he
reacts to change and works with the weather. The writing is on
par with his work. Very clear, direct, honest and poetic.

His insight into the concepts of time and change and seasons and
nature is truly breath taking. The introduction he wrote for the
book is a wonderful example illustrating this. Part of it can be
read by using the "Look inside the book" feature of Amazon.

Spending time with this book really cracks ones mind wide open
about time, change, nature and seasons and how to look at it and
perceive it.

And honestly I don't know what's more amazing. These amazing
and unbelievable pieces of art. Or the incredibly crisp and poetic
writing, deepening so much ones understanding of the works and
give insight into Goldsworthys view and approach and thoughts. Or
simply that out there somewhere a human being is walking this
earth with such an amazing understanding of time and nature and
able to transform this into amazing art an writing.

If the idea of Goldsworthys work is for him to work with time and
change and nature and to further his awareness of these concepts
and make sense of them in the most beautiful way then that is
exactly what this book excells marvelously at for the reader.

Another superb look at Andy Goldsworthy's ephemeral art
Andy Goldsworthy's artwork is utterly ephemeral and fleeting, and perhaps because of this, utterly transfixing. There is something of the ancients in the way Goldsworthy puts together stone, or wood, or leaves--or even in the way he lays himself down on a dry patch of ground in the rain so that when he gets up, we see a sort of reverse shadow of his body. There is an astonishing intellect at work here, and a soul which sees the value in what some art snobs might term "mere beauty."

Goldsworthy's many mediums are covered in "Time," which features sumptuous photography by Terry Friedman. We see perfectly constructed stone cairns--some pyramidal, some only half done and all the more startling for what isn't there as for what is. We see ruddy sandstone arches four times the height of a man. But Goldsworthy's most consistently inviting work is done not in stone, but in the ephemera nature leaves for him everywhere he looks. Goldsworthy's work is sometimes so fleeting as to question the very nature of whether it constitutes art when it lasts only minutes or hours. The frost shadows, for instance, are simply photographs of the still-iced patches of grass over which Goldsworthy stood in the early morning, then stepped aside so that a photograph could be taken. Of course these are gone within minutes as the sun warms the now-exposed grass. Is this art? Merely the fact that you question it shows your engagement with the work--Goldsworthy fosters a kind of subtle dialogue between reader and artist and the dialogue is consistently engaging. Another heat-destroyed piece is the thinnest imaginable sheet of ice, laid against a moss-covered rock, and Goldsworthy's handprint visible on it. As it thawed, it buckled and disappeared and we see its disappearance in the photographs. It's lovely, it's witty and it is, improbably art.

Other things disappear, too, but not from the sun's warmth. There is a "stick hole" Goldsworthy built early one spring which he and Friedman came back to photograph throughout the summer until the final photograph shows it utterly covered with the lacy ferns which grew up around it. There are the perfectly circular or perfectly ovoid leaf rafts Goldsworthy stitches together, then sends on their way down a meandering stream, having their path photographed before they disappear. There are the piled of rocks he constructs leading into the ocean so that the tides swallow them up--each stage meticulously recorded on film.

Perhaps the most transformative art in the book is the mud wall displayed on the cover. Goldsworthy applied mud to walls and floor in such a way that when the mud cracked and dried, it showed the meandering, snakelike pattern he'd put into it. It has become something entirely different solely through the passage of time. This book is filled with surprises and delights, and will have you utterly absorbed, charmed, and astonished. I can't recommend it highly enough.

Mature Work by a Great Artist
This is perhaps Goldsworthy's most elegiac and moving book, a profound meditation on time and change. If you like his work, you won't be disappointed. This volume and "A Collaboration with Nature" are wonderful and permanent sources of inspiration.

Time
Entropy. Order versus Disorder, structure versus chaos, these are the forces that we all deal with, and Andy Goldsworth displays this primal struggle elegantly in this beautiful new book. What the artist creates nature returns to itself. We see the process from inspiring begininng to intriging end with the key player being Time. It is hard to envision a more perfect book of this artists' work.

