Book Description

"The nude has always been a source of inspiration and one of the main themes of photography." The introduction to this small brick-format book—the shape alone already makes it conspicuous—briefly and concisely describes the special quality of this title. Various perspectives of the naked body are presented to the observers’ eyes, representing the diverse interpretations of photographers from all over the world. The motifs Man, Woman, and Pair open up a world of the senses that has much more to offer than just a nude that one can touch. This artful feast for the eyes is a must for everyone. ... Read more

Reviews (4)

Woody
This book gave me a bone. Unfortunately, some of the pages now stick together and the only pictures I can still get to are the gay ones. That sucks. Are any of these chicks in videos?

A great collection of nudes from photographys best.
I came across this little book during one of my frequent trips to the photo section of my local Borders and had to pick it up. Mainly due to is very small size.
I was soon trapped flipping through the hundreds and hundreds of pages of beautiful nude photographs, unable to put the book down.
The only text in this book is a bit at the beginning and end and then the name of each photographer before you see their work. Thats it. No rambling text, just great nude photos.
This collection feature many of the worlds best nude photographers and is broken down into three sections. Female nudes, Male nudes, and couple nudes. It really cant get much more simple that that.
The book is printed on good gloss heavyweight paper, as you would expect to find in photo monographs and has a sturdy hardback.
Although a great collection of photos and printed well, I am a bit disappointed in the book size. It only measures about 3inches by 3inches, and because of the large number of photos inside, the weight of the book tends to deteriorate the binding fast if viewed a lot. Also, I have found it hard to find a good place for this tiny book on my shelf. It just doesnt fit in very well. But becuase the book is so good and the downfalls are few, I only took one star.
I still feel that all nude photography fans should purchase this book for their collection at its very cheap price.

High quality paper, beautiful photographs.
The first 60% of this book consists of photographs of women. The next 20% is of males, and the final 20% are couples (gay, lesbian, and straight).

The vast majority of the photographs are black & white and consist of young and beautiful models. There is such a variety of different images, and the same model is rarely used twice. Sexual overtones are definitely apparent throughout the book, along with a few closeups of genetalia.

It is a short book (in terms of height) but it is also quite thick. The photographs take up each entire page and the only text is the artist name at the beginning of each new group of photographs.

Amazing little book
For such a small book -- it measures just over 5"X5" -- this holds a whole lot of great pictures. From the ordinary to the sensual, this book is worth looking at. It really made me want fruit (see pages 28 and 29)!
However, for being a book based solely on perusing, the small size is rather off-putting. It's not the detail that gets lost in translation, but the impact. However, the perfect price for this lets me wholeheartedly recommend this title for those that are interested in photos of nudes. ... Read more

Book Description

The 20th edition of Sir Banister Fletcher's A History of Architecture is the first major work of history to include an overview of the architectural achievements of the 20th Century. Banister Fletcher has been the standard one volume architectural history for over 100 years and continues to give a concise and factual account of world architecture from the earliest times.


In this twentieth and centenary edition, edited by Dan Cruickshank with three consultant editors and fourteen new contributors, chapters have been recast and expanded and a third of the text is new.
* There are new chapters on the twentieth-century architecture of the Middle East (including Israel), South-east Asia, Hong Kong, Japan and Korea, the Indian subcontinent, Russia and the Soviet Union, Eastern Europe and Latin America.* The chapter on traditional architecture of India has been rewritten and the section on traditional Chinese architecture has been expanded, both with new specially commissioned drawings
* The architecture of the Americas before 1900 has been enlarged to include, for the first time, detailed coverage of Latin America and the Caribbean
* The book's scope has been widened to include more architecture from outside Europe
* The bibliography has been expanded into a separate section and is a key source of information on every period of world architecture
* The coverage of the 20th century architecture of North America has been divided into two chapters to allow fuller coverage of contemporary works
* 20th century architecture of Western Europe has been radically recast
* For the first time the architecture of the twentieth century is considered as a whole and assessed in an historical perspective
* Coverage has been extended to include buildings completed during the last ten years
* The coverage of Islamic architecture has been increased and re-organised to form a self contained section

This unique reference book places buildings in their social, cultural and historical settings to describe the main patterns of architectural development, from Prehistoric to the International Style.Again in the words of Sir Banister Fletcher, this book shows that 'Architecture ... provides a key to the habits, thoughts and aspirations of the people, and without a knowledge of this art the history of any period lacks that human interest with which it should be invested.'

*Winner of the International Architecture Book Award, The American Institute of Architects Book of the Century.

*THE source book for the historical development of architecture ... Read more

Reviews (6)

The Best Complete Book on Western Architecture
Without a doubt, this text is the Quintessential Gold Standard for introductory Western Architecture. A must have for anybody who is serious about learning about how Western Architecture has evolved over time, and with little if any bias. Its only weak area is with architectural development in Asia and South/Central Meso America. Other than that, this is my third copy of the text and it just keeps getting better. Believe me when I say, this is one book you may never want to loan out, for it may not get returned. I know, it's happened to me once already.

The Best
This is the best book written on architecture history. I have used it many times and I'm not an architect nor an architecture student. You can't go wrong with this for anyone who enjoys architecture or an architect. A wonderful gift!

Full of historical detail
Mine is a new 1975 edition (which was a small fraction of the new price). It is as much a history of the world--and an incredibly detailed one--as a history of architecture. It opens each of its 40 chapters with a discussion of a civilization or era, then describes the buildings very matter-of-factly. Sometimes opinions emerge: Louis Kahn is cited as an example of a flash-in-the-pan; FLLW's Guggenheim is criticized as impractical.

The photos are top quality B/W, often very old. Its real strength is early architecture; by chapter 35, it is only finishing up the Rennaissance. The authors are so knowledgeable, the writing so effortless, all others pale by comparison.

I don't think there's much of a market for these books outside of libraries, but those who read it will marvel at its erudition.

