Book Description

Agnes Martin has spent every morning for the past 40 years working in her New Mexico studio, producing square abstract paintings that consist of graphite horizontal lines across fields of white, gray, or pale colors. Though her work superficially belongs to the history of Minimalism, Martin considers her paintings the abstract expression of positive inner states of existence. Published on the occasion of her 90th birthday, this catalogue presents the iconic serenity and elegant geometry of her canvasses from the past decade, in a format complimentary to Martin's own immutable aesthetic.
Essay by Ned Rifkin.

8.5 x 9 in.
50 color, 10 b/willustrations ... Read more

Book Description

This unique book presents solid composition and design instructionwith an emphasis on fun and creativity. The first half of the book focuses on traditionalrealism while the latter examines more experimental art. In both cases, the underlyinglesson is that good composition and design is the underlying foundation of any successfulpainting, whether super-realistic or non-objective.

Author Pat Dews illustrates this concept by showing, step-by-step, how successfulpainters in a variety of styles and mediums (including watercolor, water media, pastel,collage and more) use these principles to create gorgeous works of art. A few of theartists sampled design while they paint, always experimenting, using various techniquesto decide what will work before committing to a final composition. Others design theircompositions before they start painting. Some combine the two approaches. Readers will discover that they can compose beautiful paintings while being as creativeas they want to be.

Pat Dews is a signature member of AWS and NWS and is a very popular workshopinstructor. She is the author of Creative Discoveries in Watermedia. She lives in HobeSound, Florida. ... Read more

Reviews (1)

Well Worth Waiting For!
This is one of the best art instruction books that is now available.It is an excellent follow-up to Creative Discoveries in Watermedia published in 1998.Creative Composition & Design is a workshop in book format. Pat Dews warm positive attitude comes across on each page.The book is very well designed with excellent color photographs of art that will inspire you to create.The tips that are listed on various pages are very helpful.The section showing how different artists work on design and composition is an excellent way to gain additional ideas for your own work.The critiques shown of student work places you right into the workshop experience.You will see how paintings are resolved.You will learn a lot from this book and return to it often.I highly recommend this book-it was worth waiting for.If you are unable to attend a workshop with Pat Dews this is the next best thing.If you have been fortunate enough to take a workshop with Pat Dews this book will act as an excellent follow-up. ... Read more

Book Description

Top golf landscape artist and top golf writer combine talents to produce a glorious visual book about the places we worship in the game of golf. Here are the green "cathedrals," sublime arenas of the sport, courses where giants have walked and stars have been born. Hallowed Ground is divided into three sections: "U.S. Championship Courses," "The Beautiful Golf" (the eight courses of the British Rotation), and in a stunning section of its own, "The Augusta National Golf Club." Renowned golf writer Jaime Diaz brings to this book his encyclopedic knowledge of the sport, the courses and the players, with wit and wisdom. Combined with Linda Hartough's lush and meticulously researched landscapes, Hallowed Ground is the most unique golf book published in years. ... Read more

Reviews (4)

Art and golf combine for hole-in-one...
Hallowed Ground is a beautiful book, capturing spectacular locations from the greatest courses in both America and the United Kingdom.
Included in this hardback collection of art by Linda Hartough is the fabled 7th hole at Pebble Beach, and many holes from Augusta National's Amen Corner. Pieces on each course by Jaime Diaz highlight battles that have taken place on the fairways, and give life to the paintings as showdowns on 18th greens are described.
What makes this book interesting is that when you see the life-like paintings and read about the classic golf that has gone on in that scene, you are able to put yourself in the picture. It is amazing to be able to watch the final round of the 1981 US Open just by reading this book.
To a true fan of golf, or anyone who loves a good coffee table book, Hallowed Grounds is a perfect edition to your collection. Buy this book today, and put yourself in the picture!

Her Passion is Painting
This "coffee table" style book works for me because of my passion for golf and my love for famous golf courses. Linda Hartough may be the best landscape artist I've seen in rendering these classic courses with the precision of modern day photography.

What I really got out of this book was a memory recollection of playing a majority of these courses. Looking at these paintings I was thrown into the distant memory of playing Pebble Beach, Shinnecock Hills, Winged Foot, Olympic Club, Carnoustie, St. Andrews (Old Course), Royal Lytham, Royal Birkdale, and Royal Troon. It was like de ja vu all over again!

Also worth checking out are the Augusta National paintings. This might be her finest work. I especially liked her work on hole #'s 10,11,12, and 15. Augusta is the best course in the world. Second to none. Her painting here is some of her finest work also.

If Linda Hartough ever publishes paintings of the century old courses of Ireland, in particular the courses designed by Old Tom Morris and Alister Mackenzie , I will buy it. I would really like to see her render and paint the "classic" Irish courses of Ballybunion, Lahinch, Ardglass, Royal Portrush, Newcastle, and Royal County Down. Those classic links style courses are some of the finest on this planet and really bring back fond memories of my playing days.

