Reviews (9)

Best (and only) book-length Bouguereau in print
Wissman did a great job providing a fair and balanced view of French painter Bouguereau's career. And it's a good thing too! Everything else related to the artist is either out of print or a flimsy postcard book. How could this be? Well, the unfortunate stereotype of Bougeureau buffs is that they "don't know much about art but know what they like." It may be that many editors assume that if you like Bougeureau's paintings, you aren't the type to read a serious art book. I like to believe this is wrong. I enjoy Bougureau's art very much and am glad that someone published a reasonable paperback history and criticism of the artist. I hope that one day, others write similarly good books about other "forgotten" 19th century artists.

Color reproductions are excellent
You wouldn't be ordering this book if you didn't already love Bouguereau, so rest assured that the reproductions are top notch, especially for a fairly inexpensive paperback.

Art Book of the Century (and last two as well)
This is a lankmark book about the greatest painter of all time. Whereas it is easy to do write a book on over-hyped painters (such as Cezanne or Picasso) simply by rehashing other books, Wissman has written the first complete book of a great painter we almost know nothing about (except now).

This book contains large format pictures and an easy-to-read and informative biography. Highly recommended

A superbly presented collection of artwork
Bouguereau by museum art exhibition curator and art history expert Fronia E. Wissman is a superbly presented collection of artwork underscored with thoughtful commentary showcasing one of the most simultaneously beloved and hated nineteenth-century French artists, Adolphe-William Bouguereau. His realistic, classic paintings of nude bathers, nymphs, young women and figures of mythology have a captivating, attention-calling quality that turns the head and the eye. His images are here displayed in full color photographs and the informative text recounts his life and enhances our understanding of the background to his masterpieces in this engaging and very highly recommended addition to personal and academic Art History Reference collections.

Fine Art in Softbound
Lovely book. The biographic text is an easy read and the selections of Bouguereau's work illustrated here depict a good portayal of the artist. A great value of a fine art book in softbound form. ... Read more

Book Description

Portraits from Life in 29 Steps presents an elegant, simple and direct procedure for painting a convincing portrait in 29 logical steps.John Howard Sanden has developed this method in more than three decades of painting, demonstrating and teaching.

At the heart of this book are two complete portrait-painting demonstrations; each of the 29 steps is descriptively titled, explained and illustrated to show the clear progression of the portrait.Sanden uses an exciting and appealing premier coup approach to painting, where the artist attempts to execute a finished painting from the very first stroke. ... Read more

Reviews (10)

GREAT BOOK ON PORTRAIT PAINTING
I gave this five stars because it is a wonderful step by step book on portrait painting, directing you where to put the shaded/highlighted areas. The authors promotion of his paints do not bother me one bit. When you get into portrait painting, it is fun to make your own colors (which will be learned with time). In my opinion, this is the best "how to" on painting portraits I have found so far, and I have many.

A good reference book on portrait painting in oil
Now this is a hard case when it comes to rating. The fact of the matter is this is a good book about portrait painting in oil; and the paintings presented in the book using Mr. Sanden's approach (plus his over 30 years of experience) are just beautiful. The book, however, does present a method to paint based essentially on products promoted by the author; and this may be too much for some readers.

I thought I'd point out a few points:

STRENGTHS:

- The book presents a step-by-step approach to render portraits in oil. Two demos are presented systematically in 29 steps, which may be easy for starters to follow. This perhaps is the strongest point of the book to be used as a reference.

- The book also introduces the Pro Mix oil paints and brush packages, both promoted by the author. This may be very good for readers who wish to become professional portrait artists, using the approach presented in the book.

WEAKNESSES: The aformentioned strengths, ironically, may also be the weaknesses of the book.

- In his approach, the author refers frequently to the choice of colors taken from the Pro Mix product. In all fairness, the author DOES describe (in the section "The Pro Mix Portrait Palette", pp38-39) the formulas of how to prepare these Pro Mix colors from commercially available basic colors. So the choice is for the readers to make. One could order the Pro Mix product or mix them oneself. Consequently, to maintain the flow of energy and interest while painting, the readers might as well get the product or pre-mix all the tonal colors before trying out these demos.

- The fact that some products are promoted in the book, apparently, has caused some negative responses from other reviewers (as we see here). In my opinion, if one would like to learn this approach and eventually make a living out of it, one might as well buy the ready-to-use Pro Mix colors for convenience.

In closing, I simply find this is a good reference book in portrait painting, whether one will follow the systematic approach presented in the book. Therefore, I'd give it a 4-star rating.

Value is the Key to Portrait painting
The key value of the book I think is the explanation of the importance of Value and color mixing. The simplified explanation of the use of the Value scale is clear and the examples clarifies this clearly. Furthermore the basic characteristics of color--hue, value, intensity and temperature are well demonstrated with a clear guide to learning how to change and reduce intensity, value and temperature in painting a portrait. Also Sanden gives a convincing demonstration on building a portrait fron the foundation ------great book!