It's just so.....juicy!
For over a century, this has been THE classic study of the history of architecture. It is a work of art in it's own right and worth owning simply for the joy of hefting it's not inconsiderable weight and browsing once in a while - even as a layman. The text is extraordinarily readable and the illustrations are a delight. It's so packed full of information - believe me, even if you have only a limited interest in architecture you will learn a great deal that will surprise you from this book! Enthusiasts for classical and other older branches of architecture may wish to consider purchasing second-hand copies of older editions - they're somehow nicer, and devote less space to the debased modern form of the art. (Yes, I'm biased and proud of it!:) Of a reasonable collection of architectural history books, (including several larger-format, beautifully-illustrated coffee-table books in the modern style)this book is easily my favourite. It has class, style and above all, character. Buy it!

Wow! Wow! Wow!
If there ever was a book on the history of architecture this is it! So very well documented with numerous pictures and chronologies. Wow! the mother of all architecture books-well worth the price. ... Read more

Reviews (34)

Practical, to the point, effective and interesting!!!
This book is a must have, not only for people interested in learning how to draw but also for those interested in the psychology around the skill. The book explains really clearly how the drawing process works and develops, and how to achieve great results if you feel you don't have the natural skill. I have taken many drawing lessons and I already apply many of the principles in this book, however, I found it very refreshing and I enjoyed doing the exercises very much!!! I highly recommend it!

Drawing Out Hidden Talent
When my wife, an artist, received this book recently as a gift, we both had a good laugh over it, for Emma is self-taught and extremely talented in many areas of artistic expression. Good-natured and a voracious reader, she cracked open the book and was pleasantly surprised by what she learned about herself and the way humans visually perceive things. Drawing On The Right...can't turn no-talents into featured artists at big-city galleries, but it can open the doorway between the creative mind and worried hands and allow those who "can't draw a straight line" to find delight in doing simple portraits or design where there was little aptitude for these things before. Emma thoroughly enjoyed the simple exercises and her work underwent an immediate leap towards the refinement of her style. It also helped her experiment artistically with styles she'd never explored before. I relented and read it myself, amazed at my own progress with simple line drawings and determining the placement of shadow. She'll always remain the artist, but now I can better express my own ideas on paper with brushes or graphite, sketching for my own enjoyment or giving her outlines she can flesh out for me with colors and shadows. Not entirely an instructional guide, Drawing...reads nothing like a boring textbook and ventures into fascinating studies of people who've suffered brain injury and how this affects perception. A fantastic and highly recommended book for artists (even great ones), art therapists, art teachers, beginning artists, or anyone who ever thought they had no talent or couldn't accomplish anything. This book gives hope where there was none before, can boost self-esteem, and improves near-perfection in art.

80% written text, but only 20% illustration
Betty Edwards book, "Drawing on the Right Side of the Brain" is 80% text and only 20% illustration for all 254 pages, and very few of the illustrations are from Edwards.

It is a clunky and overly intellectual approach to drawing. According to p. 46, an "alternative state of consciousness" is required before one can draw. Gee, okay, if you want to limit yourself with that, go ahead.

Otherwise, Edwards shifts back and forth (virtually without warning) between unscientific New Age rhetoric and scientific empiricism. Some scientists are quite amused, I am sure, to find Edwards describing human sight like so:

"By the most direct means your visual perceptions stream through the human system--through retinas, optic pathways, brain hemispheres, motor pathways --to magically transform an ordinary sheet of paper into a direct image of your unique response." -Betty Edwards, DRSB, p. 248

If sight is "magic" as Edwards ascertains, optometrists are not doctors, but magicians or wizards. That's very coy, but boring nonetheless, even if some very dull people need to buy a book to be informed of such trivial and highly personalized views.

With a penchant for a New Age rhetorical style of writing, it is not surprising that Edwards makes a foray into discussing "Zen" by Chapter 12, entitled, "The Zen of Drawing Out the Artist Within". It's a very corny trend in American culture, when you want to baffle the audience, just mention "zen" as though both you and they knew precisely what you are talking about, the "zen" of something. It sounds very exotic and other-worldly, similar to a science fiction book or movie where they name things with lots of X's and Z's and K's. As long as nobody questions anything, the pretending isn't a problem. After all, everyone knows precisely what you mean by "The Zen of Drawing Out the Artist Within", right? Oh sure, by all means....er....um.....

I believe the real purpose that this book was written, had something to do with...."The Zen of Drawing Money Out Of Everybody's Wallet".

This book will improve your drawing immensely!
I read this book, and later took a course based on this book. In fact, the book was really all I needed. For anyone who thinks drawing is a talent you have to be born with-check out the drawings by Van Gogh included in this book. It seems Vincent was in despair and was going to give up art, until he read a book on drawing (but not this one!). The author gives a before and after example of Van Gogh drawings. The difference was amazing, and clearly shows that drawing is a skill you can learn, no matter how inept your drawing is at first. Do the tasks in this book, and while you may not draw as well as Vincent (or you may), you will be pleased with the improvement you make.

A great book!
I am incredibly happy to have found this book. I have just completed all the lessons (it took me about 6 months with a few breaks), and my family is amazed at how well I can draw now. I'm still amazed when I look at my "before" drawings. My improvement is as dramatic as the before and after pictures she shows in the book.

I checked out The New Drawing on the Right Side of the Brain from the library because I thought a new version might be more helpful. There are some parts that were explained more clearly in the New book, but it requires a lot of materials. I found it harder to stick with. It was at this point that I was almost ready to quit. I picked up the the old one again, though, and resumed the lessons. However, reading different explanations of the same concept was very helpful.

I became very frustrated because for a long time, I saw little improvement (though now I see I was pretty critical of myself). If you stick with it, you should begin to see results.

I don't think I go into "right-brain mode" every time I draw, and I was ready to give up at first because she stresses that this is the most important part. However, I have learned to draw anyway, even without fully entering into this right-brain mode. Maybe most people do experience this, but I didn't exactly as she described. Even so it teaches you the fundamentals of drawing. I took a weekend drawing class and found I knew as much as people who had taken art classes before.

