3 comments about The Art of Andrew Wyeth.

1. Sure there are much better reproductions of these Wyeth paintings out there, but if you have not purchased this book of 1973 essays do it now for a real treat. Sure everyone is waiting for the catalog raisone, but while you are waiting take a trip into the past with:
   A Visit to Wyeth Country by Brian O'Doherty
   Andrew Wyeth Interview by Richard Meryman
   Andrew Wyeth's Painting Techniques by E.P. Richardson
   The Art of Andrew Wyeth by Wanda M. Corn
   Sure I bought all the good books first and passed this one over, but at the price it is selling today I'd really recommend these essays to you. Some of us can never get enough Wyeth, and this is good stuff.
   4 stars for the reproductions. The text is 5 stars all the way.



2. This collection of essays, edited by Wanda Corn, covers a lot of territory. It includes background material, a lengthy section on his painstaking technique, and an interview. That's not why I came. I first saw his Helga pictures, none of which are presented here, but they were enough to get me hooked.
   
   The selection of works appeals to both the enthusiast and the novice. For the latter, there's the sentimental "Faraway" (p.82), baffling "Chambered Nautilus" (p.87), and familiar "Christina's World" (p.39). Those are enough to entice a reader into spending time on pieces no less beautiful(p.37), even if the beauty is less apparent to the first, and maybe second and third examination.
   
   Having seen the work, I have to ask how it was made. That's at least as remarkable, since Wyeth tended towards demanding media. A lot of his work is watercolor, one of the less forgiving media. Then, within watercolor, a lot of his work is done with dry brush technique, which is even more unforgiving. It is, however, the technique that Beatrice Potter used in her photo-realistic scientific studies and children's books. The most impressive, however, is Wyeth'sbody of work done in egg tempera. I've never worked in that medium, and probably never will. It demands even more of the artist, since the paint is essentially made in the moment that it's used, and makes nearly every flaw irreparable. In compensation, though, it offers good permanence, more chance for overpainting, and the highest potential for precision. I can barely imagine the technical skill and singled-minded devotion that Wyeth applied to some of these pieces.
   
   I promised something for the serious student, though, and samples pervade this book. I got the most out of seeing his sketches next to the finished pieces. Others, though, might prefer the photos of scenes he had painted, or the biographical notes, or the scholarship of the writers. The profuse examples of Wyeth's work, however, mean that it can't become dry. I recommend this to anyone who like's Andrew Wyeth's work, or could learn to - and that's just about everyone.
   
   //wiredweird



3. This collection of essays, edited by Wanda Corn, covers a lot of territory. It includes background material, including a lengthy section on his painstaking technique, and an interview. That's not why I came. I first saw his Helga pictures, none of which are presented here., but they were enough to get me hooked.
   
   The selection of works appeals to both the enthusiast and the novice. For the latter, there's the sentimental "Faraway" (p.82), baffling "Chambered Nautilus" (p.87), and familiar "Christina's World" (p.39). Those are enough to entice a reader into spending time on pieces no less beautiful(p.37), even if the beauty is less apparent to the first, and maybe second and third examination.
   
   Having seen the work, I have to ask how it was made. That's at least as remarkable, since Wyeth tended towards demanding media. A lot of his work is watercolor, one of the less forgiving media. Then, within watercolor, a lot of his work is done with dry brush techniquue, which is even more unforgiving. It is, however, the technique that Beatrice Potter used in her photo-realistic scientific studies and children's books. The most impressive, however, is the body of work done in egg tempera. I've never worked in that medium, and probably never will. It demands even more of the artist, since the paint is essentially made in the moment that it's used, and makes every flaw irreparable. In compensation, though, it offers good permanence, more chance for overpainting, and the highest potential for precision. I can barely imagine the technical skill and singled-minded devotion that Wyeth applied to some of these pieces.
   