Terrific!
I was fortunate to have the Golf Channel on a few months ago. Linda Hartough, the artist featured in this book was on with a few of her originals. I immediately purchased the book. After browsing the book 3 or 4 times, taking in her breathtaking artwork, I decided to read a few of the writings by Jaime Diaz on some of my favorite courses. The writings are as enjoyable as the artwork. This book should become required reading for anyone playing the game, especially for golfers new to the game. They would gain a greater appreciation for golf. Thank you Linda Hartough and Jaime Diaz

Hallowed Indeed
I recently purchased Hallowed Ground and was completely blown away by the sheer beauty of the pictures in the book. All the sections are great and any true golf enthusiast absolutely must this treasure. ... Read more

Book Description

This beautiful book examines the art of Pieter de Hooch, one of the most famous and innovative painters of Holland's Golden Age. It discusses de Hooch's position in Dutch genre painting, his favorite themes and their cultural context, his artistic development, and his approach to narration.

The book is the catalogue for an exhibition at the Wadsworth Atheneum in Hartford

Published in association with the Wadsworth Atheneum

. ... Read more

Book Description

Now updated with new material that brings the killer's picture into clearer focus ... Read more

Reviews (482)

Good content, bad presentation
I was really excited to read this book, but I have to say, I was pretty disappointed by it. I guess if the goal was convince me that Walter Sickert was Jack the Ripper, then the goal was accomplished. The problem I had with the book is that the presentation was very hard to follow. The book was constantly jumping back and forth between Walters Sickerts history, the different murders and the present in a way that I found confusing. A timeline of when the murders occured (including the ones she speculates are done by Sickert, but are not thought of as "Jack the Ripper" murders) would have been helpful to try to see patterns. Another missing piece for me is why Jack the Ripper suddenly stopped. Patricia Cornwell speculates that he probably didn't stop committing murders, but why did he stop writing the letters? He obviously loved the attention it brought, so why stop after that had been his modus operandi for so long? The last criticism I had of the book is the ending. The book ended abruptly with the death of his 2nd (of 3) wife. Why end there? I couldn't believe when I turned the page and that was the end! There was no wrap up or conclusions of any kind.

For anyone who has always wondered who Jack the Ripper was, you must read this book. It's extremely detailed and as I said, convincing. Her insights into the psychopathic mind are fascinating. She also makes a strong case that Walter Sickert was a violent psychopath. However, you may find as I did that the book could have been much better had the presentation been clearer.

More bodies on the pyre
If anything, this book is perhaps proof that the Jack the Ripper obsession will never die, if only because it's unlikely it will ever be solved, at least 'conclusively'.

The book is arrogantly sub-titled 'Case Closed', and of course, it's anything but a closed case that Walter Sickert was Jack the Ripper, or that James Maybrick was the Ripper, or Lewis Carroll was the Ripper, or the royals were involved, etc.

I'm not sure what to make of the whole business anymore. There are now close to 20 suspects in the Ripper case, and indeed in the 1990s alone quite a few new suspects appeared on the scene thanks to research and fanaticism on the part of various writers. Now Cornwall has thrown herself into it, and it's somewhat troubling.

Of course, at the end of the day, there's no smoking gun. There hasn't been a smoking gun, and given that the murders took place in 1888, and evidence and various records are long gone, it's highly unlikely there will be a smoking gun. The whole business already inspired someone to forge a 'Ripper' diary and try to pass it off. This has since been debunked numerous times, with the author himself swearing that it's a forgery, yet people still believe it. Every year someone discovers someone who was in London in 1888, hated women, etc, etc.

Folks who are interested in the Ripper may peruse this book, but it's clear from the 'evidence' and the layout that this is anything but 'Case Closed', if anything, it says something about Cornwall, who writes about her own doubt to this theory. And admittedly, while there are some nice coincidences, and Sickert indeed may have been a bit off his rocker, and indeed may have penned Ripper letters (of which there were many fakes), it's no more convincing than several other theories of the past ten years.

Notice the '71% off' price tag of this book, which shows you something in comparison to other books on the subject. There are much better books about the whole case, and you'll likely learn more from those if you care. It would be nice to put the whole Ripper case to rest, finally. The energy and resources some folks have put into 'solving' this business is becoming more alarming. Recommended if you must, but it's hardly a 'final chapter'.

Absolute tosh: says more about Cornwell than Sickert
I can't think of another character assassination that is as unfounded as this, based as it is on pure conjecture and highly selective and inconclusive 'evidence'.

And just think of the irony of a writer who has based her entire written output on lingering over the sordid details of murder and mutilation claiming that Sickert was a violent psychopath because of the subject-matter of his paintings. Talk about the pot calling the kettle black!

This book reveals more about the neuroses and obsessions of Cornwell's own sick mind than it does about Sickert. Rather than 'case closed' on Sickert, it is 'case closed' on Cornwell.

Cornwell's reputation as a writer of FICTION remains intact.

Rambling and Premature, and That's Being Generous
I am a fan of Cornwell. I find her to be an intelligent woman, an interesting interview, and a talented author...and she's a fellow Davidson alumnus, a definite plus for this fellow Wildcat. I purchased the unabridged audio of this book eager to listen to what surely must be a well-reasoned, well-grounded theory backed up by at least some evidence. I was horribly disappointed.