I looked at other drawing books and found this one to be the easiest to follow and the most encouraging. She is very good at demystifying the process of drawing. I've heard The Natural Way to Draw is also very good, but he expects you to have access to models over a period of several months, which few people have.

I would highly recommend this book to anyone who thinks they have no talent in drawing, which is what I believed too. I'm convinced, after completing this book, that anyone could learn to draw if s/he just took the time and effort to do so. ... Read more

Book Description

illustrated with 12-page color photo insert and line art throughout

A revised and expanded edition of the classic drawing-instruction book that has sold more than 2,500,000 copies.

When Drawing on the Right Side of the Brain was first published in 1979, it hit the New York Times bestseller list within two weeks and stayed there for more than a year. In 1989, when Dr. Betty Edwards revised the book, it went straight to the Times list again. Now Dr. Edwards celebrates the twentieth anniversary of her classic book with a second revised edition.

Over the last decade, Dr. Edwards has refined her material through teaching hundreds of workshops and seminars. Truly The New Drawing on the Right Side of the Brain, this edition includes:

* the very latest developments in brain research;
* new material on using drawing techniques in the corporate world and in education;
* instruction on self-expression through drawing;
* an updated section on using color; and
* detailed information on using the five basic skills of drawing for problem solving.

Translated into thirteen languages, Drawing on the Right Side of the Brain is the world's most widely used drawing-instructionguide. People from just about every walk of life--artists, students, corporate executives, architects, real estate agents, designers, engineers--have applied its revolutionary approach to problem solving. The Los Angeles Times said it best: Drawing on the Right Side of the Brain is "not only a book about drawing, it is a book about living. This brilliant approach to the teaching of drawing . . . should not be dismissed as a mere text. It emancipates." ... Read more

Reviews (79)

Highly recommended! A great start for drawing newbies!
I have been drawing for a long time (since I was 4). Drawing is a major influence and passion in my life, so I always am looking for new art books, and new perspectives on drawing. I consider this book to be an excellent addition to any artist's (or aspiring artist's) library.

Also, I once attended a class taught by one of Betty Edwards' students. It was such a helpful and inspiring class, and everyone improved dramatically. It was a wonderful class.

Even though I am no longer a drawing "newbie", I found new insights and new ways to observe and see, thanks to this book. It truly can help new artists and "non" artists draw more accurately. It's amazing! Fabulous!

However, this book is not the ultimate book on drawing, and it should never be regarded as such. It cannot possibly answer every question, or provide every insight. It is only a first step. Drawing accurately is just one component to being an artist. (And I hasten to add, I'm REAL big on drawing accurately, I think it is important.) There is a lot of exploration and growth that each artist must undertake in order to fully develop. There will be further study of anatomy, color, line, etc. etc. This book does not pretend to teach everything, and no one should expect it to.

But, don't worry about that right away, if you are a "newbie". Get the book, enjoy it, learn from it, and then look into other books. This book will give you that needed "jump start" and will help you gain a great deal of confidence. You will be most pleased with the progress you will be able to make, thanks to this book.

Quite simply the best book on drawing what you see
Drawing is the basis of most art so this fundamental skill is taught first in most traditional settings. What this so often fails to do is teach the perceptual underpinnings of draughtsmanship, focussing instead on the academic, 19th century "école" practice (itself a product of the Renaissance studio system) of repetition, copying and study of master works which emphasise the mechanics of drawing. While valuable, for the vast majority of students this may only yield results after years of rigorous application and for some will never work.

Despite having taken the traditional art school route this book taught me that there was still much to learn about how to see. Perhaps more importantly it showed me how much misinformation I had been exposed to and had accepted blindly for many years, only to have my eyes opened (literally!) the first time I picked it up.

I haven't had the opportunity to check out this latest edition but if it is even better than the first then it will prove even more invaluable.

For beginners hoping to draw for the first time or more experienced artists who feel their drawing could take a step up, this cornerstone work will enable you to unlock your hidden potential allowing you to produce work that will surprise even you!

indescribable
Anyone who has anything bad to say about this book is
lost in space. There is no person on earth who cannot improve
after doing the projects in this book. Just one thing I would like to note: Try to take this class with a teacher so you don't give up in the middle. Once you get over the muscle pain in your right brain you'll thank yourself a million times over that you did it. You will see things you have never
noticed before and when you show people your drawings their jaws
will drop on the floor. One more thing: Never have a coffee (with caffeine) before doing the projects. You have to be very
calm and get into the drawing like a musician has to get into
the music.
I am thrilled that I am almost finished with the course, and
now I can draw almost ANY object I see.

[80% text / 20 % illustration ] & an historic falsehood
"The New Drawing on the Right Side of the Brain" by Betty Edwards

The great falsehood here is that by using some drawings from the Rennaissance, Edwards would have the reader believe that "The New Drawing on the Right Side of the Brain" is in the spirit of the "classical tradition"; but that is not so in the light of certain historical facts which even the most amateur of art historians can present.

FACT THE FIRST:

We must examine what is known of the classical tradition and Rennaissance Art and its view of drawing, and that means considering the historical view of Giorgio Vasari, himself a Rennaissance master, briefly apprenticed to Michaelangelo, and author of the 16th Century biography "The Lives of the Artists" our single most important source on the classical tradition.

As stated in the most recent translation of "The Lives of the Artists," by Julia and Peter Bondanella:

"Vasari's interpretation of his subject matter was documented and argued so persuasively that it has, in large measure, remained the dominant view of Italian Renaissance
art ever since".
-p. x, Introduction, "The Lives of the Artists" by Giorgio Vasari, translated by Julia and Peter Bondanella

FACT THE SECOND:

Having established Vasari as the genuine authority on the classical tradition of drawing, we must consider Vasari's viewpoint on the type of art theorizing which Betty Edwards uses.