   I promised something for the serious student, though, and samples pervade this book. I got the most out of seeing his sketches next to the finished pieces. Others, though, might prefer the photos of scenes he had painted, or the biographical notes, or the scholarship of the writers. The profuse examples of Wyeth's work, however, mean that it can't become dry. I recommend this to anyone who like's Andrew Wyeth's work, or could learn to - and that's just about everyone.
   
   
   //wiredweird

2 comments about Andrew Wyeth: Master Drawings from the Artist's Collection.

1. I have had great admiration for the work of Wyeth for years now, but this book blew me away with its reproductions of Wyeth's pencil drawings. While most are unfinished pencil studies done as preparatory work for his watercolors and temperas, his skill and technique are awe inspiring. He has the ability to realistically render both the texture of an object and the effect of light on that object without appearing overworked or labored. There is a freshness, immediacy, and sense of spontaneity in all of the drawings.
   
   As someone who wishes to improve his own ability to draw, I found the unfinished nature of the drawings enlightening, allowing me to see the manner in which Wyeth works. It also highlights his ability to see the essentials of what interests him about a scene, and then capture that essence quickly and masterfully.



2. 
   Really should have been a better book. Considering it comes from the museum practically in existence because of Andy. If you are used to repros such as those in the Helga book, or practically any of his other books (including the really old ones) those in this tome will utterly disappoint you. A great collection of drawings is here it should be said. The size of the book is the problem, but more so it is the photography of the art that is truly horrible. Several images are blurry, and no it was not the drawing itself, and no they did not rely on decades old photos. The photo credit for the book goes to someone who currently works at the museum and all of these images were in the show, available for shooting.
   
   The text, while informative, is really with a little searching, redundant info offered else where in Hoving's books and easy to find articles on the internet.
   
   Am not accusing them of trying to cash in, the book / catalog really should have had a more attentive eye trained on it during production. And for the money one would have to spend on it here, expectations should really be high.

3 comments about Andrew Wyeth: The Helga Pictures.

1. 
   For well over 25 years I have examined and reviewed countless paintings of the Wyeth family (N.C. Wyeth, Andrew Wyeth, & Jamie Wyeth) who are all phenomenal painters. But the quality of the Compositions, the details of the clothing, nature and the human figure are an amazing spectacle when you review this book of Andrew's work. What an amazing technician he is.
   
   Whether you're an art collector, painter or art critic you will admit that this book contains some of the most intriguing and interesting art.
   
   Andrew Wyeth is a master at creating depth in each picture. The justaposition of figure to landscape or figure to interior items seems to be a heighted sense of "knowing" in Andrew's work. This book helped me to conclude that Andrew Wyeth is a genius who is in full command of his materials. If you think Steven Spielberg is a great film producer than it won't be hard for you to conclude that Andrew Wyeth is also a great painter.
   
   The details in the picture "Farm Road" are excellent. Helga's hair is detailed as if painted with a laser while the leather strap from the bag she is carrying appears worn like real leather. The muted colors of green, brown and reddish tones in the coat and the rich transparency of light emanating from her cheek are amazingly done with subtlety and richness you will appreciate.
   
   My degree in Accounting allows me to be able to count the hundreds of amazing things that are going on in each work while my degree in Art allows me to appreciate the quality of the brush work and the transparency range in each painting.



2. I don't mean that Helga was his lover. Still, the artist has an intense experience of his model, and Helga was his model for 15 years.
   
   This is an outstanding book in lots of ways. The subject matter is beyond belief, and the reproductions are good. The visual content is organized well: major pieces are chronological, and sketches and studies are gouped with the pieces they support. I find it very helpful to see the sketches, and see all the variations that Wyeth tried before committing to a more dmanding piece. Those groups of drawings are drawing lessons themselves, in how to explore a visual idea. The text is a bit thin, and says nearly nothing about Helga herself - not a flaw in the book, so much as a step short of what it could have been.
   
   Most of all, the pictures are simply lovely. Helga was a very handsome woman, in her 50s in the lastest of these pictures. Not 'pretty' maybe, but very beautiful - at least, she is presented as very beautiful, and very real. Some of the nudes studies show her arms crossed, oddly compressing her natural curves. That just makes the pictures more genuine for me, showing her as she is, not made up to some anatomical ideal.
   