Even if Cornwell is correct, this is the farthest thing from a closed case I have ever encountered. Some of the logical leaps and contortions in this book are downright laughable and should justifiably draw outrage from Sickert's admirers or surviving relatives. As other reviewers have noted, it is POSSIBLE (as far as anyone knows) that Sickert might have been a creep, that he might have written a ripper letter, even that he may have been the famous killer, but anyone wanting to bring a case against Sickert would find almost nothing useful in this tome.

The conviction with which Cornwell delivers many of her conclusions (the narrator is suitably melodramatic and judgmental in tone), no matter how tortuous, absurd, strained, or self-serving they may be, makes this book one whopper of a bitter horse pill to swallow for any reader/listener who has somehow managed not to either: a) toss the book into the wall in frustration, or b) fall asleep while attempting to follow the last convoluted line of argument to it's "inescapable" conclusion.

I WANTED Cornwell to come up with an exciting new theory I could buy in to, but at best this book is premature in it's title and conclusion (unless evidence is no longer a prerequisite for closing a case), and at worst this book may be both intellectually dishonest and shockingly irresponsible.
Sadly, this is a must-miss that will leave the reader with more lingering doubts about Cornwell than Sickert.

Case closed? Not quite but....
She's presented us with a very strong theory of who Jack the Ripper was.
The only things she has conclusively proved are: 1: that Walter Richard Sickert wrote some of the Ripper letters (including one that came with a kidney). 2: That more of the ripper letters were written by the same person than previously thought (the use of paint rather than ink, watermarks and language point to one writer). 3: That Walter Richard Sickert was not a very nice guy and had a facination with the violent deaths of women. 4: That Walter Richard Sickert prefered the kind of women in the original five Ripper murders.

I doubt the evidence that Ms. Cornwell provides would pass the reasonable doubt requirement with a jury. Then again, I doubt that enough evidence even still exists to convict anyone of these crimes.

Sickert is definately someone ripperologists should give a closer look.

Her evidence (or lack of) aside, Portrait of a Killer offers a rare view into the underbelly of Victorian England and a fairly entertaining read. ... Read more

Book Description

Marc Chagall is one of the 20th century's favorite artists, known and admired for his rich palette, his inventive approach, his accessible subjects, and the deep traditions behind his work. Combining fantasy, spirituality, and nostalgia with a distinctive modern painting style, Chagall's canvases are infused with a joyous, dreamlike simplicity. Even as styles shifted from Cubism to Suprematism to Surrealism, his work remained individual and idiosyncratic-sometimes harming his art world reputation, but never his popular appeal.

Marc Chagall is the first full-scale survey of the artist's work in almost 20 years. The lush color reproductions include some 60 paintings and 80 works on paper. An introductory essay by Jean-Michel Foray contextualizes the Russian-born artist's work, while a heavily illustrated chronology of Chagall's life-put together by his granddaughter and Jakov Bruk-details the many stages of his career. The work is organized into four sections, each with an introduction by Foray, to help make sense of his prodigious oeuvre. The beautifully designed volume accompanies a major retrospective at the San Francisco Museum of Modern Art. ... Read more

Reviews (4)

What a waste of money...
I bought this book hoping for some good ideas and a little inspiration. Instead I got book full of so-called murals and tompe l'oeil that the average person would never use.

Some of the projects in this book are so rudimentary and plain ugly (including a Q-Bertesque wall) that I am embaressed to say I own this book. Yeesh!

not what I was looking for
I purchased this book hoping to get some good pointers on how to move from landscape painting into the mural stage, but I found the book quite simplistic. It would be a great guide if you are wanting a fast, simple, stencil-look, but not for the serious artist.

How to Paint Murals, etc. by V. Ellerton
This book has lovely pictures - it definitely is helpful in determining how to paint certain types of simplistic murals, but is not detailed enough for intense scenes, skies, landscapes, etc. A good book to start out with if you are interested in how to paint murals.

How to paint murals and Trompe L'oeil
what makes this book special is the clear instructions on 1) color it shows you the colors on a pallete so there easy to match with any brand they even have a paint directory 2) the list of supplies are put clearly in a grey box in the corner of the page makes an easy shopping list 3) excellent pictures of tools in action 4) lots and lots of templates. History Instruction and Inspiration it's all there! ... Read more

Book Description

Sherry C. Nelson is known for her innovative and creative methods for painting animals in oils and acrylics.In Painting Garden Animals with Sherry C. Nelson, decorative painters now have a chance to learn these techniques through detailed step-by-step instruction.

10 projects feature those cuddly animals we know and love--a curious kitten, a furry yellow chick, a playful squirrel--all placed in colorful garden settings. Plus, readers can paint wilder animals, including a fawn and wolf cub. Decorative painters will master each part of the animal, including its eyes, noses, ears and paws, as well as its realistic fur with distinctive color, markings, and length. ... Read more

Book Description

Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia (The Fatal Shore), the modern art movement (The Shock of the New), the nature of American art (American Visions), and the nature of America itself as seen through its art (The Culture of Complaint), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns.

With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life.
In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work.

Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular. ... Read more

Reviews (6)

Riveting Characterizations of Goya's Work!
Until about 12 years ago, I thought of Goya as a minor artist who had done few memorable works. Then, I happened to stumble upon a major exhibition of Goya's etchings and aquatints at a Rennes museum in Brittany. I was astonished and compelled by what I saw. Most of the exhibit focused on a theme of antiwar and I wanted to know more. Many people have told me since that it's hard to find good books about Goya's etchings and aquatints. So I picked up this volume hoping to fill the void. My expectations with regard to the etchings and aquatints were more than fulfilled. Thank you, Mr. Hughes.

The book offered me much more. It has very good coverage of all Goya's work and what is known about his personal life. Mr. Hughes also has a wonderful ability to describe a work of art in a way that helps you see it in its historical context . . . rather than just in terms of today. From those perspectives, I became equally enthused about Goya's Caprichos and came to understand more about bullfighting and witches than I ever would have otherwise.

The book has a personal touch to it that is compelling. Mr. Hughes suffered a horrible accident before starting this book and had a lengthy recovery before he could begin the work. All of that frustration seems to have energized him to make the book come to life more than one would have ever thought possible.

The book does have three flaws that you should be aware of before beginning. First, the reproductions are usually quite small. If Mr. Hughes hadn't pointed out the tiny details in many cases, no reader would have been able to discern those details from looking at the pages here. Second, you will probably learn more than you ever wanted to know about the Spanish Bourbons for whom Goya was the court painter. There is such as thing as too much historical context. Third, Mr. Hughes like to make unnecessary digs at historical figures that seem gratuitously related to the work here. For example, Ernest Hemingway is characterized as having modeled his style after a woman writer and therefore cannot write appropriately about bull fights.

But if you want to find lots of reasons to enjoy Goya, this is your book.

Good viewing!

The pictures help move this book along
I enjoyed Hughes's style and his illumination of Spanish history was quite intertesting, but I left the book feeling like I knew very little about Goya personally. I did, however, feel as though I really knew Goya's painting quite well and that's really the point isn't it?

Overall, a great primer, but not a fantastic biography.

Historical criticism at its finest
This book is the best to be written about Goya, placing him squarely in the modern arena, debunking most of the silly and trivial myths surrounding his life, and educating the public on one of the true masters. Hughes build-up is slow but thorough. The novice and art-historian alike are given a full historical context for Goya and his work. Hughes' payoff is a far better understanding of artist's life than any other writer as of yet has captured. With less obvious material than other biographers (letters, diaries, etc.), Hughes does a splendid job of re-piecing the cultural and political climate of Spain during the late 18th and early 19th centuries. Even if you disagree with him at points and find his critique a bit stuffy, you can never argue with his passion for Goya's art or the research put into the book. His eye for detail and relentless pursuit of background material, make the author's style almost incomparable; because his points are made so plainly and lucidly, he conveys an appreciation of art that few critics can match. This book seeks to educate and entertain, succeeding on both levels. I highly recommend Goya to anyone interested in Modern or European art of the last 300 years.

Masterfully written, completely engaging
As a contemporary art historian, I've always been deeply influenced by critics, but I've also always had a passion for 19th century art. While I've sometimes found Hughes' past writings to be a bit acerbic at times (though always passionate), this is without question a wonderful book which clearly contains not only Hughes' rich efforts at research as well as a passionate love for his subject. Striking in its lucidity, emotional in its descriptions not only of the paintings but the context within which Goya worked, and even generous in its praise to other art historian to whom it is indebted, it is a book I cannot recommend highly enough.

The Penultimate Artist Biography
Throughout history we have examples of biographers so committed to the works of their artist subject that the reporting of the writer seems like the visual becoming oral. Such is the case of James Lord and Giacometti, David Sylvester and Francis Bacon, and now Robert Hughes and Jose de Goya y Lucientes. Hughes new publication entitled simply GOYA is the zenith work in the line of brilliant art history writing, books that include 'The Shock of the New' and 'American Visions' as well as definitive books on artists Frank Auerbach and Lucian Freud. His knowledge is both technically sophisticated and psychologically sound and he is a gifted writer in about any métier.

But there is something more to this book than biography. Goya has been important to Hughes throughout his life: his first art purchase as student in Australia was one of the etchings of Goya's 'Capricho' series. It wasn't until 1999, when Hughes came close to meeting death from an accident, was in a coma, then gradually recovered through a long series of debilitating therapies, that Hughes was able to overcome his writer's block and actually set about to write the biography of the artist who had become his obsession for years. Hughes admits that it was probably this experience coupled with a vision of Goya himself that made him truly comprehend and incorporate Goya's life of reactionary to the Church, to the absurdity and viciousness of War, to the Inquisition, and to the social injustices he observed. And the interesting parallel of course is that Goya suffered physically not only due to complete deafness, but also to undiagnosed maladies that made his life a trial but did not stop his painting.