OK, here's the deal...
...a guy who makes tens of thousands of dollars a pop on portrait commissions doesn't desperately need your $70 for his Pro Mix paint set (esp since he gives the reader the recipes right there in the book). Rather, this author offers this time-saving option as a convenience to artists, at the same time encouraging artists to learn to mix the colors themselves (also stated in the book).

And as to his lavish studio, would you want to bring CEOs, heads of state, foreign diplomats, etc., to some cramped, dusty little studio (like most of us work in), or would you re-invest your earnings from such a clientele to obtain a comfortable venue for them to pose in, for many hours at a time?

Look beyond reviews posted here with comments that obssess on these and other irrelevant details (success-envy). It's apparent that Sanden is a master teacher who has worked very hard to get to the level of achievement he now enjoys. It's also apparent he's got this giddy enthusiasm for sharing his secrets; he's got nothin' to lose.

So get and USE this book if you want superior, straightforward and very succinct instruction in portrait painting --indeed in any kind of painting you'll ever do (landscape, still life, abstract, what have you) where an astute understanding of color and value is a requirement. Take the instruction and personalize it, make it your own. You'll be glad you did when you see the big difference it makes in your artwork.

This guy is good- so is his book
Within the narrow scope of portraiture for the well-to-do, Sanden is the best, and he knows how to teach; the book is as methodical as he is. And his paintings look great- the epitome of a sort of smooth and buttery '50s illustrational style, like Haddon Sundblom, but tighter- very disciplined and technically acccomplished, yet lyrical. Any objections to Sanden's seeming promotion of his "Pro-Mix" brand of paints are unfounded (that's where you order a box of pre-mixed colors made by a company which has a deal with the author). He tells you exactly how to mix the colors yourself out of the usual tubes of paint you can buy in any art store, so you can either order them pre-mixed, or do it yourself, so where's the problem? The delight of this book is looking at the step by step demonstrations of all those juicy, painterly pictures of people with lots of personality. His two hour sketches are beauties (more "artistic" than his finished commissions). I got a lot out of the book, most of which is the wisdom of the ages anyway, but stated in a no-nonsense fashion (maybe a little dogmatic in a few instances, but the guy does a certain style and he has his game down pat, so just pick what you need). Sanden's work is aimed at the tastes of those who have become CEOs, Church leaders, and heads of State, and is frankly corny (unless, like me, you are so modern you get off on that) but his revealing demos really explain the dazzling virtuosity. If you're serious about painting heads, this belongs on your shelf. In and of itself, it won't teach you to paint, but what will? ... Read more

Book Description

The story behind the legendary John Singer Sargent painting that propelled the artistto international renown but condemned his subject to a life of public ridicule.

John Singer Sargent's Madame X is one of the world's best-known portraits. As the Metropolitan's most frequently requested painting for loans, it travels to museums around the globe. The image of "Madame X" decorates book and magazine covers, greeting cards and screen savers. She's even been immortalized as a Madame Alexander doll.

Few people, though, know the fascinating story behind the painting. "Madame X" was actually a twenty-three-year-old New Orleans Creole, Virginie Gautreau, who moved to Paris and quickly became the "it girl" of her day. All the leading artists wanted to paint her, but it was Sargent, a relative nobody, who won the commission. Gautreau and Sargent must have recognized in each other a like-minded hunger for fame.

Unveiled at the 1884 Paris Salon, Gautreau's portrait did generate the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting, to outraged Parisian viewers, either the prelude or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home so she would never have to look at herself again.

Why had Sargent chosen to portray her in such a provoc-ative manner? Was the painting, with the scandal it generated, the machination of a sexually conflicted man who desired a woman and a lifestyle he could never possess? Drawing on documents from private collections and other previously unexamined materials and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is an enthralling tale of art and celebrity, obsession and betrayal. ... Read more

Reviews (13)