   Explanatory text could have been more explanatory, but that's OK. The large majority of the book is just the pictures themselves, and I don't mind being alone with them.
   
   //wiredweird



3. Yes, this IS one of the great Andrew Wyeth books. Everyone interested in this great American artist will love it. This was my first Wyeth book. It was on my shelf for a long time, and I knew I liked his work. After my retirement in 2001, I began painting with watercolors and looked around for some work I liked for inspiration and found only Winslow Homer and Andrew Wyeth. Later, I was fortunate to see the Helga show in Omaha and found out how amazing Wyeth really is. I spent hours looking at these paintings trying to figure out how he was able to balance areas of color that looked almost poured on next to areas of almost photographic detail. I have read that that's what they call drybrush technique. Well, maybe so, but I call it sheer genius. As with all Wyeth reproductions in books, this one is good, but after you have seen the actual paintings, they are but pale shadows. Nevertheless, I love this book. It is the next best thing to being near a museum where you can see the originals. Wyeth is indeed an inspiration.

2 comments about An American Vision: Three Generations of Wyeth Art: N.C. Wyeth, Andrew Wyeth, James Wyeth.

1. This is a fascinating book - about all three artists and also a study of artistic ability and creativity running through the family. I bought it years after enjoying the exhibition and have also given it to other art lovers. What the artists have to say about each other is interesting and the reproductions are beautiful. Don't miss this - it will only enhance your appreciation every time you encounter a Wyeth!



2. In 1987 there was a traveling exhibition, AN AMERICAN VISION: THREE GENERATIONS OF WYETH ART, that was accompanied by a beautiful hardcover book by the same name. Fortunate for art lovers that catalog, having passed through a paperback phase, is once again appearing on the shelves of book stores and museums. It is a treasure worth seeking. Presented with a fine overview by James H. Duff the book follows the lives and influences and works by the three Wyeths: N.C. Wyeth, 1882 - 1945, is introduced by his son Andrew; Andrew Wyeth (born 1917) is introduced by Thomas Hoving; James Wyeth (born 1946) is introduced by Lincoln Kirsten who not only brings the reader up to date with Wyeth the Younger, but also provides insights to the durability of the Wyeth tradition and influence on American art.
   
   Some may have once dismissed the three Wyeths as minor artists and major illustrators, but today's critics share a growing appreciation for their output, both individually and as a family of unique thought. NC Wyeth's works were more devoted to historic adventure paintings and his works were often used in books as illustrations for tales of adventure. Andrew Wyeth captured the mood of an America losing contact with the simplicity of her roots and his simple, unfettered landscapes and portraits continue to be hallmarks of a simpler time, a period when the poetry of Robert Frost and William Carlos Williams and the music of Aaron Copeland defined the quiet frontier vision too often forgotten in the smoke of industry and the clangor of technology. James (or Jamie) Wyeth's approach to nature and her animals and to the rugged individualism of the people who populate New England continue to celebrate the customs and concepts of a neglected America continue to grow: many feel his current work is his strongest.
   
   The book is filled with full color plates of the paintings and drawings of all three of the Wyeth clan and moving through the pages is not unlike strolling the museums where this exhibition traveled throughout the USA and in Russia, England and Japan. It is a book of revelations about the three artists and an homage to a family talent that persists. Very highly recommended: look for it now! Grady Harp, December 07

5 comments about The Red Keep: A Story of Burgundy in 1165 (Adventure Library (Warsaw, N.D.).).

1. The Red Keep has strong positive role models for both boys and girls. It has good historical accuracy. Allen French was a Harvard historian who was interested in the roots of modern government. He wrote a series of children's books each focusing on a different time period and a different form of government. The story is exciting, with real villians, intrigue, suspense and last minute rescues. The hero shows some ethnic and class sensitivity within the context of the historical times. It is never forced or overly moralistic. All the lessons fit well within the framework of a well crafted plot.