Hughes writing style is urbane and conversational, informed and witty, impeccably researched and yet related as though the reader were sitting at the feet of an old longtime acquaintance of Goya. He obviously is in awe of Goya's works, allows him the court portraits and tapestries that Goya endured for money, and makes it a point to examine each painting with fine scrutiny - finding every self portrait of the artist in paintings most other scholars have missed. Rather that writing the life of Goya from his birth chronologically through to his death and epilogue, Hughes examines a life that is inevitably destined to paint the darkness of the Black Paintings and the Caprichos with frequent asides, a style that creates incredible energy in the telling of the life of this amazing artist. Example: In 1980 Goya applied to a "proper institution" - the Royal Academy of Fine Arts of San Fernando and his entrance exam was a painting entitled "Crucified Christ". Hughes: "It is without much doubt the worst painting he ever did. How could a man who would emerge, some thirty years later, as the most powerful reporter of human anguish in all of Western art have produced this soapy piece of bondieuserie? The ladylike body, unmarked by torment; the absence of any kind of empathy with what real bodies underwent in the course of flogging and crucifixion; the enervated "correctness" of pose - all this combines to convey a sort of sickly, moaning piety that, if it were not for the relative liveliness of the paint and its impeccable provenance, would make you doubt it was by Goya at all." These are not damning critical flagellations: these are the responses of a writer who knows his subject well.

This richly illustrated volume (one only wishes the plates were larger) is well designed to keep pace with history, psychology, and a world timeline and it should be in the libraries of students, artists, art lovers, and scholars. In a line of important books, GOYA is most assuredly the finest product of the gifted Hughes' mind and pen. HIGHLY RECOMMENDED. ... Read more

Book Description

Howard Terpning, often referred to as the "Storyteller of the Native American People," has concentrated his award-filled career on painting the major Great Plains tribes: Blackfeet, Sioux, Cheyenne, Crow, Commanche, and Apache. Terpning's images are powerful and sweeping, yet profoundlyintimate in the way they include the viewer in the emotion of each scene, like the sweetness in a young girl's passage into womanhood or the youthful pride of a new warrior. His paintings chronicle the Plains Indians' "glory days" in the early nineteenth century until their displacement as a result of the westward expansion of the white man.

Western historian Don Hedgpeth interweaves a stirring narrative about the tribes' final, desperate years and the spiritual basis to all aspects of their lives. ... Read more

Book Description

Amedeo Modigliani (1884--1920) is one of the greatest-and most misunderstood-artists of the twentieth century. His incisive portraits, erotically charged nudes, beautiful drawings, and primitivistic sculpture have been admired for decades. Modigliani's work, however, has typically been examined in the limited context of his so-called "bohemian," anti-intellectual lifestyle. This groundbreaking book revises this approach toward Modigliani's art, presenting a convincing revisionist examination of the unique historical, social, religious, and cultural significance of his oeuvre.Modigliani: Beyond the Myth looks at the artist and his art from a variety of important perspectives: his proud heritage as a Sephardic Jew, whose spirituality embraced non-Western, classical, and Christian iconography while retaining his own ethnic identity; his critical engagement with the dialogues of the most radical of his avant-garde contemporaries (Picasso, Chaim Soutine, Henri Matisse, and Brancusi); the influence of tribal art and Judaism on his portraiture; the representation of the female nude in his works from a feminist cultural perspective; and the remarkable reception of his work in Italy during his lifetime. Lavishly illustrated and including a detailed chronology of his life, this fascinating book situates Modigliani anew in the history of twentieth-century art.BACKCOVER: ... Read more

Book Description

"...to devote my life to the essential thing-- the thing for which I am made and which can bring a little happiness to the great family, the greatest spiritual family."--Matisse to André Rouveyre, September 4, 1942

Of all the artists of this century, Henri Matisse is one of the greatest and most beloved. His influence on modern art, both during his lifetime and today, has never stopped growing; in the eyes of the world, he is the French painter par excellence.

Henri Matisse is all the more cherished because his work celebrates the positive aspects of life, as evidenced by the titles of many of his major paintings: Luxe, Calme et Volupté, La Joie de Vivre, La Danse, Musique, to mention but a few. His explosions and juxtapositions of color and pattern inspire pure delight in the beholder, and his mastery of line, volume, and form are perhaps unequaled in the art of our time. The vitality, energy, and life-enhancing qualities that radiate from his art represent distillation of all that is affirmative in the human condition and are given immortality through that rare and indefinable quality known as genius.

The art of Matisse describes a trajectory leading from realism to abstraction, from darkness to light, from the cold of the north to the heat of the south, a route marked off by such revolutionary innovations as the burst of color found in Fauvism or the invention of his cut-outs. Matisse was still creating at a time in his life when many artists are content to rest on their laurels.

Since its original publication in 1984, this book by Pierre Schneider stands alone as the bible on the art of Matisse. The author spent fourteen years amassing a prodigious amount of information on the artist, and includes his own personal and original views on the work. Including over nine hundred illustrations, this is the most substantial reference of the works of Matisse ever published.

The reader will discover Matisse watercolorist, draftsman, ceramist, and the architect-- and unquestionably one of the greatest artists of the twentieth century.
... Read more

Reviews (2)

Nicely written but not exactly what I wanted
This book is a nice overview of the work and life of Matisse. There are many beautiful and brilliantly described colorplates. It is a complete overview of his work. It also makes a beautiful coffee table piece that may inspire conversation.