"Vasari was opposed to any artistic style that exhibited pedantic book learning, academic exercise, or unusual, laborious effort." -p. xii, the Introduction, Vasari's "The Lives of the Artists" translated by Julia & Peter Bondanella

The same page cites another authority, Baldesar Castiglione, (1478 - 1529 ) author of "Book of the Courtier" which argued:

"True art, according to Castiglione, was art which did not reveal itself to be art and was produced efforlessly and without obvious signs of study and emphasis upon technique." -from p. xii, The Introduction, Bondanella translation, Vasari's "The Lives of the Artists".

In view of these two substantial facts, Edwards employs fuzzy New Age jargon to present a HOW-TO-DRAW book, heavy on fuzzy art theorizing, metaphysical rambling, and philosophical mythology. Ewards essentially has served up a FAST FOOD menu of New Age ramblings advertized as a classical feast. The combining of Asian religion with Western art is not timely at this juncture for it has already been achieved through 19th Century Impressionism, over a century and more in the past.

Funny how many people can't draw in art classes...
I started my art experience with this book, and to it I give much credit. For me, it was like a "light switch" had been turned on. One day I could not draw, the next day I could. I did take the lessons seriously, and completed the book. If you are new, this book delivers on it's promises. It doesn't matter if the right/left part is correct or not, the fact is - the methods work. There are many other things to master, but the ability to draw correctly is what separates real artists from the fake ones, of which there are many. Drawing is the foundation. If you want to learn how to draw, this book will take you where you want to go faster than any other. Later, when you are in that expensive oil painting class, and 11 out of the 15 students are stuck because they can't draw, you will be thankful that you started off with this book. You will be one of those who can at the very least render your subject correctly. ... Read more

Reviews (1)

A cornerstone for any comprehensive architecture library.
Professors Fazio, Moffet, & Wodehouse have assembled a book which is impressive in its scope and thoroughness. It covers each subject with a depth appropriate for an academic environment, but remains approachable to the average reader. The photographs and plates are numerous and richly illustrate each topic throughout the volume. Expect this book to become a standard text in the field. ... Read more

Reviews (1)

Fascinating Icon Information and Beautiful Pictures!
This is a wonderful resource for someone who would like to know more about how to paint some of the most beautiful Christian icons. There are beautiful photos of many of the most famous icons, along with step-by-step instructions on how to paint them. There is also fascinating information about the meditative value of painting icons. This book was used in our church to teach a middle-school aged Sunday School class about icons, and the kids then created their own. They were so well done that many church members asked for prints of the students' work! The students are looking forward to doing them again this year. ... Read more

Book Description

Reviews (17)

Fine Artist Guide to Marketing & Survival in Buisness World
Caroll Michels is a life long art consultant who has written this book to share her experiences and expertise with the fine art community. Well written and with plenty of helpful references, Michels' book is an excellent addition to any artist's library.

The stuff they should teach you at those art $chool$
Artists: If you are serious about gettin' famous, makin' heaps of dough, havin' all of those ... critics write about your brilliant swag, and seducin' actresses or actors, you gotta start right here with this book. Otherwise, pack it up and become an art historian or janitor at the Getty.

Seriously, this is the best book you can buy if you are considering hitting the "scene" with your goods.

Sure, she has some "cliche" statements about "getting organized" (but in all fairness, what artist doesn't need to be reminded to get organized?!) and the like, but wow...the sections on how to price your art, marketing with a brochure, the importance of contracts (!!!), grant building, etc etc. are a veritable cornucopia of practical goodness.

This book is so good that I almost burst with pleasure after reading it. I'll be willing to bet a Picasso that her consulting advise is beyond compliment.

They need to stop printing this book!
This book has some good ideas, but it is very dated. It refers to search engines and sites that no longer exist, and doesn't address new technologies and sites. A new edition might be worthwhile, but I'd pass on this one.

The Journey Begins
I am supposed to be a painter. Famous? who cares. I just want to make a living doing what it is I was put here to do.

Thank you Caroll for your book. I read it the first time three years ago. This time I'm taking notes and DOING it. One thing each day to get me to a point where I could transition careers and (pretty much) paint all the live long day.

The most tragic thing in life is wasted talent. Because of this book, I won't have to TELL my children that they can do anything, I will have SHOWN them how its possible.

A book pointing you to other books
I was disappointed in this book. Lots of "resources" listed, but the nuts and bolts boil down to the old "how to" cliches, like Get organized! A computer can help you do this! Many gallery owners are meanies! Far less than what I was looking for. ... Read more

Book Description

In the hands of collage artist Fred Otnes, control merges with chance to create works of subtle, refined beauty that are designed with such assurance as to appear inevitable, works that are infused with a mystery that is both fleeting and eternal. Otnes’s gifts are powerfully displayed in the 126 full-color images reproduced in this book.

Born in 1930 in Junction City, Kansas, Otnes trained at the Art Institute of Chicago, where he first encountered Cubist works by Braque and Picasso. The Modernist commitment to form without the illusion of depth captured his imagination, though it would be some time before he incorporated it into his own work. Otnes first pursued a career in traditional, realistic illustration in Chicago, and then, from 1953, in New York. While working for national magazines and advertising clients, he and his wife, Fran, built a house in Connecticut designed by architect John Johansen in the International style and furnished it in classic Modernist mode.

By the mid-1960s, aware of the shrinking market in magazine illustration, Otnes made a bold change in his method of working, finally putting into play the ideas that had dictated his taste and interest for years. Using newly-honed printing, photo-transfer, and collage techniques, he pioneered a unique look: multiple images across a one-dimensional plane. This was the perfect form in which to depict some of the more complex concepts of the era such as the war in Vietnam and the Civil Rights movement. At the top of his field, Otnes received more than two hundred awards for his work.

Once again sensing a change in the business in the mid-1980s, Otnes committed himself solely to creating gallery work. Fully able to explore the art of collage on his own terms, he has continued to push at the boundaries of scale and abstraction in his work, as is clear in the catalogue section of this book. The text describes his motives and motivations with each transition in his life, especially whatartist Mark English describes as Otnes’s "metamorphosis" from realist illustrator to collage artist. Otnes also discusses some of the many and disparate artists and art forms he admires, from Piero della Francesco to Richard Diebenkorn to Outsider Art. He speaks of the challenges of work, the nearly fugue-like state he sometimes achieves when in the studio, and considers the never-ending difficulties that the medium itself imposes, as well as those he imposes upon himself so that he remains interested and the work continues to grow.

