Book Description

Hailed by readers and critics across the country, this engrossing biography of Mexican painter Frida Kahlo reveals a woman of extreme magnetism and originality, an artist whose sensual vibrancy came straight from her own experiences: her childhood near Mexico City during the Mexican Revolution; a devastating accident at age eighteen that left her crippled and unable to bear children; her tempestuous marriage to muralist Diego Rivera and intermittent love affairs with men as diverse as Isamu Noguchi and Leon Trotsky; her association with the Communist Party; her absorption in Mexican folklore and culture; and her dramatic love of spectacle.

Here is the tumultuous life of an extraordinary twentieth-century woman -- with illustrations as rich and haunting as her legend.

Reviews (21)

The Best Book on Frida Kahlo
One cannot live in the modern world without regularly encountering self-portrait images of the beautiful and tragic Frida Kahlo. Whether on coffee mugs, t-shirts, posters, or Mexican artifacts, Frida's exquisite face with its darkly joined eyebrows and beribboned hair is immediately familiar to most observers, even if they do not know who she was. Yet Frida Kahlo's popularity in the twentieth century can be wholly attributed to her brilliance. Unlike the work of most modern artists, almost all of her 200 paintings depict realist, surrealist, and primitive self-portraits symbolizing the concerns and agonies of her life. Hayden Herrera's fine biography is still, seventeen years after its publication, the champion text on one of the most important, original, and phenomenal painters of our time.

Frida was born in 1910 (the year the Mexican Revolution began)to a Mexican mother and German father in the same cobalt blue house in Coyoacan, a suburb of Mexico City, where she later worked and shared her life with the great muralist Diego Rivera. Ironically, it is the house where her life also ended. Today it is a museum, open to the public and still festooned with her beautiful collections of retablos, pottery, and Mexican folk art. Frida's life was consumed by pain as a result of suffering polio at age 6 and a bus/trolley collision as a teenager when, thrown from the bus, she was gored by a steel rail. Frida spent most years of her life bedridden and in body casts (which she also painted)after some 30 surgeries meant to alleviate her suffering. Throughout her life,and even while prone in a bed with a mirrored canopy, she painted herself because of the focus created by chronic pain and said, "I paint self-portraits because I am so often alone." Her self-portraits suggest deep meanings as her face is always encircled with images derived from her physical and psychological life. The paintings are vibrant and, typical of many of her women contemporaries' works, tiny.

Hayden Herrera's book presents a comprehensive life study of the great artist, incorporating photographs, diaries, letters, painting reproductions, eye witness accounts, and local history and politics in the most readable, enjoyable, intelligent work available. An art historian, Ms. Herrera is thoroughly knowledgeable and writes beautifully, as well. One will be as engrossed by this book as by any great novel. Her work convincingly recreates the scenes from Frida's life and populates them with important contemporaries Frida knew and loved, including Andre Breton, Leon Trotsky, Tina Modotti, Pablo Picasso, and, of course, her own Diego Rivera who called her the greatest painter of our time.

There isn't a more engaging biography available about Frida Kahlo (in second place is Herrera's other text, Frida Kahlo:The Paintings), and one need not be an art student to be enthralled by this work. Ms. Herrera's compassionate, energetic account will capture anyone who wonders just what Frida Kahlo was like--her inspirations, occupations, and truly vivacious approach to her one very painful and amazingly productive life.

Thanks to this book, I discovered Frida!
It was thanks to this wonderful book that I discovered Frida Kahlo, who is now my heroine. I have read many books about her, but this is absolutely the best one. It made me laugh - and weep, too, because I could really feel Frida`s pain in my own body...
Today I am probably Sweden`s biggest Frida - fan, and I drive everybody crazy talking about her all the time! Thanks to her, I have started to paint and draw a lot, I dare to wear crazy clothes - and I dare to be my self.
Thank you, Hayden Herrera, for writing such a great book...

Complete and Complex Like Frida
Hayden Herrera has written an excellent portrait of the great artist Frida Kahlo, complete in thought and tender in describing a woman well lived.

Frida Kahlo is the ultimate survivor and represents women for their strength, tenderness, fierceness and suffering compassion. She lived during a time when women had few rights, especially Mexican women, she faced the dreadfulness of the Mexican Revolution in her early years, a bout with polio, a horrible bus accident that attempted to cripple her for life, an often unfaithful husband, criticism of her dreams, activism, accused Communism and many exciting adventures in life. She lived a true artistic life and her paintings represent the complicated nature of her inner soul. She loved hard and fought often, for her rights, her dreams and her man. While bed-ridden and suffering in the severest of agony she taught herself to paint, her body encased in a huge white cast, she painted to survive and reached the other end with a unique perspective on art. Her life and home were surrounded with color, a rainbow that never needed the promise of something golden at the end. She danced her own rhythm and never stopped walking her own path. This is a woman to be admired!

Herrera does an excellent job as the biographer of this phenomenally complicated woman. Her research is thorough and her suggestions entirely believable. You will be transported back in time into the life of a controversial woman who deserves every ounce of recognition that Herrera has given us.

A thorough rendering of an artist's life
This biography is a complete, engaging 440-page effort of sheer reportage. Herrera, an art historian and curator, has also written a book on Kahlo's art, and books on Mary Frank and Matisse, and you can see evidence of her thoroughness on every page. The book traces Kahlo's life by setting up the lives of her parents (her father was an Austrian immigrant to Mexico) all the way to her death and funeral with great detail. As Herrera follows the path of Kahlo's life, she includes letters to and from Kahlo, Kahlo's journal excerpts (illustrations, words and poems) and explicates Kahlo's art as it becomes relevant to the storyline of her life, either because paintings were done around the time of narrative points or because they illustrate incidents or themes in Kahlo's life. There are two color-plate sections and two black-and-white photo/painting sections to which the reader may refer.