I reasoned that because the author choose to feature a later piece by Matisse on the cover the book might emphasize his later work. But when I got the book his later work was only briefly talked about and only 2 of the colorplates were after 1940s.

Overall it is a nice book to get a sense of Matisse, his work and his life.

The Bible On Matisse
I noticed that this is coming back into print in November 2002, so I figured I'd write this review. If you are a fan of Matisse, you should snap up this book. It is an awesome achievement by Mr. Schneider. There is a tremendous amount of biographical data here, as well as a wealth of reproductions- both color and black and white. One caveat, though. This is definitely not for the casual reader! There is a lot of detailed analysis of the paintings included- such things as Matisse's theories on the use of color and shape; the tremendous amount of work and thought that went into each work in order to create color harmony and a balance of all the pictorial elements, etc. Mr. Schneider respects the reader, so some of this stuff can be a real challenge! But I found it very worthwhile! Matisse's paintings are deceptive, at least to the layperson. They seem soothing and simple. Well, I can promise you that after reading this wonderful book you may still find the paintings soothing, but when you realize what went into the process of creating them you will never again think of them as being simple! This is one of those rare books that opens your eyes and makes you look at something in a completely new way.Reviewer Note: Please be aware that the book I am reviewing is the over 700 page book written by Pierre Schneider, NOT the much shorter book written by Mr. Jacobus and only translated by Mr. Schneider! ... Read more

Book Description

Here is lavishly illustrated collection of the work of Bev Doolittle, one of America's leading artists today. Doolittle is best known for her camouflage technique, filled with detail and with "presences" that become more visible with each viewing. ... Read more

Reviews (6)

Gorgeous Western Art
Bev Doolittle's definitive collection (you don't need anything else of hers if you have this one) is a glorious compendium of richly detailed full-color reproductions of her paintings. The optical tricks alone are worth the book's price tag, and the minuteness and authenticity of Doolittle's details rival the paintings of Frank C. McCarthy (another favorite of mine). Anyone who loves illustrations of horses, American Indians, or both cannot call their collection complete without this title.

A Combination of Wonderful Art and Love
Those unfamiliar with Bev Doolittle's work miss the opportunity to discover a true artist's blending combination of technical skill, and understanding of nature, and a love for her work which leaps from every page. She beautifully weaves nature, man, and its animals in a mystical manner. A wonderful choice for anyone who appreciates great talent. Also a wonderful experience for children in examining and finding the hidden so intricately involved.

I was great
I think it is the most astonishing book I have ever rea

I think the pictures are so realistic and so dramatic.
When I saw the pictures, they almost looked like as though they were pictures taken by a camera. My favorite painting was the one where the horses and indians were hidden in the trees. The only thing you could see when you first looked at it was the red fox. I hope that many teens who are interested in art, will come and look through it. You'll get many indeas on what to draw.

magnificent coffee table book
I have this book on the coffee table in the middle of the living room so that when guests admire Doolittle's prints hanging on the walls, I can show them some of her other pieces. I never was "into" any particular artist until I caught a glimpse of her work!! Bev Doolittle's art is addictive!! Get one and you'll easily become a collector!! Beautiful work! I can't wait to see what is next. ... Read more

Book Description

The paintings of Robert Johnson evoke a newfound appreciation for the elegance and power of works done in the classical tradition.The principles underlying this approach to art have been passed along for the last five centuries from master to apprentice, from teacher to student, and from painter to painter.

In "On Becoming a Painter" Robert Johnson answers some of the most persistant questions in the minds of aspiring artists, including "What in fact is color harmony, and how can I achieve it?" and "How can I capture the 'Old Master' brushwork quality I admire in museums in my own paintings?"

"On Becomong a Painter" includes an extensive exploration of drawing as the foundation of good painting, with numerous illustrations that show how good draftsmanship can make paintings come alive.

Robert Johnson writes with human understanding and acute awareness of the attitudes which can propel an artists' work forward or hold it back.It includes the chapter "Changing Your Life," which is directed at painters who wish to seriously consider becoming full-time artists.

Lavishly illustrated with over 100 full-color plates, "On Becoming a Painter" is an essential book not only for the up-and-coming artist, but also for the collector, the connoisseur,and the art lover-in short, for anyone who cares about good painting. ... Read more

Reviews (3)

Wonderful! A great addition to your working library.
I was curious about this book for quite a while before purchasing a copy. I finally decided to just go ahead and buy it, thinking if I didn't like it I would send it back. I was surprised how much I liked it; in fact, this book is fabulous!

As previously stated in another review, this book is not for beginners. It isn't a "how to" with step-by-step demonstrations, nor does it tell you which brand of paint to use (though some are listed) or which brush manufacturer is best. What this book does do is elucidate the finer points of painting, and by doing so, helps us understand why some paintings rise to the level of fine art, while others just seem to remain 'paintings". I am all too familiar with producing "paintings".

Visually, this book is beautiful. The illustrations are exquisite with some covering two pages, and details of other paintings that show the paint application in a way most books never do. These illustrations are highly instructive themselves, even if you didn't read the text (which would be a shame).