"The unpaintable beauty and hopeless laziness..."
The title of this review refers to something John Singer Sargent wrote in a letter when he was attempting to complete the "Madame X," painting. He was having a great deal of difficulty in deciding what pose Madame Gautreau should adopt for the painting. It didn't help that the 24 year old woman appeared to suffer from Attention Deficit Disorder: she hated to hold a pose. She was rich, she was young, and, well, she had other things to do! I have to admit that when I read on the book jacket that "Deborah Davis is a writer and veteran film executive...",I was a bit put off. I thought, "Oh, this is going to be presented in a 'Hollywood' way, with a lot of style but no substance." Well, shame on me. Ms. Davis (who admits she is not an art "expert") has written a very good book. Although the book is relatively brief, the author covers a lot of ground. Even though the book is not meant to be a biography of Sargent, we still get a pretty good feel for what the man was like: sensitive, intelligent, ambitious, lonely and sexually conflicted. Sargent had already made a pretty good name for himself before he painted Amelie Gautreau. By painting a celebrated beauty, however, he was going for the brass ring - he was hoping to become even more well known and to generate more commissions for portraits of the rich and famous. When Ms. Davis talks about the actual public display of the painting at the 1884 Paris Salon, she also is quite good. We learn about the quirks of a culture where it was perfectly fine to have acres of naked flesh cavorting in a historical painting, but it was scandalous to have a fallen shoulder strap if you were painting a real, contemporary woman. Although this is not an academic work, it is still fascinating from a psychological/sociological standpoint. While Sargent was working on the portrait, Amelie (and her mother) thought it was wonderful. However, after the critics trashed it (and the public found it immoral), mother and daughter wanted nothing more to do with it. Sargent kept the painting because Amelie Gautreau wouldn't buy it. She had wanted fame, but not of this sort. Sargent had to "re-group" and for later Salons came up with paintings that were non-controversial but still showed off his virtuosity. After awhile the scandal was forgotten and Sargent was back in vogue. (In a classic case of "Be careful what you wish for, you might get it," in later years Sargent was so much in demand for portraits that he no longer wanted to do them. As Ms. Davis writes, "Sargent derisively spelled the word 'paughtrait,' and declared 'No more mugs!' to whoever would listen.) As Amelie Gautreau got older, and as the public forgot about her, she, sadly, began longing for any kind of fame. She commissioned other portraits, none of which could measure up to Sargent's. In 1891, in a pictorial shout for attention, she had Gustave Courtois do a portrait of her: she posed in a white gown (rather than the black gown she had worn for Sargent), with, yes, a fallen shoulder strap. If this book has any fault, it is that Amelie Gautreau comes across as a bit of a cipher. All we see are her vanity and attempts to bring attention to herself. It's a bit of a caricature, really. I'm not sure if that's because there's a paucity of information about her (especially when compared to Sargent) or if it's because it bolsters Ms. Davis's argument that with "Madame X," Sargent was trying to portray an exemplar of a shallow segment of society. Still, as a study of Sargent, of ambition - both professional and social, and of the late 19th century Paris art world (and of how artistic reputations rise and fall like the tides), this is a very rewarding read.

Davis has painted a vibrant and luminous picture!
As an artist and a art historian, I was very pleased to get new insight into the story behind the painting Madame X and the people and places that surrounded her creation. As in The DaVinci Code, many mysteries were uncovered in an intriquing way (but without all of the running around). Bravo for writing a book that is accessible to artists and laypeople alike. Davis has painted a picture of the process the artist goes through when making decisions that remain on the canvas years after the artist and model are long gone. Worth taking the time to read the story and to see the beautiful reproductions of Sargent's paintings.

Sargent
I thought this book was very well researched, however, I was disappointed to see that 30 pages are notes and bibliography in a book that is 310 pages in length. This book could also use another good edit for several 'snags' that I encountered. Otherwise it is a good read.

Long magazine article
I read this book to fill in my knowledge after reading a fictionalized account of Amelie Gautrea. It read like a magazine article in the New Yorker - well researched and interesting yet somehow glossing over any deeper meaning.

Interesting book about a boring person
The painting it's self is a masterpiece but, it's subject was an incredibly hollow parisite. It is no wonder to me why we have known so much about Sargent and so little about Mrs. Gautreau. She was nothing at best. Ms. Davis paints a very clear picture of who Madame X really is, while Sarget did not. The book is interesting and a quick read but, I wouldn't recommend it if you would like to maintain the paintings mysterious allure. ... Read more

Book Description

Helen Van Wyk mastered the art of portraiture by using color, shadow and artistic expression to capture the personalities of her subjects. In her inspiring instructional style, she teaches artists of all abilities to paint portraits successfully.

She breaks down the challenge of portrait painting into simple elements anyone can achieve. Using beautiful, full-color illustrations of her own work, as well as her trademark techniques and formulas, she teaches:

* color mixes for the five basic tones of flesh
* techniques for painting wet-in-wet and in loose strokes
* keys to painting eyes, hair, glasses and full poses
* tips for painting family and self portraiture
* how to capture expression and likeness. ... Read more

Reviews (2)

Informative Book
I am new to oil painting and found this book very helpful in many areas. It covers working with live models , when and how to do this. How to begin your painting, color and many other areas in your painting. I think it will be of great help for my success in oil painting. It does not cover types of paint to use but it clearly tells you that is not the books purpose. I have only had it for a few weeks but have already gone thru it completely and feel like I have learned quite a lot.

Master Oil Portraits
As always, Helen Van Wyk style of masterfully illustrating the techniques from the start to the finish of portrait painting is well presented in this book. I found the book very useful in solving some of the problems that I could not seem to overcome. I now keep the book handy and refer to her whenever I find a challenging face to paint.