With elements as diverse as appropriations from Renaissance and Old Master works, eighteenth-century engravings, bicycle patent diagrams, sheet music, feathers, fabric, and flowers, Otnes demonstrates in image after image a subtle, elegant world where imagery and surface interact, where tonal and textural shifts delight, and where secrets and mysteries emerge from the torn paper and scraped away paint. A world where beauty and meaning hover in wordless communication between artist and viewer. ... Read more

Reviews (1)

a book for all artists
Even though you may not of heard of Fred Otnes, this is a beautiful book that any artist and especially artists that use collage should enjoy and derive inspiration from. Mr. Otnes, an award winning illustrator, has made a masterful leap into the fine art world and we view this development with work from the mid 70's to the present.The reproductions are large and very well done so that we can fully appreciate his unique vision. ... Read more

Amazon.com

The arts community of Paris in the late 19th century has been gutted, stuffed, studied, and fetishized for so many years now that one could easily think there are no mysteries left to wring from this era, as exceptional as it was. This handsome title focuses on the relationship between the ribald, booming, bohemian neighborhood of Montmartre and Henri de Toulouse-Lautrec's work(1864-1901). It places his art so squarely in context that it rushes back to life and relevance. This is no mean feat, and the picture depicted in these four scholarly and engrossing essays is much clearer, stranger, and more sordid than Hollywood’s botched tribute. As discussed in Phillip Dennis Cate's essay, all manner of artists commingled in Lautrec’s dens of exploitation (circuses, dancing halls and whorehouses): Nabis, Symbolist, and post-Impressionist painters, absurdist humorists, caricaturists, anarchists, musicians, scene painters, and even proto-conceptual artists. As Mary Weaver Chapin explains, Lautrec was a pop artist before pop, with his appropriations of handbill imagery, his affinity for famous performers, his elevation of the "low" poster medium to "high" art, and his interest in perpetuating his own fame. It's easy to understand the attraction of this era; after all, so many of the cultural seeds of the 20th century were sewn in such a brief time in Paris' 18th arrondissement by (let's face it) a bunch of horny drunk dudes messed up on absinthe. --Mike McGonigal ... Read more

Amazon.com

Did the clothes make Jackie, or did Jackie make the clothes? Decide for yourself: Jacqueline Kennedy: The White House Years is a stunning catalog of some of Jacqueline Kennedy's most important dresses as worn during her years as first lady of the United States. As visually sleek and elegant as Mrs. Kennedy herself, the book offers a beautiful analysis of the stunning, simple outfits that typified the Jackie style and brought a breath of sleek modernity to the White House after the somewhat frumpy fussiness of previous first lady Bess Truman. Released to coincide with the 40th anniversary of Kennedy's "emergence" as a style icon, the book presents an eclectic selection of suits, evening dresses, daywear, and accessories from the John F. Kennedy Library and Museum collection. Divided into cities where each item was first worn, the gowns, suits, and dresses are first presented alone in a full-page color photo. Each is then accompanied by various photos of Jackie wearing the item and detailed design notes, history, and anecdotes behind the outfit.

These photos give a wonderful context to the clothes, and it's clear that Jackie's carriage and persona injected life into these garments--which sometimes appear markedly different from what one might deduce as each item's "personality" when simply viewing it alone. For example, a pale cream embroidered silk Givenchy evening gown looks dull and somewhat dowdy when seen alone, but the accompanying photograph of Jackie wearing it while cuddling a newborn John Kennedy Jr. transforms the dress into something feminine and timeless. Or a very simple, innocently pretty pink shantung evening gown by Guy Douvier becomes arrestingly sexy when she wears it with nothing but white gloves and a Palm Beach tan. Contextualizing and interpreting Kennedy's style is an important part of this book. Featured are essays on Jackie and her effect on the world of style by Arthur M. Schlesinger Jr., Kennedy friend Rachel Lambert Mellon, and the book's author and Vogue editor at large, Hamish Bowles. Jacqueline Kennedy: The White House Years accompanies an exhibition at the Metropolitan Museum of Art in New York City. --Marisa Lencioni, Amazon.co.uk ... Read more

Reviews (14)

Jacqueline Chic
This is a "must have" book for anyone who loves the beauty, style and grace of Jacqueline Kennedy Onassis, fashion and history. The beautiful fashion photography with insightful essays showcases the former First Lady as one of the 20th century's fashion icons. Her clothing, simple and modern, yet classically elegant, created by major designers of the time such as Oleg Cassini and Givenchy, reflects her visionary fashion savvy. This book will make you ask do clothes make a person, or does the inner soul and outer beauty of a person, such as the former First Lady, make the clothes?

MOST EXCELLENT
Excellent EVERYTHING!!!
A must for jackie AND caroline fans...i figure she did a lot for this and chose some GREAT photos...esp. the last one, in my humble opinion.
THE BEST PHOTOGRAPHY!!!
I LOVE IT!!! and was shocked when i actually saw it after the few not-so appreciative reviews.
TOP SHELF BOOK/TOMB.
THANKS to everyone who was behind putting this out. As my grandmother would say about such a great book, "It lifts you up." (she said that about the Sotheby's Auction catalog of JBKO's Estate.
THANKS and LOVE TO ALL!!!

Quality, Youth, Beauty, Style and Culture in the White House
Caution: If you like looking at lots of photographs of early 1960s designer dresses, you will probably like this book. Otherwise, this is probably not the right book for you.