2. I read this book after purchasing it for my children to help them learn of life in the middle ages. I found myself so involved in the story I did not realize how much I was learning! It is a wonderful story with excellent moral lessons. It has interesting battle information that would keep a boys interest yet a little romance to keep a girls. I found it a wonderful resource.



3. Set in Burgundy in 1167, this novel combines excitement with a very real and deep knowledge of life in medieval France, especially in backwater areas. The rescue of the Red Keep involves learning about class differences, guilds, the treatment of Jews, and more, but the background is never forced, and neither are the moral lessons. It's all of a piece with the story. From another writer, it would've gotten 5 stars, but I wound up comparing this book to the same writers THE STORY OF ROLF AND THE VIKING BOW.



4. The cover art for this book always intrigued me, so at last I decided to pick it up and read it. I was not disappointed. This is the story of the petty nobility of 12th century Burgundy. With the political system of the province in a state of flux thanks to the minority of the Duke, one family, the Sauval, amasses power and wealth by robbing travelers and raiding neighboring baronies. The Red Keep is the stronghold of one such barony. It is raided by the Sauval and the Baron is put to the sword--only his daughter, Anne, is rescued by the noble Baron Roger and his men, among them a young page named Conan. In the aftermath of the attack, the damaged keep is left abandoned--the bone of contention around which the story revolves.
   
   The main character, Conan, is immediately sympathetic. He is strong, brave, and chivalrous to a fault, but young man that he is, he makes occasional bone-headed decisions that nearly cost him his life. As the story progresses, Conan's youthful naivete transforms into savvy adulthood as he carefully plans a strategy to thwart the Sauval.
   
   The character of Anne is also appealing. Though she is presented in fighting trim throughout the book, she is not given unrealistic strength or the ability to strike down fighting men twice her size--a common but ludicrous feature of much modern literature. Anne's true strength lies in her courage, her determination to regain her father's fief and her willingness to step outside of the expected female role, even in the face of difficult odds, for the sake of justice. In this, I thought she resembled St. Joan of Arc.
   
   Overall, I loved this book. The main characters were good and solid, and the antagonists were suitably detestable. The story itself and the writing are also first rate. Add to this the great black & white illustrations by Andrew Wyeth throughout, and you've got a real winner of a book, perfectly suited for kids 10 and up, but easily read and enjoyed by adults as well.



5. As an enthusiast of period adventure stories by the likes of Dumas, Stevenson, Sabatini, etc., etc., I found myself immensely entertained by this well-paced swashbuckler of the Middle Ages. I had never heard of Allen French, but he is the real deal. How refreshing to read a book designed for young readers that does not in any way talk down to its intended audience. Better written than most current adventure stories for adults, "The Red Keep" does an expert job of making palpable the hard realities of the distant past, and does so in a manner which does not soften the sometimes explosive violence. In fact, the body count in this book is rather breathtaking. The first time young Conan leaped, without hesitation, upon an assailant with dagger drawn, it actually startled me, and the multiple skull-shatterings and throat-slashings do not lose their impact through repetition.
   
   If from my description "The Red Keep" sounds like an excruciatingly gruesome book, I assure you it is not. In fact, for all the backstabbing (both literal and metaphorical), it remains a satisfyingly romantic tale. It is rather old-fashioned in its sensibility, and I mean that in the most positive sense. I sincerely doubt any book for young readers, written today, would -- or could -- explore the questions of violence, religion, political intrigue, gender and race in remotely the same way. And certainly, the whole thing wouldn't be handled quite so literately. This is an adventure story for all ages, which recalled for me Robert Louis Stevenson's "The Black Arrow," right down to the odiously deformed villain.
   
   "The Red Keep" originally appeared back in the late 1930s. I first learned of French's books when I saw them displayed, about a year ago, in an art museum gift shop, in conjunction with an exhibit of Andrew Wyeth's paintings. (Wyeth provides the illustrations, and his father, the great N.C., offers the totemic cover art.) Intrigued, I went home and added them to my Amazon wishlist. A year or so later, "The Red Keep" turned up under the Christmas tree. And as you can probably tell, it turned out to be a marvelous acquisition. I will be ordering "The Story of Rolf and the Viking Bow" in the very near future.