I would recommend this book not only for the techniques that she provides but also for the variety of illustrations that will help any level of oil painter improve their skills. From cover to cover, this book is a bargin to both the beginning painter and the master. ... Read more

Book Description

This new title in the Watercolor Basics series provides artists with all the step-by-step guidance they need to bring people and portraits to life through the beauty of watercolor. From achieving proper proportion to rendering skin tones, author Butch Krieger makes mastering the basics--value, shape, line and color--a snap. Seventeen complete demonstrations and thirteen mini demos take readers through every step, everything from selecting materials and mixing colors to creating effects. Whether the reader is an absolute beginner striving to paint people realistically, or a more advanced artist looking to improve a specific technique, Watercolor Basics: People will make a noticeable difference in the quality of their work. ... Read more

Reviews (1)

Great Book
This book is a great step-by-step guide for portrait painting in watercolor. The importance of value is well illustrated. A wonderful book for the beginner and experienced watercolor painter. ... Read more

Book Description

Retratos
2,000 Years of Latin American Portraits
Marion Oettinger, Jr., Miguel A. Bretos, Carolyn Kinder Carr et al.
A landmark survey of Latin American portraiture and
its powerful significance throughout history

The tradition of portraiture in Latin America is astonishingly long and rich. For over 2,000 years, portraits have been used to preserve the memory of the deceased, bolster the social standing of the aristocracy, mark the deeds of the mighty, advance the careers of politicians, record rites of passage, and mock symbols of the status quo. This beautiful and wide-ranging book—the first to explore the tradition of portraiture in Latin America from pre-Columbian times to the present day—features some 200 works from fifteen countries.
Retratos (Portraits) presents an engaging variety of works by such well-known figures as Diego Rivera, Frida Kahlo, Fernando Botero, and José Campeche as well as stunning examples by anonymous and obscure artists. Distinguished contributors discuss the significance of portraits in ancient Mayan civilizations, in the world of colonial Iberians, in the political struggles of the nineteenth and twentieth centuries, and in a remarkable range of other times and locations.
With a wealth of informative details and exquisite color illustrations, Retratos invites readers to appreciate Latin American portraits and their many meanings as never before.
FThis book is the catalogue for the first exhibition of Latin American portraiture ever organized in the United States. The exhibition is on view at El Museo del Barrio, New York (December 3, 2004 to March 20, 2005); the San Diego Museum of Art (April 16 to June 12, 2005); the Bass Museum of Art, Miami Beach (July 23 to October 2, 2005); the National Portrait Gallery, Smithsonian, Washington, D.C. (October 21, 2005, to January 8, 2006; and the San Antonio Museum of Art (February 4 to April 30, 2006).

Marion Oettinger, Jr., is senior curator and curator of Latin American art at the San Antonio Museum of Art; Miguel A. Bretos is senior scholar at the National Portrait Gallery, Washington; Caroline Kinder Karr is deputy and chief curator at the National Portrait Gallery, Washington. Contributors to the book include Elizabeth P. Benson; Christopher B. Donnan; Kirsten Hammer; María Concepción García Sáiz; Renato Gonzáles Mello; Luis Pérez Oramos; Luis-Martin Lozano; and Teodoro Vidal.

... Read more

Book Description

Covering the full range of painting mediums, this appealing instructional examines work by leading contemporary artists to show students a variety of approaches to the fascinating art of figure and portrait painting.From traditional to more abstract styles, in oil, watercolor, acrylic, pastel, and mixed media, the book's depictions of beautiful human forms and expressive faces are accompanied by detailed text featuring the artists' own explanations of how they work, from inspiration and composition to choice of materials, colors, and technique. Endorsed by Windsor & Newton, one of the world's most respected suppliers of art materials, the book is recommended for novice painters as well as those with experience in one medium who are interested in diversifying to others, and for landscape artists who want to expand to figures and portraiture. ... Read more

Reviews (2)

Should Get An Award For Best Layout
One would think that art books would automatically have the best visual layouts of any books. I wish that were true! This book is probably the best layout for a how-to book I've yet seen. You can open the book to any page and the visuals are so good and text so well integrated that you will learn something then and there. This is wonderful because artists don't necessarily like progressing in art books from page 1 to the end. However, most publishers assume that is the way that they do take in how-to material. I work in mixed media and am currently concentrating on the human figure and face. Thus, this book perfectly suits me. The author is also open to a variety of styles and is not focused on only one style. I too like variety in style. Someone who is still trying to choose a medium should also benefit from this book as you can easily see the benefits and detriments of each as applied to this subject matter. However, if you are solely focused on one medium, rendered in one style, on one small portion of the human body or face, then this may not be a good choice for you. Although, then I think you especially could stand to have your artistic vision given a bit broader and looser scope than that description implies.

Great "how-to" book
For anyone interested in learning to paint portraits, this is an excellent "how-to" book, much better than the average. For a relatively small book, it contains a surprising amount of information, including painting in different media and styles, selected palettes of several contemporary painters, with particular attention given to composition as well. I saw this book in Ireland on a recent trip, and am so glad to find that I can get my own copy here at home. ... Read more

Book Description

The most visited gallery of the National Portrait Gallery is the Hall of Presidents, the collection of portraits of America's elected leaders. More than a visual record of holders of power, these images evoke the careers and legacies of the men they portray.An authoritative, engaging text by Frederick Voss illuminates the pictures, offering a concise history of each President and telling how each portrait came to be made. Included in this book are images of every American President, from Gilbert Stuart's famous depiction of George Washington, to Elaine de Kooning's John F. Kennedy and Norman Rockwell's Richard Nixon, and concluding with Chuck Close's photographic portrait of Bill Clinton. ... Read more

Reviews (1)

Outstanding!
A great book. A wonderful collection of images coupled with well-written essays. ... Read more

Book Description

Award-winning artist Roberta Carter Clark has created a loyal following among painters with her timeless instruction. Her popular workshops have brought the joys of creating vivid portraits in oil and watercolor to countless artists. This is a classic compendium of her in-depth approach to portraiture.