During the presidential election of 1960, Ms. Jacqueline Bouvier Kennedy made an immense impression on American society. At 31, she was a dramatic contrast with the vice president's wife, Ms. Patricia Nixon, and recent first ladies (Ms. Mame Eisenhower, Ms. Bess Truman, and Ms. Eleanor Roosevelt). She was much younger than these women, was pregnant with her son, John, and seemed like someone who came from another world. Ms. Kennedy was highly cultured, interested in the fine arts, attractive in a way that showed up well in photographs and on television, and wore gorgeous clothes of the sort usually only seen in the best fashion magazines.

Once in the White House, her differences from other first ladies became more apparent. A major effort to redecorate the White House with authentic pieces ensued, Lafayette Square's appearance was conserved, entertaining began to feature people from the world of fine arts, the Rose Garden was redesigned, and the clothes she wore became even more magnificent. A great deal of the sense of Camelot certainly came from Ms. Kennedy.

I was disappointed in the book. For someone who had such a wide and important influence on America, the book barely seemed to scratch the surface. It is almost as though a decision had been made to create a book about her dresses on state occasions, and to mention and show all of the other influences she had as little as possible.

This book minimally and partially captures the impact she had on our national consciousness. The best essay is found in the foreword by Arthur M. Schlesinger, Jr. who provides a good overview of the influence of Ms. Kennedy (as described above) and her husband, the president, more broadly on the arts (including efforts that helped lead to the National Endowment for the Arts and Humanities, the Kennedy Center in Washington, D.C., and providing a temple from Egypt to the Metropolitan Museum in New York). Most of the book is visually devoted to her clothing during state occasions, with notes about those who created the clothes. A typical section has color photographs of the clothing on mannequins, Ms. Kennedy wearing the clothes at an event, and a black-and-white image of how she appeared in the context of the whole event.

The clothing captures what was called at the time, the Jackie look. Most of the dresses are by Oleg Cassini, Givenchy, Chez Ninon, and Gustave Tassell. There are also lots of examples of her hats (often pillboxes by Halston). The outfits are usually as simple and conservative as possible in solid colors, made special by perhaps one elegant bow or sash. Unfortunately, these sections have little material about Ms. Kennedy's views on these apparel, designs for the clothing, or thoughts about how to coordinate them with shoes and accessories.

What was most impressive to me was the success with which she selected outfits that fit in with the nations she was visiting. In France, the elegance of Givenchy enveloped her. In India, bright pastel shades made her look like part of the jungle flora. I'm sure the host nations were delighted to see their specialness magnified in her efforts to be an attractively dressed guest.

But these clothes are unremarkable without Ms. Kennedy. Like a well-known fashion model, she enhanced the clothes enormously with her youth, vitality, personality, and trim figure. So, for me, the book's real value was in seeing the many photographs of Ms. Kennedy. I especially liked the candid photographs, either talking with guests or playing with her children.

How can we recapture a sense of uniquely American style and good taste in ways that will bring approval?

What are the ways that the president and first spouse should set a good example for the rest of us?

An elegant blast from the past!
When I took this tome out of its mailer & began to turn its pages, I suddenly remembered my own set of formal white cotton gloves - long since discarded - so reverential was the aura emanating from this glossy artbook.

Jacqueline Kennedy kept it simple - most of her clothes were in solid colors with only huge buttons, cockades or discreet stylized bows, scarves, shawls or frogs for detail. In the Travel Chapter we see the simplicity of her wardrobe & her passion for colors.

Combining original & new photographs, this volume presents images we have rarely seen, as well as photos that have become a part of our national consciouness. The final one of the President & First Lady together in the open touring auto needs no words - we all know what happened next.

Certainly a treasure of memories - where we were, what we wore, what we wished we could wear. I never realized how Mrs. Kennedy acquired her wardrobe assuming, incorrectly, that she always wore top-of-the-line haute couture - when in actuality she wore "knock-offs", sometimes chosen by her mother-in-law.

For anyone who cannot make the pilgrimage to the 40th Anniversary Exhibition at the John F. Kennedy Library & Museum, Metropolitan Museum of Art in New York & who craves visions of those much-mimicked fashions of yesteryear.

An unexpected pleasure
After reading some of the reviews for this book stating it was dull and offered nothing of particular interest except alot of talk about A line dresses and cuts on the bias, I was apprehensive about wasting so much money on it.However having bought nearly every book published on Mrs Onassis I went ahead and ordered it anyway.Upon opening it I was pleasantly surprised. It was well set out,interesting and with many fine photos I had not seen, to illustrate the somewhat dry text.But the most facinating aspect of this book is to actually see what these dresses looked like in colour....after seeing numerous black and white photos of the Kennedy reception at the Elysee Palace and to hear the pink straw dress worn by Mrs kennedy described, it was mesmerizing to actually see it...no wonder she was described as radiant....and the most amazing thing is that Mrs kennedy dresses were sometimes even more interesting when viewed from the back...the intricate drapery and patterns.The photo of her in a backless sundress on the Italian Riveria is a revelation as it was worn in 1962 and was so ahead of its time...this book shows that Jacqueline kennedy had true style and is worthy of the mantle of fashion icon even though she would probably want to be remembered for her more substancial contributions.A very worthwhile addition to any devotee's library ... Read more

Book Description

This comprehensive resource provides practical information, proven management tips, and over 100 specially selected art projects to help new and veteran K-8 art teachers implement an effective art education program and make art appreciation and activities fun. For easy use, materials are printed in a big 8 ?" x 11" format with lay-flat binding for photocopying of various management aids and student project handouts, and organized into two main parts. Part 1, The Art Program, offers tested guidelines and reproducible tools for building and managing the program. Part 2, The Art Curriculum, presents 102 exciting art projects organized by medium into nine units: (1) Exploring the Elements & Principles of Design, (2) Paper, (3) Painting, (4) Drawing with Pencil, Pastels, Crayons & Markers, (5) Painting, (6) Printmaking, (7) Three-Dimensional Design, (8) Architecture, and (9) Technology: Computer, Photography, Video. ... Read more

Reviews (3)

Must have for the elementary art teacher!
If you teach art to kids then this book is definately a must have for you! Although it involves more of a general overview of what age groups should be at as far as learning skills and techniques, it does give some great general ideas as far as projects for the elementary grades! Great for a teacher just starting out and looking for resources!