5 comments about Andrew Wyeth: Autobiography.

1. My teacher introduced me to Andrew Wyeth's paintings and drawings about a year or two ago. I've been in love with his work ever since. It's just how beautiful his linework is and how he brings life to the paintings. That is so incredibly rare. There are plenty of portrait artists out there, but I can't think of one that impresses me as much as he does. I think this is because of how well he knew his subjects.
   
   He said drawing with pencil helped him get to the core of a thing. If you've ever drawn or painted people and animals from life, as he did, it increases the appreciation for his work one hundred fold. I also think that this is why his paintings and sketches are so full of life - you just don't get that from a photo, there is NO comparison. His landscapes blow me away every time, and I'm not really a fan of landscape paintings. Something about the solitude of it all just takes me in.
   
   My favourite is Night Sleeper, which is on the cover. His palette is just beautiful, i don't really think it's muted or drab - the closer you look, the more colours you see. How he played colours in juxtaposition, so that they glow, is another part that gives his work such intensity and life.
   
   The comments beside all the work are, as people have mentioned, very good. The entire book is one of those slow joy books. It's just nice to sit with it and turn the pages slowly and take in every thing.



2. I didn't know a lot about Andrew Wyeths work before reading this book. I had seen the paintings and I liked them a lot, but I didn't know that much about them.
   
   The book is labeled as an autobiography, but its form is not what many might expect. This is not a book consisting of prose with the occasional picture, it is a book that mainly shows Wyeths paintings with a paragraph or two about the paintings below. Written by Wyeth. For some this may not be what they are looking for, but I liked this very much.
   
   It is a very good introduction to Wyeth's paintings and the subject matter he painted. The people, the places and their history. There isn't a lot of information about Wyeth himself in the book. At least not in the sense one would expect from a traditional biopgraphy. But after reading it I feel I know a lot more about both Wyeth and his paintings than a typical art-history or biographical text would give me.
   
   I'd be happy to recommend this book.



3. I purchased this item as a gift for an artist friend, she was very happy with the quality of the reproductions in this book.



4. This isn't a linear autobiography, in the usual sense. Instead, it presents selections from Wyeth's entire life as a painter, from his mid-teens to his late seventies, when this book was published. Wyeth's own notes on each piece make it an autobiography.
   
   This says less about the artist than about his artwork, which speaks for itself. His subdued palette captures the people and places of his life. Places include farms, barn or farmhouse interiors, Maine shorelines, and other open spaces that are increasingly hard to find. Wyeth's people include his wife Betsy, his sister, and neighbors. Grittier than Norman Rickwell but no less affetionate, he presents them at work, at hard-earned rest, or simply at a quiet moment. A few nudes of teenaged Siri, including the remarkable "The Virgin," capture the gawky grace of emerging womanhood. Two images really stood out for me, though, images I would never have associated with Wyeth. "Spring" and "Christmas morning" carry a surreal sense, somehow even closer the the supernatural for their entirely realistic rendering. "Spring," especially, offers an amiguous sense of hope using the starkest and bleakest of visual language.
   
   As Wyeth narrates each painting, a sentence to a paragraph for each, parts of his life emerge: friendships, successes, and losses. Without being mysterious, the text comes across as spotty and selective, omitting far more than it presents. If you want a standard kind of biography, you'll have to look elsewhere. Instead, this book is closer to the occasional cup of coffee with the artist, shared over weeks or months, in which different moments of his life arise almost at random. His words add an intimacy to the art that's hard to express, but that is worth experiencing - as is the art itself.
   
   -- wiredweird



5. I discovered this book at my sister's home after I bought a print while visiting. The comments accompanying each print in the book provide an intimate look at Wyeth's life and art. It added a new dimension to my fondness for his work. I'd highly recommend this book to any admirer of Andrew Wyeth.