Robert Johnson has his own style, yet you can clearly see the influences of others. He has learned from some of the best and that foundation has allowed him to incorporate their teachings while still growing as an artist to produce his own work. I believe this is as it should be. The skill of an artist is making it look easy and not labored. Johnson's work has a fluidity and ease that only comes from years of painting and an increasing understanding of what makes a painting great.

You can see more of his work at his web site http://robertjohnsonart.com. You don't have to want to paint exactly like him to benefit from this book, you just have to read what he has to say and understand it as well as you can within the context of your current artistic development - that's what I'm doing. I know this is a book that you can and should read over and over; each time you do, you will gain more insight to what Johnson has to say. Highly recommended! The table of contents follows:

Foreword by Senator John W. Warner
Chapter 1: On Becoming A Painter
Chapter 2: Color and Composition
Chapter 3: Value
Chapter 4: Edges
Chapter 5: Drawing
Chapter 6: Brushwork
Chapter 7: Materials
Chapter 8: A Painters Life
Chapter 9: On Seeing
Chapter 10: Changing Your Life

What a book, what an artist
This book will make you remember why you wanted to begin painting. It's beautifully written, with words that uplifting and inspiring. It has instruction that would be considered the nuts and bolts of a good painting, though you won't get real step by step how-to's. He paints beautifully and in the truest sense, you feel that you are witnessing a true artist and teacher and that this can't help but inspire you to greater and more rewarding work. This is NOT for beginners by any means. I was slightly disappointed that there were not real hands on exercises on anything, rather more like discussions of what is right or wrong in a painting or method. All in all, an incredible book by a very talented and gifted man. It will make you feel like you are being transported to the threshold of the old masters's world.

Wonderful reading-Nicely done!
After having received the book I feel that I got more than I
paid for.
This book is a wonderful addition to anyone's "art collection".
If you collect art, are an aspiring painter or an accomplished
artist...this book belongs in your library!!
Thanks Robert!! ... Read more

Reviews (2)

Great book for the price
Cassatt was no Sargent or Hassam, but her style reflects sensitivity and charm. This is a great book to own about Cassatt, full of good plates and at a bargain price. You can't go wrong with this one!

So close . . .
I'm a semester into a fine arts degree and desperatly searching for a TRUE female role model in the painterly art.

Sigh - - - Mary Cassatt ain't it.

Sadly, I believe that, Mary Cassatt's only claim to LASTING aesthetic fame is that she is American and FEMALE: not that she had anything unique or new (in her time) to say in her paintings. ... Read more

Book Description

Harley Brown offers artists his "truths" for painting success-the stuff he hopes they teach in art school.A well-established artist, Brown has gained a large following with his frank, no-nonsense approach to teaching art.Twelve knock-out chapters include:

*What every artist should do first.Harley's own cheap and dirty way to start painting.

*Composition-who needs it?See why most paintings are boring.And why a few will knock your socks off.

*Working with color.Stay miles ahead of the person who skips this chapter!

*Going on from here.Your greatest obstacle isn't skill... it's attitude.Plus, 30 magic solutions to common problems, 15 things to leave out of a painting, 24 painting sins and much more!

Supplementing Brown's advice are more than 10 step-by-step painting demonstrations in oil and pastel.His unique offerings are sure to enlighten and entertain painters of all skill levels and backgrounds. ... Read more

Reviews (14)

Probably the most helpful art book I've ever read!
In this book don't expect to be taught every technique for every medium. No, that's not Mr. Brown's goal at all. Instead he's going to share the things that make a painting more interesting, more full of life and quite simply 'work' in a way that draws the viewer into the art. I've been amazed as page after page has been loaded with things that I never knew - that no one ever told me before! - even though I've read dozens of books on technique and have taken classes. These are the eternal truths of composition, dominate tone and color and the list goes on. I can tell that this will be a book I will refer to endlessly throughout my journey as an artist.

One of the best "how to" books on art I've read
Well, I'm only up to page 39, but I can tell that this is a gem of a book. Harley Brown is an award winning artist that works mainly in pastel--and is very opinionated in a wonderful way. Lewis Lehrman, and artist himself, is a seamless writer--bringing out the very best of Harley Brown's personal teaching style.

Though Harley Brown works mostly in pastel, the book doesn't dwell on specific pastel techniques, instead it addresses major issues of design, color, composition and lots of other wonderful "eternal truths"--Actually, I wouldn't call them eternal truths, just the "doink" I knew that, why don't I take that into consideration when I paint! I work in watercolor and find what I've been reading to be invaluable. The section on color alone is worth the purchase.

If you are just beginning, some of the content may not be of value, as beginners are just learning to be comfortable with their mediums. I wouldn't get this book if you're looking for specific art techniques. This isn't a painting 101 type book, its more a graduate level type course. Don't get me wrong, even beginners could learn from it, it has been designed so well. But if you are an intermediate painter, or even an advanced painter, looking to rethink your methods of creativity and trying to push yourself to the next level of creativity--this really is the book for you.