Great Art Ideas.
I have several books from Helen Hume and this one is excellent for middle school the lessons are easy to follow and once you try them you will enjoy them. If you are interested in other Helen Hume book "the art teacher's book of list", is great and the Survival Kit for the Secondary School Art Teacher. They are all full of ideas and students have lots of fun.

An Excellent Art Teacher's Reference
As a first year art teacher in a public school setting, I had to figure out lots of strategies & purchased many reference books. None of them have been as useful as A Survival Kit for the Elementary/Middle School Art Teacher. Ms.Hume has obviously "been there." Her presentation of tips, ideas, & multicultural lessons are clear, orderly, & logical. Each lesson includes a page for the teacher (vocabulary, preperation, & alternative projects) as well as one for the student (materials, & directions). There is a section on suggestions for teaching each grade level & a list of themes based on seasons of the year rather than holidays (Bravo Helen). Hume also includes great strategies for writing lesson plans & managing classrooms. I can see this book becoming one of my most treasured (and used) resources. ... Read more

Book Description

Book Description

Rockport's Best of Brochure Design series is a perennial best seller worldwide. This eighth installment is not unlike its predecessors. It, too, looks at the latest of the best and the brightest brochures produced by leading designers around the world.

Brochure design is a very important and common area of design yet it often poses unique challenges for graphic designers. When stalled for ideas or grappling for a solution to a problem, designers routinely turn to their peers for advice and inspiration. This book is like having your peers at your desktop-inspiration and advice at your fingertips. It provides a wealth of ideas for choosing type, layout, photo treatments, and much more. It is a problem-solving, brainstorming, high-quality resource that is sure to spark the creativity in any reader.

It is little wonder that designers have come to rely upon and look forward the Best of Brochure Design series year after year. ... Read more

Amazon.com

"A is for Amy who fell down the stairs. B is for Basil assaulted by bears. C is for Clara who wasted away. D is for Desmond thrown out of a sleigh..." The rhyming couplets of this grim abecedarian are familiar, of course, to devotees of macabre humor, but the darkly crosshatched drawings are (as Poe put it) "the soul of the plot." Several years went by during which The Gashlycrumb Tinies: Or, After the Outing was not available in a small hardcover edition like this one, which is the true format for Edward Gorey's specialty, the adult picture book. (For those who wish to share the gloom there's a 10-copy assortment with The Curious Sofa.) ... Read more

Reviews (66)

"N is for Neville who died of ennui"
But you will not die of ennui if you open this book. It illustrates the misfortunes of 26 children with names A-Z to a ghoulishly humorous rhyme. The cover image of the umbrella wielding symbol of death and his doomed "tinies" is one of the most famous artwork out there; especially in the gothic world. Inside are drawings of the children before or after their sudden deaths. My favorite is "H is for Hector done in by a thug" with a drawing of an innocent schoolboy and two arms holding a long piece of cloth in the background. No doubt this scene was inspired by the barbaric cult that practiced ritual strangulation known as the "Thuggies." The most gruesome drawing is "K is for Kate who was struck with an axe" the rest are more witty than grisly. Like the title, this book is tiny in size as well but big on macabre humor!

DARK FUN
Edward Gorey's illustrations, those spindly, dark and often macabre etchings of pen and ink, are instantly evocative - they place you in a dark, vampire-ish Victorian-era place, where behind every curtain lurks another pair of hands with a scarf, ready to choke you. This truly inspired, and hilarious, collection of drawings and their accompanying poem, detail the ghastly deaths of 26 children, one by one, through the alphabet. Whether you are a fan of Gorey's large paperback compilations, or of his spectacular set designs (Dracula), or not, this book is strictly for those with a twisted sense of humor. And if yours is, you will love it. Since I first read this 20 years ago, friends still quote it - "A is for Amy who fell down the stairs...."

Drop-Dead Humor from A to Z
Edward Gorey's dark subversion of children's alphabet books is a tiny book guaranteed to bring a sinister smile to the face of every one with a twisted sense of humor. Opening with "A is for Amy who fell down the stairs" and running all the way to "Z is for Zilla who drank too much gin," the simple but inspired rhymes combine with Gorey's pseudo-Victorian Gothic crosshatch illustrations to wickedly funny effect.

Although his disaster-specific illustrations (such as "R is Rhoda consumed by a fire") are macabrely witty, Gorey is really at his best when he leaves the most to your imagination. Consequently, it is really his illustrations of impending doom ("P is for Prue trampled flat in a brawl") or the shocking aftermath of an unknown circumstance ("K is for Kate who was struck with an ax") that are most likely to inspire a mischievous grin.

Although you might not want to give this to your anxiety-prone niece or your traumatized stepson as a Christmas stocking stuffer unless you wish to make them worry about your intent, older children will likely find it every bit as comical as adults--but adults are the real audience here, much more likely to catch the drop-dead humor involved. Wickedly amusing and sinisterly charming in every way.

GFT, Amazon Reviewer

Cute and Creepy
This is for anyone with that sense of humor that most people just don't seem to get. A genuis dark twist on teaching the ABC's... very delightful.
~CS112_tih2

A cool little book
I'm so surprised to find this book here! I actually have this one! My cousin bought it for me, knowing my morbid sense of humor. It's pretty funny if you have my kind of humor. ... Read more