Clark takes artists through a series of 24 step-by-step exercises in drawing the face. She demonstrates how her detailed drawing exercises--accurately indicating features, highlights and shadows--offer the most practical approach to creating a lively, successful portrait. Dozens of additional techniques and exercises show how to work in different mediums, avoid common errors and capture a subject's unique likeness. ... Read more

Reviews (2)

"...a standout, user-friendly instructional book.."
A workshop guided by a master painter of portraits. Robert Carter Clark sets out here to teach you thoroughly from her professional experience, without cutting corners or resorting to caricature. Fully one-half of this fine book is given to draftsmanship. She begins with proportions of the head (male, female & infant) in Chapter One, then moves on to drawing features -- with special attention given to the windows of the soul, the eyes. Chapter Three is dedicated to drawing the body. In Chapter Four, Ms. Clark presents the difficult skill of capturing fabric folds. Chapter Five covers lighting for four different views. Charcoal portraiture comes next, then using color, stepping through hue, value, intensity, & flesh & hair tones.

Finally, she devotes chapters to painting portraits from life in oils & in watercolors. Oil techniques include wet-into-wet, monotone, & glazing.

"How to Paint Living Portraits" is a standout, user-friendly instructional book within a genre glutted with volumes that can be too light or too dense, or promise too much, too quickly. Roberta Carter Clark cooked this one right. She's an excellent teacher.

Bob Rixon, Pearl Art & Crafts

Very Informative.
Great for anyone that has some experience in painting but is just beginning portraits. Detailed step-by-step instructions work you through the process. Lots of illistrations and color pictures. ... Read more

Amazon.com

The Art of the Portrait focuses on about a 200-year period, from the late Middle Ages to the Renaissance, during which the genre of painted portraiture flourished. For the first time since classical antiquity, interest in and attention to this type of painting grew. As a consequence, new visual types of portraiture--full length, profiles, groups--emerged, and a wider range of subjects (outside the traditional circle of royalty and clergy) was explored in the canvasses, along with psychological and atmospheric elements. During this heyday innumerable masterpieces were painted by a wealth of different artists. But the 19th century, with the advent of photography and impressionism, among other developments, put an abrupt end to the boom.

The paintings collected in this book include Botticelli's Profile of a Young Woman, in which his subject is draped in a lovely deep-red gown with pearls threaded through her intricately braided hair; Jan van Eyck's The Marriage of Giovanni Arnolfini, which doubled as something of a marriage certificate for the couple, as it attested to the presence of a witness (the artist himself) at the priestless ceremony; and da Vinci's Mona Lisa, arguably the most famous portrait in the world. Works by Poussin, Rembrandt, Titian, Dürer, Raphael, Rubens, Velázquez, and other artists illustrate the highlights of the period. The book itself is an interesting enough survey of some of the greatest portraits ever painted and the artists who created them. But it contains poorly reproduced plates of relatively common paintings and a conventional introductory essay, not to mention overlong annotations that tend to overtake the actual images. Still, The Art of the Portrait has achieved minor notoriety since being cited by David Hockney in The New Yorker (January 31, 2000) as supporting his theory that painters of the 16th century must have relied on optical devices such as the camera lucida to create the near-photographic perfection of the portraits. --Jordana Moskowitz ... Read more

Reviews (2)

One of Norbert Schneider's finest books
THE ART OF THE PORTRAIT gives further stature to the quality of research and writing of art historian Norbert Schneider. In this beautifully illustrated volume he not only explores the idiosyncrasies of portraiture in general, enlightening us as to the vagaries of time and social custom influencing the painters presented here, but he also presents highly entertaining and educational comparisons of the ways different artists have presented the portrait of a similar subject. Example: In presenting Rembrandt's 'The Anatomy Lesson of Dr. Nicolaes Tulp' he offers a full image of the painting along with well chosen details, then contrasts this famous medical experience with a woodcut from Johannes de Ketham (1493) of an anatomy section, a reference to Mantegna's 'The Dead Christ', Gerard David's 'The Flaying of Corrupt Judge Sisamnes' (1499), and with Rembrandt's own later 'The Anatomy Class of Dr. Joan Deyman'. We are introduced to the diagonal penchant of composition of Holbein, the demand for group portraiture as in the examples of paintings as familiar as Rembrandt's 'The Night Watch', with those less famous commissions by Franz Hals, Thomas de Keyser, and Cornelis Anthonisz. Preoccupation with self portraiture is studied with a wonderful sense of humor, and the idiosycrasies of Velazquez's preoccupation with dwarfs, and Arcimboldo's with vegetables and fruits as building blocks for his portraits provide insights that are refreshing. There are discoveries for the novice art lover of the wondrous works of Lorenzo Lotto and Agnolo Bronzino and Quentin Massys as well as re-visits to the more famous da Vinci, Titian, etc. In all, a treasure house of images and information!