Frida's life is certainly compelling, and Herrera doesn't need to resort to emotional language or hyperbole to make her interesting -- and, thankfully, she doesn't. The narrative is quite matter-of-fact, and illustrated with the subjects' own words, one feels that one can get to know Frida, and her husband, Diego Rivera, pretty well, for being somewhat removed from them (at least I feel that way living in the twenty-first century in Arkansas). The book incorporates the commonly known facts of Frida's life -- her devastating tram accident as a high-schooler in which she was impaled on a shaft of metal handrail, her turbulent and deep connection with and TWO subsequent marriages to Diego Rivera, her Mexicanista loyalties and sensibilities, her affair with Trotsky, her personal flamboyance and her great talent -- with the over-arching idea of Frida's alegría -- or happiness, joy -- in the face of her many hardships. As one of her friends said, Frida was a woman who "lived dying." Her many health problems and her problematic and sometimes painful relationship with Rivera were great obstacles to her, but her flamboyant alegría appears throughout her life as a constant, a will to enjoy, to overcome.

I think what the book offers most is Frida's personality, explicated as carefully and well as the paintings, and the effort helps inform the viewer's assessment and response to her work. Using Kahlo's own words often, Herrera allows Frida to tell us herself her reactions to incidents, events, her successes, her health problems.

She writes to her dear friend and medical adviser, Dr. Eloesser, in the United States when she is struggling with the decision to amputate her increasingly problematic foot: "My dearest Doctorcito: [The doctors] are driving me crazy and making me desperate. What should I do? It is as if I am being turned into an idiot and I am very tired of this f---ing foot and I would like to be painting and not worrying about so many problems. But, it can't be helped, I have to be miserable until the situation is resolved..."

This passage is emblematic of Kahlo, mixing her crass language with her charming endearments to her friends, her concern for her health and her resignation to the situation, "it can't be helped..." She often curses, refers to her reader as "kid" and to money as "dough," in English.

Herrera points out points at which Kahlo is not completely forthcoming with truthful details, for instance her age, the length of time she spent hospitalized at various stages, and her changing view on whether she was a Surrealist painter or not. She also illustrates Kahlo's changes in terms of the political situation of the international Communist party, her views about Trotsky, and her public vs. private comments on Diego's never-ending philandering.

In a book on Kahlo, these life details are relevant to her art because her art is confessional and personal. She's a "Sylvia Plath" of painting and mines her life and emotions for subjects until the end. Not long before she died, she had resolved her priorities, telling a friend, "I only want three things in life: to live with Diego, to continue painting, and to belong to the Communist party."

The people around her were deeply important to Frida Kahlo, and to the end of her life, she adored her friends, wrote winning and charming, caring notes to them, and wanted them around her at the end. Her love of others plays itself out in her political beliefs; she toured the world as an artist, but she drew her subjects and methods from Mexicanista traditions, and popular as well as pre-Columbian culture. Her personal illustrations are appealing because of that understanding of others, and Herrera's sound biography renders Kahlo's work and life even more poignant and remarkable. It's a good book. I recommend it.

(I do wish that this book had Frida Kahlo's own art or a photo of her on the cover, rather than a photo of Salma Hayek as Frida Kahlo.)

Frida Kahlo is Alive and Well
The greatest compliment one could offer a biographer is that she has brought to life her subject with honesty and insight. Well, I offer this compliment to Hayden Herrera. It is supreme understatement for me to observe that the Mexican artist, Frida Kahlo, was a complex person filled with great contradictions. Yet, through liberal use of Frida's letters coupled with Herrera's own insightful analysis of her painting, "Frida" brings this great artist to life for us to bask in her brilliance, energy and strength. "Frida" is one of the most remarkable, illuminating and fulfilling biographies I have ever read. I highly recommend this magnificent book. ... Read more

Book Description

Reviews (8)

ok, worth it cuz its cheap
This book is worth the money 'cuz its so cheap. The reproducions arent really that good, and there are some problems of provenance: the cover drawing attributed to Leonardo, but it is by his master/teacher Verrocchio.

drawing enthusiast, don't buy it
if you are a Da Vinch zealot, you should have it. but, if you need some drawings to study or copy it. don't buy it. the quality of print is not that good, there's a bunch of Da Vinch's memos though...i doubt it's useful for a drawing enthusiast..pretty sure that it's invaluable for people who are studying "Da VinchSTICS".if you are a drwaing enmthusiast you'd better buy da vinch's another drawing books.....

drawing enthusiast...don't buy it
if you are a Da Vinch zealot, you should have it. but, if you need some drawings to study or copy it. don't buy it. the quality of print is not that good, there's a bunch of Da Vinch's memos though...i doubt it's useful for a drawing enthusiast..pretty sure that it's invaluable for people who are studying "Da VinchSTICS".

Excellent insight into Leonardo Da Vinci
Interesting book detailing the life and thoughts of Leonardo Da Vinci. Historical context of the period and biographical information is included. Reading gets a little dry at times. Excellent resource book. Specific topics can be looked up to discover da Vinci's wisdom and insight.

Leonardo's Masterworks
This 2-Volume collection published by Dover wonderfully exhibits Leonardo's works with his sketches, designs and ideas. If you ever wondered what Leonardo thought, then these are the books to get. The book is set up with the text in two columns; the left in the original Italian, and the right side in the translated English. In those words are written of Leonardo's philisophical ideas, lives of where he lived and his surroundings, his theories on color, perspective, proportion, architecture, foliage, physiology and so many other things that the Great One was curious about. Througout the book and amidst the text are Leonardos sketches, thumbnail sketches, workings of famous pieces such as the Last Supper, some anatomical drawings - and in those pages you can see Leonardo's handwriting which he tended to write backwards. The value and reference is endless, especially for the artist. This edition is reprinted from the 1833 version originally entitled "Literary Works of Leonardo Da Vinci." This is a 2-volume set, which is sold seperately, but for the price, it is so worth the money. Highly reccomended! ... Read more

Reviews (2)

Fine photography
Outstanding photography

I sent this book as a gift to my brother, who is a printer. He thought that pains had been taken with the photography to produce such fine prints. He compared it to another book of Restoration painters that he had once bought at the Guggenheim, having been thrilled with the original exhibition, but said that the Restoration photography had been careless and therefore did not print well, whereas the Hermitage collection exhibited outstanding photography. I didn't buy books that were available in St. Petersburg at the Hermitage because they didn't look good, but these were both beautiful and plentiful. I can't comment on the accompanying text, as I didn't read it.