3 comments about Lost Baron: A Story of England in the Year 1200 (Adventure Library (Warsaw, N.D.).).

1. I've long enjoyed THE STORY OF ROLF AND THE VIKING BOW by Allen French. My first reading of that book was at the age of twelve, and I remembered it fondly. Re-reading it was a pleasure, even with the somewhat stilted language. THE RED KEEP was another pleasure, while somewhat less. This book, I'm afraid to say, is not French's best work, which still makes it better than most. The story moved too slowly for me, though it had a fine, brooding quality, and the characterization was excellent. A fine tale of intrigue and justice set in twelfth century England. I do hope that some of French's other work, including SIR MARROCK find their way back into print. Recommended to boys of all ages.



2. This is a delightful mystery/adventure set in a 13th century castle filled with mystery, intrigue, deceit and, of course, secret passages! Set in England under King John (of Robin Hood fame), the story is a quick read with well-developed characters and a healthy dose of intensity. Best for ages 12 and up (or as a read-aloud for younger children).



3. Having just finished and enjoyed another of French's novels, The Red Keep: A Story of Burgundy in 1165 (Adventure Library (Warsaw, N.D.).), I was only too happy to give this one a try as well. While perhaps not up to the same high standard as The Red Keep, this book is still an engrossing read. Enhanced with charming illustrations by Andrew Wyeth, the book presents a vivid portrait of the grit and gossip, danger and drudgery, loyalty and betrayal, superstition and heroism of life in medieval England. The story itself is engaging, and the characters of Martin and Rosamund are highly sympathetic. The spiritually-tortured Baron Basil is well drawn, as are the gruff warder, Topas and his dangerous mastiff, Lion.
   
   This book is perfectly suited for parents to read with their children, though children over age 10 could easily handle it on their own. My only small criticism is that the surprise in the plot isn't all that surprising--a perceptive reader sees it coming a mile away. If you enjoy books like this one about knights in armor and the age of chivalry, then I heartily recommend Angels in Iron by Nicholas Prata.

5 comments about Andrew Wyeth: Memory & Magic.

1. This makes for a fantastic coffee table book if you are a Wyeth fan. To be blunt the only reason I purchased this book is because my favorite Wyeth works are not commercially available. I would shove my grandmother down a flight of stairs to get my hands on Adrift as it is my favorite Wyeth work. But alas, the book does the trick.



2. I've been a long-time, unashamed fan of Andrew Wyeth's remarkable, if not controversial career as a great American artist. This exhibition catalogue illustrates many famous paintings along with some very rarely-seen works done by none other than Andrew Wyeth himself. The essays are freshly written and easily understood. The book is packed with colorful illustrations along with other illustrated pictures of paintings that were not included in the show. Highly recommended for anyone who is intrigued by Wyeth's legendary journey as one of America's most-loved artists.



3. The book was well written, interesting, and informative. Color plates depicting Wyeth's paintings were bright and clear. The book arrived timely and in excellent condition. Well satisfied.



4. As a collector of books by and about Andrew Wyeth, I must say this is a tasteful and beautifully produced art book with insightful essays by five excellent writers who know their subject well. Wyeth has been around for a long time and started fading from public consciousness after the "Helga Affair" -- undeservedly so. To my mind he is still one of America's greatest 20th century cultural treasures. The book resulted from a retrospective exhibit of Wyeth's work in 2005/2006. My only reservation about the book is that it shows too many of Wyeth's pieces that are in all the other books about his work. But that may be Wyeth's choice and must be respected.



5. A large format exhibition catalogue, a slightly over square volume printed on quality art paper. The introduction discusses Wyeth's development and output in relation to other artists; this is followed by four essays covering various aspects of the artist's work. These sections are illustrated throughout almost entirely in colour with examples of Wyeth's work and comparative examples of other's, many of them at a good size. The main section of full colour plates commences on age 122 and concludes on page 209. This is followed by a detailed list of works in the exhibition; there is no chronology or bibliography.
   