Every Portrait Tells A Story
This is another solid entry in the Taschen line of well done and reasonably priced art books. It is also another wonderful job by Norbert Schneider. (Please see my review of his book "Still Life".) The book covers the 15th through the 17th centuries and contains many full page color reproductions. There are also many smaller reproductions of details from the portraits being shown and of other paintings which may have been an inspiration to the artist in question. There are also some very effective full page black and white closeups of the faces of some of the sitters. When you look at these black and white reproductions you can really get a good luck at the fine attention to detail and in many cases the brushwork is so smooth that you could swear you are looking at a photograph rather than a painting. Mr. Schneider starts off the book with a brief introduction to the historical development of the portrait and the changing goals of the artist and the patron. This section is only about 30 pages but also contains many examples relating to what the author is talking about. The rest of the book focuses on color plates of particular portraits and is accompanied by Mr. Schneider's descriptions of the paintings including explanations of the symbolic meanings of pieces of clothing and items of jewelry worn by the sitters; what the sitters wanted to show to the viewer by commissioning the portrait-e.g.-demonstrating their wealth or power or intellectual achievements, etc.. Mr. Schneider also gives interesting little biographical tidbits about the artists and the patrons. His writing style is to the point but not dry. Works by such artists as Da Vinci, Van Dyck, Rembrandt, Titian, Raphael, etc. are included but also works by lesser known artists, so even if you know a lot about art you will be able to learn something and be entertained by this book. Highly recommended and a great bargain at the price! ... Read more

Reviews (1)

Draw Family & Friends--Lee Hammond
Another great Lee Hammond art book! If you have always wanted to do lifelike drawings from family photos, get this book and get started! If you are timid about your drawing, Lee's books will encourage you tremendously. A great place to start with your graphite portraits! ... Read more

Book Description

The self-portrait is an artist's most intriguing vehicle for analysis and self-expression. Serving a dual role as both creator and subject, artists are offered unusual freedom; as a result, self-portraits offer special value and high interest for both artists and art lovers. Mirror Mirror explores the role of the self-portrait in the work of 40 women artists from the mid-17th century to today.Filled with gorgeous, full-color reproductions, this unique guide covers a wide range of media-from oil painting to photography, woodcut to ceramic sculpture. Readers will discover the rare work of major painters including Mary Beale, Gwen John, and Dame Barbara Hepworth, as well as portraits by women known primarily for their work in other media, such as photographer Lee Miller and ceramicist Susie Cooper. Each of these wonderful self-portraits appears chronologically and features fascinating biographical details of each artist, as well as inspiring essays from two leading art historians: Whitney Chadwick, who discusses style, technique, and how the artist explored her own identity; and Frances Borzello, who presents the historical background and artistic context of each portrait. Whether you're interested in history, art appreciation, or general women's issues, Mirror Mirror offers a rare look into the work, intrigue, and genius of some of the most creative women artists throughout the centuries. ... Read more

Amazon.com

Tony Bennett, David Byrne, and occasionally David Bowie all do it--they make art. With the introduction of Paul McCartney: Paintings, we can now add the famous Beatle to the list. The book is a catalog of paintings from McCartney's 1999 exhibition in Germany. Music and art have many things in common; for McCartney it is the freedom to "play" that connects both endeavors. Fittingly, his paintings draw most of their influence from abstract expressionism, in which the material quality of the paint itself inspires the drips, blobs, and splatters. His paintings range from cartoon-like figures and faces to open landscapes. The colors are dynamic with varying thicknesses of paint, some with marks scratched into the surface, all with stories and symbolic value.

From the illustrations and accompanying essays to the very candid interview, we are given remarkable insight into McCartney's practice as a committed creative person. He confides his insecurities as a painter who has never gone to art school, and his defining moments as an artist both musically and visually. There is an unusually generous section in which McCartney discusses many of the paintings in the book; it's a behind-the-scenes look as he elaborates on the personal meanings behind certain symbols, tells stories and anecdotes, and acknowledges his painterly influences, specifically Willem de Kooning. Also included are personal photographs of the artist at work, 117 color illustrations, and 17 duotone photographs. --J.P. Cohen ... Read more

Reviews (13)

For McCartney completists only
Best known and most successful as a composer of popular music, McCartney has branched out to explore his creative nature in classical music and painting. McCartney surely can be considered a Renaissance man of our generation.

It's nice for us fans to see the results of his endeavors, but for the most part, McCartney's legacy will only include a brief footnote in reference to his painting. This book will be of interest to die-hard McCartney fans, but I doubt that either the book or McCartney's paintings will gain much attention in the world of contemporary art. I rather doubt that these paintings would have garnered the attention of a gallery curator and been exhibited were it not for the celebrity behind the work.

The book includes an interview with Sir Paul, as well as essays by Brian Clarke, Julian Treuherz, Barry Miles, Wolfgang Suttner and Christoph Tannert. Photographs of the painter at work, taken by his late wife, Linda, are also included. The paintings which are reproduced in this book were first displayed publicly in the Lyz Art Forum, Siegen, Germany in 1999.