A BEAUTIFUL TOUR OF THE HERMITAGE GALLERY!
I had very high expectations from "Paintings" when I ordered it, and they were all met! The volume contains beautiful fine quality, mainly full-page reproductions from the famous collection. "Paintings" is a beautifully designed, very substantial size volume which also offers Colin Eisler's very informative yet not imposing style of writing with which she guides us through the many periods of western art and the history behind Catherine the Great's collection. I, a Russian, can only appreciate the thoroughness with which the Hermitage collection is compiled in the "Paintings." I bought it along with "Paintings in the Louvre," both volumes are of the same format as if in the same series and will always be our priceless source for admiring some of the world's most treasured canvases. ... Read more

Book Description

Artists and creatives of all kinds who are looking for new ways to liberate their artistic imagination will love this book. Readers are invited to playfully explore various aspects of visual art, such as light, color, texture and design through a series of imaginative art projects. Artists will experiment hands-on with dozens of techniques and mediums in new and unconventional ways including: * Capturing whites with crayon and wax resist * Glazing and floating colors * Portraying the patterns of nature with sedimentation and precipitation * Loosening up with gesso painting and printing with plastic * Constructing a new piece of art from old work * Experimenting with three-dimensional assemblage * Creating a street map In addition, artists are prompted to challenge their imaginations by building new painting surfaces, creating their own personal symbols and more. Further inspiration can be found in a gallery of work by more than 30 contributing artists. Celebrate Your Creative Self is a fun, no-fail guide every artist should have. ... Read more

Reviews (6)

Great exercises, misleading title
Like the other reviews state, this exercises in this book are great; in many ways, it IS a workshop in a book. However, I think the title, the subtitle in particular, is slightly misleading. There isn't much in this book to really "unleash the artist within." Instead, the exercises provide more of a "how to" achieve this or that effect. If you want a book to tell you how to create paintings using a less than "normal" technique, this is the book for you; if you want a book, to "unleash the artist within," I would keep looking.

Get It!
Everything in this book is fabulous: pictures, instructions, suggestions. . .It's like having a workshop in your home to attend when you have a few moments.

No Experience Necessary!!
Even if you are not entirely sure which end of a paintbrush goes into the paint, with this book you can learn to create a painting in an afternoon which will convince your friends you've got an M.F.A. If you've ever bought art supplies and books and not used them because you felt you could not create satisfactory representational images, give yourself a break and try these techniques of meaningful abstraction. Compared to the cost of a workshop, this book is inexpensive and well worth every penny. It's packed with worthwhile content. I truly believe every person who loves art has all they need inside them to make great art themselves. It's not about expensive materials or years of education--which are great if you happen to be fortunate enough to have them--all you really need is the passion for color and paint. You don't even need a brush. Start where you are and go for it! P.S. That piece of stiff cardboard that comes in the bottom of your Amazon box makes a great painting support with some canvas taped to it!

A Workshop in a Book!
This book is a must for anyone wishing to explore different methods and ideas.The book is beautifully laid out and is a pleasure to look at.The artist presents her ideas in clear concise language with many good illustrations.I liked the small 'boxes' that contained suggestions or comments.There is also a helpfull list of materials used with each project.If you are unable to be at a workshop with Mary Todd Beame this is will help create one in your studio.It is a book that you will return to often for ideas and inspiration.

Simply Inspiring!
I've been a three dimensional artists for almost ten years, but have been intrigued by many other mediums of art for a long time. Mary Todd Beam's book is the best book I've seen to help you feel comfortable trying new techniques and inspire using these methods in your own unique way. When I got this book I couldn't put it down... it is now in my studio and I love the results from my experimentation. I highly recommend this book to both novice and accomplished artists. ... Read more

Amazon.com

A benchmark for intelligent, engaging nonfiction, this superbly designed book is written and illustrated with a lushness that takes the breath away. Robert Cumming is chairman of Christie's education department: he knows his art history.But he also knows how to seduce you with the sheer beauty of the material, and the well-placed pointer to telling details.Fifty double-page spreads cover artists from da Vinci and Rubens to Monet, Picasso, and Pollock. Each spread is a concentrated master-class on the life, the style, and the influence. Check out the luminous full-color reproductions of "Bacchus" and "The Conversion of St. Paul," then read the opening sentence above them--"One of the few great artists to have a criminal record, Caravaggio was violent, loutish, and frequently under arrest"--and see if you can resist the temptation to read on. Great Artists is a dream of a book that adults and their older children will fight over. (Ages 12 to adult) --Richard Farr ... Read more

Reviews (2)

A gorgeous and informative book!
This oversized book has dovoted 2 pages to each important artist from the 1400's to Jackson Pollock. As with all D-K books, the reproductions are wonderful and the information is fascinating. The arthor gives a mixture of facts about the artist's life, painting of the period, key works of the painter, and other events happening in the world at the time. I love this book!

Attractive Overview
Teachers commonly say that they learn more about a subject from teaching it than from being a student. In part this is because so much of what we practice is unspoken and intuitive, while teaching requires a certain explicitness and may be most effective when the essence of a subject is portrayed in a simple, impassioned, and powerful way. As a result, one can often learn a lot from brief, introductory overviews of a subject, as is the intention of this attractive, large-format picture book. Several years ago, the author (who is head of the education division at ChristieÕs) wrote Annotated Art (1994), a companion volume in which diagrams, close-ups, and marginal notes were used to analyze 45 key paintings; and, since then, a similar book was produced by the same publisher about the history of architecture (Neil Stevenson, Architecture (1997)). In this third volume in the series, 50 more paintings (different from those in the earlier book), are arranged chronologically, displayed, and discussed in annotations, using introductory paragraphs, marginal notes, biographical highlights, related works, quotes by and about the artists, and short lists of non-art concurrent events. While the result is necessarily superficial, it is also a welcoming, valuable way to be introduced to art history. (Review from Ballast Quarterly Review, Vol 14 No 2, Winter 1998-99) ... Read more

Book Description

This is a landmark book for artists.