   The main section of plates presents the images one to a page, and many are of a good size. Inevitably the long landscape proportion images do not fare so well, with the publishers seemingly reluctant to cross the gutter, these appear as little more than a three or four inch wide strip across the page; even a number of the more regularly proportioned works could easily have been reproduced larger. However that aside it is a fine volume, beautifully produced and with a feel of quality, which offers over 150 examples of Wyeth's output including paintings, watercolours and drawings reproduced in full colour.

5 comments about Andrew Wyeth: A Secret Life.

1. In a museum about two hours driving from where I live, there was an "Andrew Wyeth Show" where many of his work were shown. I am writing this several days after I saw the show.
   
   To me, the "mystery" was his paintings. Why do they look like more than mere images? Why other realism painting don't catch my attention like those of Wyeth's? His skills as a painter is without a doubt a perfection, but that's not it. What, then, does make his work special?
   
   That was all I wanted to know, and reading Chapters 1 and 2 were enough for me to draw my own conclusion. I found some important keywords that I don't list here because important keywords differ from person to person. I am sure if you read this book with a mission you can find some keywords that helps you - as a painter.
   
   I think that each chapter should have had a name instead of just chapter 2, chapter 3, and so forth because not everybody has time to read this thick book and not everybody is interested in knowing the every detail of the painter. Some chapter had less importance to me, although I am sure they may be important to other people. They were description of his family members and people who had something to do with the painter, but I find them too detail for my purpose of reading.
   
   I think this book can be compressed and will still be as good as it is if compressed wisely. It is too bad that a reader has to read the whole book to see what is written in each chapter. If I was a writer I would have had a chapter for Christina Olson, a chapter for Wyeth as a young person, a chapter for his inspiration, a chapter for the influence from his family especially his father, and so on. That way it is easier to read and go back to where you want to go back to find something that captured your attention. I had to flip pages after pages because the book is not organized.



2. I have recently been studying [privately - I am a painter, not a student] the work of Andrew Wyeth, and so was pleased when I came across this biography of his life. I found it a totally absorbing read, and read the whole [it is long] book cover to cover, which even Rothko's biography failed me on, and I am a great fan of his. Reading a negative review above - Andrew Wyeth is not a dirty old man, and please don't let that reviewer put you off. As an artist, struggling daily with the development of my craft, I found this book riveting. It explained a lot to me about myself [and I am neither old, dirty, nor a man!] and my life as an artist, and my partner's role in that life. The descriptions of Wyeth working, his methods, his relationships with his models [few of which were ever nude, or female], all people he knew, in depth, and loved, in depth. This is a warts and all biography, a thorough and fascinating read. So fascinating, that I feel sorry to have just finished the last page earlier today, and having to return my library copy of the book, I am visiting Amazon to purchase my own copy for my collection. Buy it, borrow it, beg it, read it, even an abstract painter will learn from reading this book. It is about an artist's relationship with his world.



3. condition fine. Take some of the statements with a grain of salt.
   Not always facctual



4. This was a very interesting biography on Andrew Wyeth. I feel this book gave me insight into the artist himself, his wife Betsy and the Wyeth family. This book made me feel familiar with Karl Kuerner, Karl's farm, Christina Olson, Ben Loper and many others which added so much to how I look at the paintings. I feel I see the paintings in a whole different way. I liked the fact that Andrew Wyeth painted his close friends, everyday people and those that we can relate to in our personal lives. I loved the book and am now half way through reading it again.



5. There are many AW books that concentrate on paintings or eras of his art. This is a good overall view of the man and his life and art. It is good, but not a substitute for, the real experience of viewing the paintings and letting them sink into your own mind. For myself, listening to his matter-of-fact comments about various works and reading the author's summaries and paraphrases of aspects of his art or life are less interseting than what seems to be between the lines. AW is an artist who sees the human imprint on objects & places and gives them reverence in the form of observation as witness to their authenticity. Yipe. Just read the book

5 comments about Art for Dummies.