McCartney's style is certainly his own, as one can see that McCartney the artist is exploring the canvas with his choice of colors, brush strokes and imagination. Clearly, he is "entirely fearless about getting lost" as Brian Clarke says in his essay in the book.

Paintings that might have some interest for fans of Paul the Beatle are Patti Boyd, a cartoonish caricature of the ex-wife of George Harrison; Yellow Linda with piano, a study of his late wife and one of the more interesting portraits in the collection; Elvish me, a "Paul as Elvis" study which is rather whimsical; and Green head, which looks a lot like one of the characters in the Coming Up video. No doubt that McCartney fans will spend hours trying to analyze the hidden meaning in his abstracts.

Is it for everyone? Certainly not. Do I regret paying the $50.00? Not really. I would expect those with a casual interest will be more likely to check the book out of a local library than adding it to their own collection.

Sooo Impressed
Paul McCartneys is not only a great recording artist, but he is a GREAT painter as well. He is a true artist. I enjoy his art very much, and I was extremely impressed that he can paint the way he can. I would place right up there among Picasso and Chagall. He's that good.

Dripping with color
It's a joy to flip through this book of wildly inventive faces and colorful dreamscapes. There is a freedom and a vibrance to McCartney's paintings, that, like his music, can't help but draw you in and infect you with a buoyant kind of wonder.

These paintings tear at the boundaries of what you think can and can't be done. They're appealing and yet completely unpredictable. In short, they are paintings from the same imagination that came up with both "I Will" and "Why Don't We Do It in the Road?" and then had the not-so-common-sense to put them back-to-back on the same record.

McCartney is obviously setting the artist inside free with these bold, bright canvases. Whether this is great art, that is really a question that each pair of eyes must answer in its own way, in its own unique language.

I for one am glad that McCartney has chosen to make his paintings public. I find these colorful canvases, and the artisitic courage that propelled them into being, quite inspiring.

Unpretentious Art!
Regardless of the high brow reviews of this book, I chose to purchase this book to see if this was another celebrity who found art and realized their celebrity could sell their art. Bottom line I had hoped that McCartney's personality would triuumph and his down to earth philoposphy would come through. Indeed it did and this is the first Unpretentious book on Art I have ever read. If anyone has the desire to paint, draw or create but is held back through social conditioninig this book is for you. McCartney albeit through interviews and ghost writers tells how he himself freed himself from his own perfectionist procrastination mode and at the age of 40 painted. What resulted I found to be liberating in the way that in his celebrity circle of friedns he learned from William De Kooning how to "kill the canvas" and get over the fear of standing in front of a blank canvas. Additionaly McCartney goes onto explain his creative process for his paintings again influenced by De Kooning. He discussed how he would write a friends name on a canvas or a sketch or just a smudge of paint and see what stimulated his creative enery to produce and be led by creativity instead of coming to the easle prepared with a pre-conceived idea. McCartney never pretends to be a De Kooning or indeed a high brow artist. He comes across as someone who enjoys the process and output that art offers. Through his own conditioning he is also seeking the feedback for his efforts, regardless of the technicalities I for one see his work as inspirational and has encouraged me to go and "kill the canvas" myself.

Interesting Abstract Expressionism
While I didn't like all of the paintings, I did find it an interesting book to look through. The influence of DeKoinig and the other Abstract Expressionists is clear and interesting (if not on the cutting edge of today's art scene.)

All in all, it adds another dimention to this very complex man. I look forward to reading his book of poetry for the same reason.

I am a dancer who is also a writer, so I understand the desire to expand disciplines, and I applaud it. ... Read more

Book Description

John Everett Millais (1829-1896) was one of the most celebrated figures of Victorian art. As a young man, he founded the Pre-Raphaelite Brotherhood with Dante Gabriel Rossetti and William Holman Hunt. In later years, he rose to wealth, acclaim, and social prestige as a landscapist, illustrator, and painter of subject and genre pictures and as the most successful British portrait painter of his generation. This lavishly illustrated book, published to accompany a major exhibition at the National Portrait Gallery in London, is the first comprehensive survey of Millais's portraits. It is also a historically important record of High Victorian England, containing the artist's memorable images of such leading political and cultural figures as Gladstone, Disraeli, Tennyson, Ruskin, Carlyle, and Lillie Langtry. The book includes 100 color reproductions as well as essays by eminent scholars that place Millais's work in the context of his public and private life, making this an authoritative and visually compelling study of the artist's extraordinary contributions to portraiture.

Peter Funnell begins the book by describing Millais's astonishing popularity and the artist's public persona, examining his practice as a portraitist and assessing the view common among later critics that Millais's mature work failed to fulfill his youthful promise. Leonée Ormond examines Millais's early portraits, from his precocious boyhood sketches to his magnificent portrait of Ruskin (1853-54) and his paintings of Ruskin's wife, Effie, who famously left her husband to marry Millais. Malcolm Warner interprets Millais's portraits of children--including the elegiac painting Autumn Leaves (1855-56) and the melancholy Nina Lehmann (1869)--as reflections of Millais's nostalgic ideas about the naturalness, innocence, and beauty of childhood. H. C. G. Matthew assesses Millais's portraits of men of power, which include paintings of four Prime Ministers (Gladstone, Disraeli, Salisbury, and Rosebery). Kate Flint discusses Millais's portraits of women, which ranged from likenesses of family and friends to glamorous paintings of the rich, aristocratic, and beautiful. Each essay is followed by its own thematic catalogue of portraits.