This edition catalogues the changes in watercoloor paint manfufacturing since the first edition in 1991 and 1995. Ten new companies have been featured, bringing the total to 29. The information in this book enables the caring artist to buy their expensive materials with confidence. The 'bible' to many and a must for the concerned artist. ... Read more

Reviews (12)

The least favorite book of my collection
Inaccurate information abounds. Tiresome reading. Little good information. Overly expensive...sorry I bought it.

valuable resource
This exhaustive (not to be confused with exhausting) research-based volume should be mandatory reading for all those artists interested in giving their customers their utmost quality of paint on works of art sold.So many paints are not light-fast, or are 'fugitive' (absolutely unreliable), or are packaged by the manufacturer as 'new' colors when they are, in fact, only creative blends of basic colors that any artist can create with colors they likely already have.This book, covering many of the watercolor paint producers in the Western world, exposes these flawed paints, but also gives credit where due to the top-notch pigments and their manufacturers.Details of content, health ratings, color-fastness and quality of brush use are easily understood.Fantastic color swatches (before and after exposure to light) are beside each manufacturer's sample.My only complaint is that this is the only edition available (pub. 1991), as the author said it would be updated periodically, which does not yet appear to have happened.There were only a couple of Quinacridone colors 12 years ago at the time of publication, whereas there are many more now.

outdated poor quality book, dont waste your money
a poor quality book, badly written and full of mistakes. wilcox is clearly a charlaton, he rants on about other paints being poor quality whilst trying to sell you his own.
I do not recomend this book to anyone.
buy it at your peril

An Informative Book
M. Wilcox's book is a goldmine of information, especially if you are new to watercolor paints.He discusses several topics that are of interest to the artist:discriptions of color on the tubes of paint; individual pigments and what is known of them; and while this is aside from the main topic - a brief history of the individual neutrals, primary & secondary colors.While he doesn't explain the exact methods of testing for each pigment, he states that he uses the ASTM ratings as far as possible and that his own "controlled" testing is for confirmation purposes and through out the book one can find examples where there were no ratings given with an explanation why. He also states that his own ratings for lightfastness, his ratings in "Box 4" and his written assessments of the paints are "my own assessment and should be treated as such" (pg 14).
I noticed that some color lines were no longer available, he includes details about them because many still have a supply on hand.He also gives descriptions of the various companies and a picture of the tubes of paints and gives some kind of idea the strength of the tubes themselves.While this may not be helpful to some, it was to me.I have neurological problems with my hands and there are certain caps I can open more readily than others.Another part of the book I liked were his "confessions" and admitting that his word was nothing but his own opinions.
The color examples I never paid attention to except generally, because, being an artist (albeit in another area) I realize there is a vast difference in reality and the printed version.On the down side, I found the arrangement of pigments annoying, I think that portion could definately use some rework.Also, annoying - the incorrectly spelled words.Where were the editors?There are some of his deductions that I totally disagreed with, due to the fact that I have used a few watercolors in my monoprints.But I believe that each one of us has his/her own opinion and naturally there will be disagreements about whether this color is good or not.Also, it is possible that a "bad" tube of paint escape the company's quality control people.
Overall, I think this book is a must read, especially if you are new to theworld of pigments. Thumbs Up!

Out-Dated and Misleading Information
I bought this book expecting scientifically verified tests of the various pigments used in all the major (and some minor) brands of watercolor paint. Sadly this is not the case. First of all nowhere in this revised edition is it stated real-world testing of the various paint brands and pigments was re-done. Since the book was first published practically every watercolor manufacturer has revamped their line to offer more lightfast and permanent pigments. Nowhere in this book did I see evidence of new testing and a lot of information is out-dated. Quite a few brands that don't exist anymore are still included. For example, the U.S. corporation Colart Americas, Inc. (owners of Liquitex since year 2000 [and now also the owner corporation of famed Winsor & Newton!], quit making Liquitex watercolors years ago in order to focus that brand more on the acrylic market.

The guide states no evaluation of any companies' brands of student grade watercolors was done - only artist grade paints are covered. But here's an example of why I'm suspicious of the testing claimed by this book - I bought some DaVinci watercolors based on the praise they received in the book and immediately noticed the brand is "student grade" in quality. The filler used is so high that the chalky appearance of the watercolor squeezed out onto my palette is visible to the naked eye once its had a few minutes to begin to dry. It doesn't have any clarity or beauty of my Winsor and Newton, Daniel Smith or Holbein watercolors. If you wish to see it for yourself merely buy a single tube of DaVinci watercolor, squeeze out some onto your palette, mix a small puddle of the paint with water then let the puddle of paint dry a bit. You will see exactly what I'm talking about. If visible-to-the-naked-eye chalky filler doesn't shout "student grade paint" I don't know what does.

Another note about DaVinci watercolors - Mr. Wilcox has contracted the DaVinci company to supply the watercolor paints used in his own paint brand for the School of Color correspondence color mixing course. Nowhere in the guide does he disclose this commercial arrangement with the DaVinci paint company. I think it only fair that artists should be made aware of this fact in a guide that posits itself as an un-biased guide to watercolor brands.

I also found his constant harping on "gummy" paint odd. Since I like to be able to control the runny-ness of my paint I don't see thick-or-thin-ness of paint out of the tube as a problem. How difficult can it be to simply add water or ox gall medium anyway? And what does "gumminess" have to do with the lightfastness of the paint being discussed - which is the main thing this book claims to be handing out grades on?