1. I am a big fan of the Dummies series of books (I've read Mutual Funds for dummies when I was new to investing, anticipate purchasing Wine for Dummies, and have also read Personal Finance for Dummies), the pictures are nice, the it is easily digestable and worth the price.

   I like the little tips that they suggest. For example, the author suggests litte tricks the "pros" use when visiting museums. For instance, if one is short of time, simply make a first stop to the museum's gift shop where most often, pictures of the museum's best exhibits are on the post cards. This tells you the best that the place has to offer and gives you the heads up about what not to miss if you can't see everything.

   I thought that was a nice little nugget of information...




2. Did you skip art history 101 in college? Do you enjoy visiting museums but when you are not with your curator pal, you are utterly clueless as to how to optimize your visit? Fortunately, this book can help!
   
   Art for Dummies is written in a very easily digestible style by the former director of the Met in New York and former editor of Connoisseur magazine. It essentially lays out the different art periods, highlights those works of art that are considered most famous and of the greatest importance (note: rather subjective as always...) and even goes so far as to display these works in color pictures. If you are a burgeoning art philomath, you may find this book a good tool for moving up the learning curve.
   
   There are also good tips on how to get the most out of a museum visit and a helpful bibliography with online material. After reading this book one will easily be able to answer the following queries without a dumbfounded look on one's face:
   
   -What are your three favorite works of art and by whom?
   -What are the 10 best museums in the world?
   -Where is Rousseau's Sleeping Gypsy housed?
   -Where was the Venus of Willendorf found?
   -What work of art did the first woman pharaoh build?
   
   A special nonlocal thanks to the friend that purchased this book for me!



3. I've always enjoyed looking at art, but not only had trouble with expressing my feelings, but also understanding what was going through the artist's mind when they created their masterpiece. Mr.Hoving uses wit and charm to guide his reader through a very extensive lesson in art history: from the very first cave paintings ,to the Renaissance, to Modern Art. You will also learn a lot of tidbits about art history, and about all of art's major players (e.g. Raphael, Hugo, Picasso). He even teaches you how to select art to start your own collection!
   I'd still say that the best way to learn to critique art, is to go to a museum with a friend/parent that knows their stuff, and just have them "think outloud" when they are viewing the paintings. You do eventually want to go from: "Wow that painting of that lady is pretty," to "by giving her a coy look coupled with a slight smirk, the artist was clearly trying to convey the 'I know you want me, but you can just keep dreaming,' attitude." ;) And that kind of critical thinking is a skill that can be acquired with lots of real world practice--which no book will be able to provide you with.
   Note: I had to lower my review slightly after reading about the errors pointed out by the professors. That is indeed embarassing.



4. My husband and I are planning a trip to Europe with our teenaged kids this summer, and I had hoped to refresh my very faded memories of the Humanities class I took in High School, and get useful info that I could convey to my kids regarding the art we will be touring this summer. Unfortunately this book is not really helping. The descriptions are all over the place - for each art style or era or artist, he highlights selected works, maybe two or three, as good examples - but rarely shows a photo of what he is describing, and when he does the b/w photos are uselessly small and grainy. It is not helpful to me to say, for example, that the two most important examples of Uppity-Up style can be found in Turkey and Egypt - and then not show the photo of them. When will I ever get to see those? It's a big deal for us to go to London! Forget the Nile! Rather, I'd love to have a listing of more accessible examples, with references to the best but inaccessible pieces in case I'm a real globe trotter.
   
   Another gripe - he spends a great deal of time early in the book telling us that the stereotypes of art are false - it's not pretentious, it's not accessible only to the rich, it's not hard to get the "meaning" from a piece, etc. Then the rest of the book is written in a very dry, scholarly style. He tells us we have to travel all over the place to see the best stuff. He also seems to brag about the pieces of art that he has had access to that most people in the world will never be able to see. What's the use of that? If that's not pretentious, I don't know what is.
   
   This book is not scratching my itch, and certainly is not helping me find ways to educate my (bored with art) teenagers.



5. I liked his anecdotes a lot and I agree with his overall philosophy about art, but agree with others on the shortcomings.