The elegantly written essays and stunning reproductions are supplemented by Warner's extensive documentation about individual works of art, drawings from Millais's sketchbooks, and photographs of the artist in his studio. In its words and images, in its scholarship and its accessibility to the general reader, this is an exceptional book about one of the most influential artists of the nineteenth century. ... Read more

Reviews (1)

lovely pictures
Great reproductions: gorgeous glowing colours in all their glory. Plodding text, though. Some good scholarly work - and for the first time Millais' later paintings are being taken with the seriousness they deserve. But that's about it really. We still get told the ol' story for the most part.

Buy it for he pictures (well worth it), for the information (worth it), but not the ideas (there aren't that many). ... Read more

Book Description

A new version of a Phaidon classic published in 1937, this evocative and fascinating book, now issued as a paperback,presents 500 of the world’s greatest self-portraits, arranged in a simple chronological sequence from ancient times to the late twentieth century. ... Read more

Book Description

This fascinating new addition to the acclaimed Oxford History of Art series explores the world of portraiture from a number of vantage points, and asks key questions about its nature. How has portraiture changed over the centuries? How have portraits represented their subjects, and how have they been interpreted? The book provides a clear, yet thorough overview of the history of portraiture in terms of social, political, economic, and psychological factors over a broad time span. Issues such as identity, modernity, and gender are considered within their cultural and historical contexts. Shearer West uncovers intriguing aspects of portraiture-a genre that has often been seen as purely representational, featuring examples from African tribes to Renaissance princes, and from 'stars' such as David and Victoria Beckham to everyday people. West examines the many meanings and uses of portraits throughout the ages and includes a wide range of artists from Botticelli to Picasso, and Hans Holbein to Frida Kahlo. In the process, she reveals the faces of the past in an exciting new way. Beautifully illustrated throughout, this book is a unique and accessible introduction to the history of portraiture. ... Read more

Book Description

HOCKNEY'S PEOPLE showcases the large and central body of work based on the artist's personal relationships, explored in revealing and at times playful artworks. For the past fifty years, Hockney's most persistent subject matter in paintings, drawings, collages, and photoworks, has been portraiture of people, usually those very close to him, as well as self- portraits. These are works that reflect the intimate and often intense stories of this artist's life. They also explore different formal methods of representing the passage of time and the unavoidable but marvelous stillness of portraiture. The book includes fascinating sequences as Hockney paints certain subjects on and off for decades; the special qualities attached to depictions of lovers; and the range of celebrities, writers, and artists--Billy Wilder, Armistead Maupin, W. H. Auden, Henry Moore, Christopher Isherwood--who have been part of a very full life. Several new watercolors, never before published, are included. ... Read more

Reviews (2)

blown away
I purchased this book last fall and was blown away by the remarkable works of Ms Capole. In January of 2004 I had the wonderful opportunity to attend her first portrait workshop. There I was able to view several of the origional paintings in person and can say that the color quality of the book's photos are true to life. The instructions are presented in an organized, concise manner along with corrosponding step by step photos. If you cannot attend one of Wende's workshops, this book is your second best option!

Author?
Daniel Greene is Ms. Caporale's husband, but he's nowhere credited in the book, as far as I can discover, with being a co-author, though I'm sure he probably lent an editorial eye. Wende can carry the promotion on her own merits.

In any event, both are masters in their own right. ... Read more

Book Description

Anh Duong is an internationally known model immediately recognized for her regal, exotic looks.French born, she moved to New York in 1989 to pursue painting and acting but quickly became extraordinarily successful as a model, featured in high-profile campaigns for designers such as Donna Karan, Calvin Klein and John Galliano.After working as a model for more than a decade, painting is once again in the forefront of Duong's life. She has exhibited in galleries around the world; a recent showing in Paris created a sensation, selling out within weeks.In the spirit of Egon Schiele, her paintings are daring, erotic and intimate.This book juxtaposes slick fashion shots with Duong's own perception of herself.Her revealing and deeply personal paintings contrast the cool, stunning photographs taken by Timothy Greenfield-Sanders, Steven Meisel, Peter Lindberg and Michel Comte among other.With elegant images, as well as fun quotes from Diane Von Furstenberg, Isabella Rossellini and Bob Colacelloamong others, (Self) Portraits is a hypnotic exploration of art and fashion. ... Read more

Book Description

Clearly written, beautifully illustrated guide offers students and would-be portrait painters a wealth of detailed, practical advice and valuable insights on how to handle oil paint. Discusses drying time and basic techniques; planning, composing and lighting the portrait; oil sketching and drawing with pencil, charcoal, and chalk. Generously enhanced with over 120 illustrations (including 57 in full color) that act as step-by-step guides to painting a variety of male and female subjects.
... Read more