Given these flaws - inaccurate information, very out-of-date information and less than un-biased reporting I can not recommend this book for watercolorists in good conscience. A better book is Hilary Page's Guide to Watercolor Paints. Furthermore, she explains exactly how she conducted her tests and under what conditions. An added bonus is that she tries to keep the book current by giving regular updates on new pigments, new watercolor brands or reformulations of existing brands on her website. It's really sad that I give such a low mark to Wilcox's Guide to Best Watercolor Paints. If the author took the time and effort to conduct tests similar to what Hilary did it could be a great resource. What a wasted opportunity.... ... Read more

Book Description

This early autobiography, which takes Dalí through his late thirties, is as startling and unpredictable as his art. On its first publication, the reviewer of Books observed: "It is impossible not to admire this painter as writer ... (Dalí) succeeds in doing exactly what he sets out to do ... communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray." Superbly illustrated with over eighty photographs of Dalí and his works, and scores of Dalí drawings and sketches.
... Read more

Reviews (6)

A mess
This is not Dali revealing honestly about himself, his work, his life: This is 400 pages of Dali promoting Dali, being Daliesc: which means shocking people. This book covers a time period from his birth to the outbreak of World War II, at which time he was mostly known for being a shocking surrealist, not necessarily as a great painter yet. The book is used more to promote himself to the public at that time in his style of the time (shocking, unexpected, deviant) rather than reveal the secrets of his work and style. Heavy heavy influence of Freud and psychoanalysis; the text becomes so introverted and self-analytical that it is almost unreadable much of the time. There is a 4 page discussion of a piece of mucus on a bathroom wall; one page about the painting The Persistence of Memory. Somewhere along the first or second chapter you learn something about how his style developed, in the rest of the book you learn that he has a huge ego and a nasty cruel streak, to the point where you really start to dislike him as a human. I have been to the Dali museum in Tampa, seen his works in other museums: He is a genius of a painter. This book is a waste of time unless you are truly truly die-hard. The reviewer who thought it was a comedy and laughed at every page has serious issues.

Funniest Book Ever
This book, without a doubt, is the most hysterically funny thing I have ever read. Dali is some kind of weird comic genius, and I am not exaggerating when I say that I laughed out loud on every page. Whatever you think of Dali's art--and I've never thought much of it myself--this book is a guaranteed laugh riot.

Dali Grasps More Than His Own "Secret Life"
Salvador Dali is a genius, and even though I really do think that it is redundant to say genius and Salvador Dali in the same sentence, it serves it's purpose. This book, so intimitely perverse yet, cunningly understandable sets an example for man kind at it's best. Who has ever dreamed of conducting their own experiments based off of their wildest dreams? Or plunged off of a stair case to give the example of anti-limitation? How about searching their entire life for their one true love, ignoring all possibilities of just a fling or a relationship without meaning. Everything has meaning to Dali, and he brings that meaning to real life. I know that I have always wanted to explore my wildest dreams in actuality, and this book gives me the power to overcome what other people think. Salvador realises that what others think is important, but he knows that their thoughts and actions, when based upon his own unpredictablity makes a hell of a show for the audience within. Through this book you will learn to think outside the box and everything for one instant will make sense in your mind. Or you could read it without knowing what you are getting into exactly and become the most disgusted person on Earth. That doesn't matter though... all that you have to do is comprehend, and he will help you with that.

Revealing Self Portrait of a Great Artist
This book reveals that in addition to being one of the century's greatest visual artists, he was also a tallented and entertaining writer. Dali's personality is all here-- the brilliance, the cruelty, the humor, and the megalomania.

If you compare this with other sources you'll find that the chronology for his youth is off, and (not surprisingly) some incidents are creatively embellished. Still, anyone interested in the artist should read this book first-- it's a great self portrait by a brilliant eccentric artist.

Dali: Genius and Spoiled Brat
Those fascinated by Dali's artwork will want to read this autobiography. Dali provides 400 pages of commentary describing/explaining the symbols of his artwork.. Mostly psychoanalytic approaches. There are a number of descriptions of events that shaped his thoughts from childhood. A great read for anyone seeking companionship in a world that resists weirdness. ... Read more

Book Description

Born in the final weeks of World War II--in what Germans who wished to erase it from collective memory called Year Zero--Anselm Kiefer has long sought to come to grips with his country's Nazi past. This monograph traces his development as an artist through four blocks of work which reflect the most important currents in his complex oeuvre. Moving chronologically from microcosm to macrocosm, from the intimate spaces of "Attic Images" in the 70s through the vaster "Stone Halls" of the early 80s and the archaic-looking clay architectures he created in the 90s, Kiefer's pictorial spaces climaxed in the endless universes of "Images of the Cosmos and Constellations," painted at the close of the century. With the monumental "Sunflower Paintings," the progression was complete and he returned to earth. Also included are photographs by Thomas Flechtner which document the greenhouses, underground corridor systems, and installations realized by Kiefer at his studio estate in Barjac since 1993. I think vertically, and Fascism was one vertical plane. Yet I see all these strata. I tell stories in my works in order to show what lies behind the story. I make a hole and I go through it. --Anselm Kiefer
Essay by Markus Bruderlin.
11 x 13 in.
62 color illustrations ... Read more

Reviews (1)

A high-quality gallery book
Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is a truly impressive volume showcasing Anselm Kiefer's paintings in full color. An essay by Christoph Ransmayr and contributions by three others offer insightful commentary on the period pieces, but the principle focus of Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is upon the art itself. Enthusiastically recommended for personal, art school, and community library art reference and history collections, Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is a high-quality gallery book filled with earthy architectural paintings and resounding emotion and spirit. ... Read more

Book Description

Mastering color is a tough hurdle for artists in any medium to tackle. In this concise guide, Margaret Kessler cuts through all the confusion with a friendly and encouraging approach to the basic principles of color harmony.

The book is divided into two main sections that focus on theory and practice. Readers will learn how proper color can help them create expressive moods, unity, rhythm and eye-catching design. Then they'll find a wealth of exercises and demonstrations to quickly put to use what they've learned.