The best yet
If you are already an Andy Goldsworthy fan, this book is an essential coming together of his various design phases. It explains chronologically his life's work. The commentary describes his methods and his feelings. The photography as always is breathtaking making every page a joy.

If you are not already a fan this book represents a 'best of' summation of his work and makes his other three books a more indepth look at each phase of his working life. So buy this one first. ... Read more

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For generations, Thomas Eakins--whose famous paintings include "The Gross Clinic" and "The Champion Single Sculls"--has been regarded as a 19th-century American hero. In Eakins Revealed: The Secret Life of an American Artist, art historian Henry Adams offers a radically different view that allows us to better understand "the intensity and emotional desperation of Eakins' art." Eakins' brush with scandal--he was dismissed from his teaching post at the Pennsylvania Academy of Fine Arts in 1886 for removing the loincloth from a male model posing for a class of women students--is generally described by admiring art historians as a brave attempt to modernize stuffy old rules. Adams reveals that the artist was a life-long exhibitionist who appears to have preyed on vulnerable young women. Drawing on the Bregler papers, a cache of revealing documents from Eakins' studio that surfaced in the mid-1980s, Adams describes a man whose sense of masculine identity was thwarted by a deep identification with his mentally ill mother and an inability to please his father. Reviewing the major Eakins studies, beginning with the landmark monograph by Lloyd Goodrich, Adams finds that many aspects of the artist's life were suppressed to establish him as an all-American hero.

Adams presents his case with the mesmerizing power of a star attorney-at-law, painting a detailed picture of the artist's troubled personal life before launching into correspondences between the life and the art. Although readers may question some of Adams' interpretations--whether of Freudian theory or the emotional effect of a specific painting--the author's direct, probing style makes Eakins Revealed as riveting as a courtroom drama. In his concluding arguments, Adams proposes that the subjects of Eakins' late portraits, almost uniformly pensive and hollow-eyed, are in fact multiple versions of the brooding artist himself. Ultimately, the author's new assessments endow Eakins' work with an anxiety about the body and gender roles--issues that preoccupy many artists of our own time. Readers new to Eakins may be disappointed to find only small, black-and-white reproductions of the works in this book, and a few of the works discussed (such as "Crucifixion") are not illustrated at all. But skeptical specialists will be pleased to see that Adams includes copious (and often fascinating) notes and a full bibliography. —-Cathy Curtis ... Read more

Reviews (3)

a very strange book
I have long been fascinated by Thomas Eakins's life and career.Over the years I have enjoyed Lloyd Goodrich's two volume biography and Elizabeth Johns's book about his art.This book by Adams has left me thoroughly confused.

Twisted Freudian Interpretation of An American Icon
If a reader were to believe the many ludicrous claims that Adams makes about Thomas Eakins, one would think that the artist was homosexual, heterosexual, bisexual, and a pedophile, exhibitionist, voyeur, sadist, and masochist; and further, that he practiced incest and bestiality (all of which, Adams suggests, was driven by a desire to posses his own mother).Take your pick!Adams covers all the bases. Eakins is not so much "revealed" in this book as he is "concealed."He seems to ignore altogether, what to my mind, are the most fascinating things about this remarkable man: that he studied logarithms for fun, that science, not art, was his first love, that he was conversant in five languages, and that he found beauty where others saw ugliness.Among the more humorous assertions that Adams makes about Eakins is that the artist painted while sitting on the floor (he used an easel), that he shot his sister's cat for fun (Adams conveniently leaves out the fact that Eakins' father ordered him to do so because the animal was rabid), and that he painted clergymen because they wore dresses, which supposedly reminded Eakins of outfits his dead mother wore.After reading this dreadful book I came to actually like it as a study of how inbred (dare I say incestuous?) that some members of our academic community have become.Even if you are convinced, or want to believe that Abraham Lincoln was homosexual, you will still have difficulty making the creative leaps necessary to take this book seriously.