The writing style is refreshing, with two different colors of text, the black being the formal, complete sentence descriptions, the red is the humorous and short--but meaningful re-interpretation. Then there are little tiny footnotes at the bottom with very personal asides and running up the sides of the page, in the margin, inspirational quotes. Its pretty neat, definately something to read over and over again, and in short, about the best "art how to book" I've read. Its almost like being in the same classroom with the authors.

Great tips
There are some good tips. It is like a classroom. You just take it a step at a time. So, you gotta be patient and have to time to try out some of his techniques.

Reviewing the Reviewer
I feel badly that the "reviewer from New York," found this book slightly disappointing. Perhaps he doesn't know what to look for because the wealth of information in this book is beyond most others. If we look hard enough we could find fault with virtually everything. I like to see the positives in life. I'm sure Harley Brown doesn't worry about the nitpickers of the world, but I want to have a go at this one.

A. He's disappointed that Harley Brown is "heavily slanting his own work towards classical." Does the reviewer not think that it's Mr. Brown's right to paint and think as he pleases? The title does say Harley Brown's Eternal Truths and not Sam Black's.

B. He complains that watercolors and acrylics are not mentioned in the book. Once again, he missed the title of the book. It's TRUTHS, not techniques in watercolor and acrylic or oil. There are plenty of those technical books around. I suggest he get them. TRUTHS apply to all mediums of art.

C. It would appear that there wouldn't be enough room to go about describing, "paints, mediums, glazing, scumbling, mizing colors, choosing a palette,etc" as the reviewer had hoped. As for me, I'm thrilled that Mr. Brown kept his comments to the elements of good art.

D.The reader warns us that Mr. Brown is "focused on realism in his paintings." That's pretty evident from the covers alone. Keep your focus, Mr. Brown.

E.We are also told by the reviewer that Mr. Brown doesn't think much of "abstract impressionists." I've never heard of them; maybe he means "abstract expressionists."

F. Another quote, "He, (Harley Brown), is also against working from your imagination since inevitably you'll get things wrong." If one really reads the words in the book, what Mr. Brown means is the problems of working from memory instead of going directly to the source. A world of difference. From this book, Mr. Brown urges artists to use more of their imagination.

G. This reviewer notes that Mr. Brown is "opinionated." Don't we buy books to get an opinion?

H. Personally, I was so taken by the book that I didn't notice, as the reviewer did, "a few editing mistakes."

I. I must compliment the reviewer for the many good things he did say about the book. After all he gave it four stars out of five.

J. Another person writes that Mr. Brown is her "favorite artist and author." It turns out that the vast majority of people agree with this lady. They were able to find the great wisdom and art flowing from this book's pages. I'm one of that bunch.

misleading title, lacks depth and objectiveness
Artists working in a figurative, representational way, especially if they work with pastel and need some advice for portraits and figures (in my opinion, the other subjects done by the author are less convincing, artistically speaking) will probably find this book usefull, even though I would rather recommend "Painting beautiful skin tones with color & light in oil, pastel and watercolor" by chris Saper in this case. For the others, be aware that you may be disappointed and not find the treasure of universal "truths" within the book, as the title suggests. In fact, I don't think there are something like "eternal truths for every artist". Just compare the work of Arcimboldo, Vermeer, Miro, Mondrian and Klimt and then we are just talking about painting... Many of these "truths", for example about edges to name one, work for M. Brown's type of work, but may not always be applicable for example for abstract art. This kind of book would have gained a lot if the author had discussed the paintings of other artists, especially those from a different "school of thought". In this respect I would say the book's style is too dogmatic and lacks some sense of humility and nuance. Art has more to do with originality, emotion and the expression of one's personality than with craftsmanship, for example the quality of a drawing. Of course it is very useful when other artists are willing to tell you some tricks, as long as these "tricks" are recognised as such and are not given the status of "universal truths" applicable to every piece of art in every movement of art. I bought this book based on the reviews because I thought it would be motivational, but in fact it had quite the opposite effect, because my kind of work(ing) is just too different from the one described in the book. Still I gave this book a 3, because the book is nicely illustrated and presented, introduces concepts like value, composition, edges, etc.
So, if you are working in a figurative, realistic way with pastel, have acquired a certain ease (because the book doesn't always explain the "how-to" part of the things, for example, when merely presenting soft and hard edges, but not telling the different WAYS to create soft edges with your medium), if moreover you have had art classes or work shops (because at some points the book presupposes an academic background which autodidacts lack, without them therefore being "beginners" in their artistic expression!), but if you need strong directions to progress, this book may work well for you and actually disserve a 4. If your work is of a different kind from that of the author, and if you usually prefer to confront different points of view in order to define your own, you may remain disappointed by the content of the book (as compared to the promising title)and the unilaterality of the speech. One book that overcomes this risk of one artist overrating his way of expressing art as the only one being right is "design & composition secrets of professional artists" by "international artist", where 16 painters of different backgrounds and styles explain their way of working.
So, with a more appropriate title, with an index (to facilitate looking up specific items), with a less authoritative and clear-cut way of presenting things and with more "practical" tricks to put the concepts immediately into practice, and with a more "scientific" way of approaching a subject and constructing a book,the book would have got a 4 or 5. ... Read more