With lots of colorful charts and eye-catching examples, Color Harmony in Your Paintings is highly accessible for artists of all levels. There's an engaging question-and-answer format in parts of the book, and simple color sketches throughout to give an immediate understanding of every color concept. ... Read more

Book Description

A new and profusely illustrated appraisal of this leading Romantic painter. The international reputation and popularity of Caspar David Friedrich, the leading German Romantic artist of the nineteenth century, has grown steadily since the major retrospective at the Tate Gallery in 1972. In the past three decades, intense critical interest has led to different, and sometimes conflicting, interpretations, thus necessitating this new appraisal of the artist and his achievements. Friedrich's works have an extraordinary, haunting quality that is the product of an elaborate and consistent system of symbolism. The elements that make up a traditional landscape painting--high and low, near and far, light and dark, summer and winter--are all used symbolically. Declaring that "every true work of art must express a distinct feeling," Friedrich painted the yearning of people for the infinite and their perpetual separation from it. Among his characteristic subjects, depicted in a sharply delineated style, were gothic ruins, stark contorted trees, bleak seascapes, and mountain crags often seen under mysterious lighting and peopled with lonely figures. This comprehensive and marvelously illustrated survey examines Friedrich's paintings, watercolors, and drawings in a new critical light, and places the artist in his intellectual and historical context. His difficult relationship with Goethe, his nationalism, the critical judgments of his contemporaries, his position in European art: these and many other topics are explored. 210 color illustrations. ... Read more

Reviews (1)

Sublime
Werner Hofmann's new monograph on Caspar David Friedrich benefits from superb colour reproductions as well as Hofmann's own discursive brilliance.

Selections from Friedrich's letters are a neat fit, bowing to the idea that his transcendental painting ultimately eludes scholarly discourse.

This book lands with authority, passion, and a keen sense of the vistas of silence that Friedrich communicates to admirers everywhere.

A bargain. Snap it up if you come across it... ... Read more

Book Description

Mixing colors accurately may be an art unto itself. In fact, many artists are discouraged by the time and expense it takes to mix and match colors, and achieve the right results. Even more frustrating is the vast range of colors available.Now there's a ready-to-use visual directory that takes all the guesswork out of mixing and matching colors . . . making every artist an expert! Color Mixing Bible provides a basic color palette for each art medium, demonstrating an array of two-, three-, and four-color mixes, as well as offering full explanations of various paints and pigments. This invaluable guide features scores of tips and techniques for color mixing with oils, acrylics, watercolors, inks, pastels, and virtually every other art medium. It also includes in-depth information on how to determine the opacity and strength of a color, choose a color palette, mix whites, arrange and organize colors prior to mixing, use optical and physical mixing techniques, and much more! Plus, hundreds of color illustrations make everything simple.Whether one is an aspiring artist or working professional, Color Mixing Bible is an essential addition to every bookshelf. ... Read more

Reviews (4)

Enjoyable
I enjoyed this book very much. It was simple to understand and quite interesting. I'm sure it's not the end all in color mixing books, but it is not a bad one at all.

A great book to start with
I've just started oil painting, and this book proved invaluable in helping me sort out the many, many different kinds of paint with their exotic names out there. I generally like to jump in and just experiment, but when I discovered the high price of good oil paints, I decided I needed a little book knowledge first. This book costs about the same as a good tube of paint, and saved me from buying many colors that, before reading the book, I didn't realize I wouldn't really need (at least to start with). It's one of clearest, most concise books I've read (on any subject). Every word is one of wisdom. If you're new to mixing paint, or having trouble figuring it out, get this book (it doesn't really cover HOW to paint though).

A True Labor Saving Book
The first thing I always did with a new set of paints was create color swatches and mixes. Now that my paint sets are more expensive I hate to waste paint on swatches that I'll probably put in some "safe" location in the studio...never to be seen again. Here I can reference swatches of commonly used colors, opaque and transparent in a range of media. Sidaway also includes the best history of pigments that I've read to date - answering a question about phthalo blue that's been bugging me for years (when was it introduced? 1936.) This book is no substitute for learning about your palette, but does provide information on how to select an appropriate palette.

Very Informative
It covered the basics of color and technical terms "hue, shade, tint" It has a section about the history of pigments and dies and what they used to be made of that is interesting. One brown paint used to be made of ground up mummies.It discusses the mixing of color in many different media. ... Read more

Book Description

"Now that we do not have priests and philosophers anymore, artists are the most important people in the world. . . . Art is wretched, cynical, stupid, helpless, confusing." -- Gerhard Richter

Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years. His seemingly willful and defiant movement between abstract and figurative modes of representation and his seemingly inconsistent methods of applying paint to canvas are consistent, if nothing else, with Richter himself -- the master of the paradoxical statement. Although he has emphasized that he is first a painter and has never been a theorist, he has, throughout his career issued provocative, contentious, and memorable statements. Over seven years in preparation, this book makes available a selection of Richter's texts from all periods of his career, many translated for the first time. There are public statements about specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics, and excerpts from journals discussing the intentions, subjects, methods, and sources of his works from various periods. The writings are accompanied by 87 biographical illustrations of paintings from the artist's personal collection. Published in association with the Anthony d'Offay Gallery, London ... Read more

Reviews (3)

A genius.
I really enjoyed this book. I bought it at the Ricther exhibit I just saw at the SFMOMA a few weeks ago. I wasn't familiar with his work until then. I was awed at the different themes and usage of what would seem to be everyday normal moments caught with an unearthly feel. He's even using music and video installations now. This book does uses his collected notes, interviews and letters as an insight into the thinking behind the artist. Richter's philosophy of not subscribing to any ideaology is very evident here. He seems especially disdainfull of Communism as it does not afford the freedom for individual creation. He's been grasping to make sense of his art all his life and its what has been driving him. You can see it in his paintings. The work itself becomes a question. Why this subject. What is relevant? What is the importance. Why this style of painting? What is the meaning of the photograph it's based on? The book is chock full of interesting ideas on art, art history and the current state of society and the culture. Even if you don't agree with it all - it's still a very interesting read. I do recommend that you first familiarize yourself with Richter's various works first. You'll enjoy the book all the more.

Class Act
Ironically, this book - that decries idealogies - could be a Bible, speaking almost always on deeply conceptual issues not only of artmaking but of living. Fortunately, for those with a pulse, there is sufficient comic relief in the form of absurdities, parodies and self-aggrandizement.