Riddled with Errors
This book is so riddled with errors and exaggerations that it is a wonder why Oxford University Press would publish it. ... Read more

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Anatomy for the Artist is like having your own life-drawing studio in the privacy of your home. Carefully constructed photographs of the human form allow you to see the structure and function of the skeleton and main muscle groups. Six imaginative drawing lessons, each supported with photography, show how to portray the bones, head, rib cage, pelvis, hands, and feet in perspective, from different angles, both in still poses and in movement. ... Read more

Reviews (13)

Simply fantastic!
I'm an art student taking a life drawing class, and I have looked at a number of books on anatomy and own several, most of which I find unequal to my needs. Some are geared to people in health-related fields, and some are geared to artists.

Of all the books I have seen on artistic anatomy, this is one of the absolute best. The translucent paper overlays of anatomical structures are very helpful to an artist trying to figure out how bones, muscles, and skin all fit together. Additionally, the photography is amazing, modern, and not at all cheesey. There are many different motion shots and poses depicted, and the drawing lessons and "master classes" are truly useful to any developing artist and should help people refine their skills and gain confidence in this difficult area of drawing. My only quibble: I could have done with fewer explicit shots of genitalia, but they were necessary to a book that covers its topic as completely as this one.

The bottom line is that this book is worth its weight in conté crayons.

A worthwhile anatomy book
This book doesn't try to contain all the knowledge there is related to anatomy and drawing the human figure. That would take several volumes or more. It just does a few important things well. I think the main strength of this book is that it gives you an intuitive feeling for the human body's structure. It does a lot more than just list parts. It tells you how the body works, how the parts work together, and the nature of those parts. She gives you more scientific and historical information than other books generally do. The second strength is the large number of well-lit photographs of fit, lean, muscular models in many informative, useful poses. The models are pretty good for seeing the contours of muscles, bones, and connective tissues. I think the inclusuion of a few body builders might've been good too. The latter chapters of the book deal with poses and the body in motion. They include many photographs of models. I appreciated this, and it's something not a lot of anatomy books have.
As for the overlays, I didn't think they were all that important. As for the drawings of the muscles and bones, they were useful and good, but they could've been better. I would've prefered some sort of smoothly shaded renderings instead of scratchy pen & ink drawings. It would also have been nice to have the muscles in different colors so they'd be easier to differentiate. Although vellum is nice, it tends to warp from humidity and it's not transparent enough. Therefore it would've been better to make the overlays out of plastic.
While this isn't the be-all, end-all of anatomy books, I think it is one of the better books to include in your anatomy library. I have several other great anatomy books besides this one.

Excellent photography. Average content.
This is an interesting book in that the photography is excellent. Do you like nude bodies that are in very good shape? This one has it in excess. As one who has studied artistic anatomy for over twenty years I own just about every book written on the subject. One of the things I appreciate are sources showing surface anatomy; with models that have muscle definition. The odd thing about this book is how much could have been done with it. There are about 7 or 8 transparencys that over lay the photos. All but one of these show the skeletal detail over a photo. When I am looking at the surface anatomy of a figure and trying to determine which muscles are which, I would rather have an overlay of the muscles than of the skeleton. This must have been the decision of an editor. The drawings depicting the muscles are good, no better than what has been done. Goldfinger's Human Anatomy for Artists or Richer's Artistic Anatomy are very hard to beat. The other odd note about this book is the bibliography. It's as though the items chosen were selected for their quirky nature and not their value as a source of information. Five stars for the photography, negative two stars for the anatomical content.

decent
decent book but could have had a heck of alot more poses. The book splits the body into categories which is helpfull but I would have also liked to see a whole section of various poses for study.

A must have for serious artist
This is the best reference guide for drawing people that I have found. The poses and lighting are excellent! Most artist references on the figure show the skeleton and muscles but this book uses semi-transparent overlays so an artist can see a photo of a person then, using the overlay, see how the skeleton or muscles shape the body. A must have for any serious artist. ... Read more