Amazon.com

To achieve the quiet beauty of his art, Andy Goldsworthy spends long hours in rough weather, engaged in a tug-of-war with nature. He wrestles heavy stones on top of one another to form tall, egg-shaped landmarks known as cairns. He painstakingly covers fallen logs with bright golden bands of Dutch elm leaves—a last hurrah for a proud species decimated by disease. He pulverizes white chalk to lay a long, wandering path in the woods that gleams in the moonlight. Works like these are as much about the transience of life as they are about a sense of place and the pleasures of color, light and form. In Passage, the British artist's latest book, he once again provides diary excerpts that chronicle his daily successes and failures. The lush color photographs he takes to document peak moments of the birth, glory and decay of his art are as beautiful as ever. Unlike the other books, however, Passage--which begins in 2000 and darts back and forth over the next few years--is shadowed by a more urgent sense of mortality. Goldworthy's recently deceased father is in his thoughts, and a major project he tackles is the memorial Garden of Stones for the Museum of Jewish Heritage in New York. The garden's giant boulders pose many difficulties--finding the right ones, acquiring them, moving them, experimenting with cutting processes and coping with the elderly stonecutter's frequent tantrums. Hollowed out, the stones will be filled with trowels of earth (a ritual recalling burial) and tiny oak saplings, symbolic of life. "The partnership between tree and stone will be stronger for the tree having grown from the stone, rather than being stuck into it," Goldsworthy writes in his straightforward style. (An essay about this project by the historian Simon Schama, previously published in The New Yorker, is one of several pieces by other writers included in the book.) Once again, Goldsworthy succeeds in showing how seemingly simple ideas and actions can deeply engage both natural forces and human emotions. —Cathy Curtis ... Read more

Reviews (4)

A Real Joy
My family and I recently bought a farmhouse in Provence, something we've been dreaming of doing for a very long time. It's been a joy to restore our new home, but even more of a joy to simply live in it and enjoy it. This book has been invaluable to us in the restoration of our home, and, even if it hadn't, the 200 full color photos of 16 gorgeous Provencal homes make it worth owning.

Bright yellow and bright blue are the traditional colors of Provence and we've used them in our home for everything from the kitchen tiles to the wash on the stone exterior to the fabric that covers our furniture. Like many of the homes in the book, we've let old timber beams remain exposed and a jumble of copper pots and pans, as well as fresh herbs from our garden, hang on a pot rack in our kitchen.

Like the farmhouses in the book, our house has huge stone fireplaces in the living room, the bedroom and the kitchen. We've learned to use these fireplaces the way they should be used and I'm sure they'll come in very handy this winter (here in the mountains of Provence, it gets cold, unlike the warmer winter temperatures of the coast).

THE PROVENCAL HOUSE not only explores traditional farmhouses like ours, it details town houses and manor houses as well and you can find a wealth of styles to choose from, from traditional to very contemporary (the traditional, however, has been my choice).

You don't have to be a resident of Provence like I am to enjoy THE PROVENCAL HOUSE. Francophiles in other countries can learn how to decorate their homes in the Provencal style, a style that is both comfortable and lovely.

I love this book. I've found it informative, helpful and a real joy just to look at.

great inspirational book
I can be critical of design and house books after seeing so many, so it's a relief to finally be able to give a book five stars. The photographs are authentic and detail everything from interior to exterior, including gardens. The essence of French provincal style is captured and distilled here. The writing is clever and concise, although you'll hardly notice it because the pictures are so brilliant. This is an essential book if you're trying to capture the French provencal look in house design or interior design. This book gives you an authentic source reference.

Beautiful Book!
I'm an architect with the task of designing a "French" style home. This is one of several books I ordered to use as references. The appeal of this book for me is that it includes exterior architecture, interior design/decor, & gardens/landscapes. It is extensively illustrated with color photos & captions (my kind of book...). I can't critique the text because I have not yet had time to read it. But I can't get enough of the pictures!

Breathtaking
I picked this book up from the table of new releases at a local bookstore, sat in a chair, and didn't move except to turn the pages for the next 90 minutes. In more than 200 color photographs, The Provencal House explores the beauty of 16 Provencal homes - interior and exterior details, uses of color playing off the landscape, curves and arches and doorways. It's a beautiful celebration of an architectural way of life rooted in the land and its traditions. ... Read more

Book Description

Among the most popular and ubiquitous sculptures in nineteenth-century America were the ship's figurehead and the cigar-store Indian. The vast majority of these engaging human figures were created by shipcarvers-highly skilled artists celebrated for their masterful figureheads but who collectively made tens of thousands of shop figures as well, from fanciful representations of American Indians to firemen, baseball players, and fashionable women.

Shaped by nineteenth-century Anglo-American values, this artwork reflects the tenor of the times, including racial and gender stereotyping, America's emerging popular culture, and the birth of modern advertising techniques.

The Shipcarvers' Art is the first book to assess the artistry and history of these two closely related genres in a single volume. Richly illustrated and elegantly written, it reveals the intertwining of art, commerce, and shipcarving in nineteenth-century America. On March 22, 1856, for example, only four months after Henry Wadsworth Longfellow's poem Hiawatha was first published, the clipper Minehaha was launched at an East Boston shipyard. Its figurehead depicted a renowned English actress in her role as Hiawatha's wife, Minehaha. Central to the festivities surrounding the event were poet, actress, and shipbuilder--and a fictional image of the Native American.

Ralph Sessions not only highlights the work of shipcarvers throughout the eastern United States and Canada but also presents new information on carving workshops in New York City, America's key shipbuilding center from around 1820 until after the Civil War.

Just as they were vanishing from the bows of ships and city streets around the turn of the twentieth century, figureheads and shop figures began to experience renewed interest as museum pieces and collector's items. Representing a milestone in scholarship on the subject, The Shipcarvers' Art magnificently brings them alive once more for art lovers of the twenty-first century.

Reviews (1)

Welcome addition to the canon
I collect figures. I have read the books that are used for reference. I have seen the exhibit that was chaperoned by Mr. Sessions (Sandwich,MA., NYC,NY & Baltimore,MD). I am a student of the art he describes! I was impressed by his scholarship, his easy east coast art scene style of writing, his photography/graphics, his hommage to Ms. Sanburn, Mr. Pendergast & Mr. Fried (I knew him). This is not a picture atlas. This is not a coffee table book. I would have liked to seen/read more especially regarding the social relevance of color race &c.(the folly of the time theirs & ours) but this is another matter! I RECOMMEND this book to all who treasure american sculpture.The vulgar artist is finally getting his place(WELL DONE Mr Sessions! What is next?). ... Read more