It is tempting to skip the early writing and go straight to the wisdom through maturity (the notes are chronologically arranged.) That would be unfortunate for there are tremendous nuggets scattered among the contradictions in the earlier pages.

If you're familiar with his work, much will be self-evident; but I found surprisingly astute reflections from the "young" Richter (ie:'66): "I like continual uncertainty". On the issue of changing style/form every 3-4 years, Richter claims that "historically speaking, changeable artists are a growing phenomenon". Even back in '77, he says "Painting has a brilliant future. Hasn't it?" Strong words, and brave for the time. If only the irascible Kuspit had read this before he slammed Richter (as "profoundly nihilistic") and believed such statements as "I want pictorial content without sentiment, but I want it as human as possible" or "the pleasure of painting proves the necessity of it".

I hope future editions of this include the charming interview with Robert Storr in Art In America Jan. 2002 - which clued me into the fact that Richter had a set of writings out. There are a few photos that show the various painting forms he's explored so if you don't know his work, you can get some idea what all the discussion's about.

Compelling
A wildly compelling book that should appeal to artists, philosophers and other thoughtful people. It contains journal entries, interviews, and musings of Richer's everyday struggles to discover what it means to be an artist. I tried to start at the beginning, but found it much more interesting to open the book to a random passage and each time discovered thought-provoking ideas. At first glance, his ideas and declarations often seem quite ludicrous, but if you take one moment to consider his thoughts, his genius is revealed. His prose (sometimes scathing) is extremeley amusing when read aloud as it was by a group of artists working on a large project. We took turns reading a passage and then found ourselves discussing (and quoting) it for days. His writings include the impact of his early life on his artwork, critiques of other artist's work (Anslem Keiffer does not fare well here!), keen observations and interpretations from studying art and the human condition in modern society as well as ideas, form, materials, and content in art. I found that it opened up a new way of thinking about my own work and why I am driven to create. I highly recommend it. ... Read more

Book Description

From the best artists working in the world today comes an instructive and inspirational new series-How Did You Paint That? Covering a spectrum of popular topics, this series provides beginning and advanced artist of all mediums with detailed examples of the myriad ways in which to portray the featured subject.

Each title includes 100 different interpretations of the topic, and each interpretation is accompanied by valuable firsthand feedback from the artist, including the colors and brushes used, along with the artist's methodology, challenges, and motivation. Readers will also find suggestions and exercises from the painters, allowing them to apply the lessons of masters to their own masterpieces. ... Read more

Reviews (4)

Helpful for beginning muralists!
Easy to grasp book on the subject of murals. I was inspired to attempt some for our house and had success. Author's discussion of materials especially helpful.

A+ addition for Beginner and Pro Faux painter
Alot of inspiration for faux painters w/how-to introduction for beginners. Discusses composition, hightlights, shadows, perspective and how to transfer large scale drawings. Sets out several projects and gives you materials list, and instructions to complete projects. Also includes a multitude of pictures for ideas. I used this book when I began and still use it for inspiration. I also give to my clients to look through for ideas. Although it mainly discusses interior murals, it does have a chapter that takes you through execution of an exterior mural & several ext. mural ideas. The only fault: Doesn't talk about finishing or sealing, or whether it's needed, but still a keeper.

A great book
I found this to be a very inspiring and informative book. The former reviewer gave it 3 stars because it does not have enough info on exterior mural painting. That was a little harsh. It covers interior painting and general mural painting very well.

Okay for indoor work if you need ideas
My position - I'm looking for how-tos on exterior mural painting. This isn't it. It does have good advice for a novice thinking of brightening a room or nursery with art. There is a need for that - but the glowing review already posted made me hope it would serve my needs. I'm just providing a counterpoint. ... Read more

Book Description

This extraordinary book is the first volume of the definitive catalogue raisonn_ of Rothko`s work. It documents his entire output of paintings on canvas and panel, reproducing all the works in color. An introductory text also investigates every essential feature of his art.

Published in association with the National Gallery of Art, Washington

. ... Read more

Reviews (9)

A Fan of Anfam's Rothko
Opening the package as it arrived from Amazon, easing this massive catalogue from its slipcase triggered a memory: walking to the edge of the Grand Canyon. With similar impact: awe. David Anfam brings the reader with him to encounter, view, & experience Rothko's work. His ten-year dedication paid off with the discovery of "lost" titles, setting the chronology of 836 works on canvas, (he couldn't have been afraid to get his hands dirty) & analyzing the slow struggle, sporadic leaps engendered by the painter in the evolution of the oeuvre. As scholar, teacher, critic, curator, & especially writer, Anfam proves the perfect choice to perform the daunting, almost impossible task of bringing Rothko into focus.

The author insightfully tracks the early representational beginnings, (his foray into narrative linked with crossing boundaries is totally appropriate for the artist from Dvinsk, Portland, New York) through the mythological (application of Kermode's distinction between "Chronos" & "Kairos" is utterly intriguing), & makes a case for Rembrandt as the source for Rothko's obsessions with tragedy & darkness, Vermeer his source for color's sensuality. Anfam traces in detail, using numerous examples of the brilliant reproductions, how the multiforms foreshadowed the work of the classic period. The architectural contexts for the Chapel are pure genius: Vincent Scully's, "The Earth, the Temple, & the Gods"; Joseph Rykwert's, "The Dancing Column"; & Leo Bersani's, Ulysse Dutoit's, "Arts of Impoverishment."

Anfam's breadth of vocabulary is English, yet he has benfitted from years in the States with a rapid, laconic language that impels the reader forward, informs succinctly. Purposely parrying time-worn quarrels, he unearths the more "thorny," "shady" aspects of dilemmas presented by such a complex art.

Two things happened as a result of reading MARK ROTHKO / THE WORKS on CANVAS / CATALOGUE RAISONNE. During a recent visit to C&M Gallery in NY for a show of eight Rothko's, alone in the second room, I heard them. A few nights ago I had a dream of a handwritten note on a table in the front room of an auction house that said, "The Last Painting." Rereading Helene Cixous's essay by that name (subtitled, "Or the Portrait of God"), she writes, "I think of the last Rembrandt. A man? Or a painting?" [in Cixous', "Coming to Writing and other Essays."] Anfam has presented us with the triumphant Rothko.

A must for any Rothko fan.
This is the first publication with his entire collection. Even lost paintings are represented by old black and white photographs. The images are not large, but the quality of this book is wonderful. By far the best buy for any Rothko fan (besides an original...)

This is an invaluable study.
Anfam's study is a great deal more than a much-needed reference book. Anyone interested in the history of modern art would find this study illuminating and exciting. Not only does it provide the first complete catalogue of Rothko's paintings on canvas (almost all in gorgeous color reproduction), it also includes numerous fresh and original insights concerning Rothko's intellectual and artistic sources. A monumental scholarly achievement, this volume will long remain a model for the field.

Amazing Study by Brilliant Author
David Anfam has given students of twentieth-century art the much needed and previously missing in-depth study of Mark Rothko, a key figure in understanding the esoteric art of this century. Lesser studies by lesser minds have failed where Anfam has not -- scholarly attention to detail; carefully informed visual analysis of ALL the works on canvas; subtle conclusions; historical context. Anfam's rasionne is a must read!

A dazzling achievment by a gifted art historian.
A work of major importance in the history of modernism, David Anfam's catalogue raisonne is brilliant, lively, entertaining, and handsome. Combining vigorous scholarship with creative imagination, it offers the best ever understanding of Rothko and must be considered a prerequisite to any and all encounters with Rothko. Anfam's eloquent text takes the reader through the paintings in a most delightful way while the paintings themselves are a joy to see thanks to what surely were monumental efforts on the part of all those involved with design and production. This book is the best of its kind in every way and a bargain at the price! ... Read more

Book Description

Reviews (11)

Good Book - Not for beginners
First off, this is a good book - but if you're painting for the
1st time, try some other subjects first. I don't recommend this
for the beginners.
Don't expect to paint like DaVinci your 1st week.
Even if a seasoned veteran understand this takes practice.

I would have liked to seem more techniques on how he painted.
The materials used area was very good and quite interesting.
If you're a seasoned painter, who wants to paint like they
did in the days of old, I highly recommend this book.

Trying these techniques gave me even a larger respect for "the old masters". I always loved their art, because it takes you
back to a time where really good art required really good talent & skill.

Practice & maybe we'll see your "Mona Lisa". Good luck!

Don't kid yourself. This is a GREAT book!
I first saw this book at my local bookstore a few years ago. The paintings presented in this book consolidated my love of classic fine arts (AKA the Old Masters' works). At the time, I did not have enough facilities to pursue oil painting, I simply admired beautiful works by Mr. Sheppard and put the book back to the shelf. Briefly, my conclusion of his work at the time was "unreachable".

I recently bought a copy of this book for myself and in fact have painted, as a practice, some paintings, using the techniques of Titian (both portraiture and nude) described in the book. I fall in love with the techniques of this Old Master simply because the choice of colors and every steps were done in oil (personally, I don't like to use charcoal or other materials in underpainting; they tend to smear and cause a mess). The following are my humble opinions about this book, based on my own experience using it:

1) Don't kid yourself, this is a profound book. Objectively speaking, with only 143+ pages, the author covers the following topics: - Materials and Formulas - Techniques of Durer, Titian, Veronese, Caravaggio, Rubens, Hals, Rembrandt, and Vermeer

Due to space limit, expect some details that may need more in-depth discussions. However, the book does include a reference citation for further reading.

2) This book does not make you a "Master", but it helps to "try out" these techniques. In my humble opinion, to fully benefit this book, the reader should have the following skills before trying the techniques described in the book:

- Good craftmanship. Don't expect to create a masterpiece without a decent drawing skill to start with. Be honest with yourself, if you think you have a problem looking at an object (either live or from a photo) and render it on a canvas, you are not ready for this book yet.

- A reasonably decent ability in recognition of shade, light, and halftone; and a considerable knowledge of color mixing in oil. If you have never mixed oil colors, the book does provide, to some extent, what colors to use. However, in reality, variations occurred, due to different brands of colors or medium used. In any event, you might be able to get by.

3) Practice makes perfect. Do a few paintings using the techniques of your choice. You will eventually find out that no matter how strictly do you follow the techniques described in the book, YOUR WAY of painting will end up different. This is exactly what makes every artist unique. As long as your final work is good, it is a masterpiece of its own right. Who cares whether you tried to be a Titian or Rembrandt and failed. After all, that is even not a good idea, in my opinion.

In closing, I am happy to have purchased this book and tried out some paintings for myself. It surely is a great reference every time I plan to do a portraiture in the Old Master's way (but then again, when the painting is done, it becomes "my" way).

In a few words, "Strongly recommended".

For the Expreienced
Oil painting has many levels of difficulty, This book provides information for the highest level. For the experienced painter: a great lesson; for the inexperienced, it is, in my oppinion, too advanced. Overall a great book; well worth the money.

A treat
This book is a fabulous repertoire of demos of how the masters used to paint. It covers the techniques of Durer, Rubens, Rembrandt, Hals, Carvaggio, Titian, Vermeer in clear detailed step by step demos of one or two paintings covering each of the old masters. It shows concisely how the same effects can be achieved including painting techniques, supports, mediums and paints which are individualized for each of the old masters. The information and recipes with respect to supports and grounds, mediums and paint are mainly the same recipes followed by the old masters but a few recipes are based on modern ingredients which would give the same effects. The artistic skill of the painter is obvious and startling and the book is richly illustrated. This book is not for beginners nor an exhaustive discourse on the painting techniques of all old masters, but it is superb in its context and a great visual treat.

Great book but not for begginers!
This book is well written and easy to read. The techniques are not described as in-depth as I though they would be. But they are summerized concisely. The demonstrations are good if you have any notion of brushstroke, light etc. I would recommend this book. ... Read more