3 comments about Bernini (Penguin Art and Architecture).

1. The content i.e details of Bernini's sculpture is very interesting to know.
   The author makes us look at the sculptures in an expert way by mentioning things like - one sculpture having an inaccurate centre of gravity. The concept of one medium used to look like the other being immoral was new to me.
   And just one sentence that I needed to know, about how Bernini viewed his work -' he considered most of his works far inferior to the Beauty that he knew and conceived in his mind'. Bernini's work and his interest in it seems like 'progressive improvement'. So It was interesting to know that he was inspired in a way that didnt stop at one work or with the greater beauty that he saw, he never seems to have been at loss for inspiration.
   My favourite is Cornaro Chapel.



2. Hibbard is one of the world's most respected and informed historians of sculpture. And he's a good writer too. That sums up my review. Enjoy the reading and the wonderful photographs!!!



3. I love this book! I've never explored any art history books before, but this was a great first experience. Hibbard has a gift for explaining all of the details of Bernini's works, without bombarding you with unknown lingo or being long-winded. I would highly recommend this book, especially if you plan on going to Italy someday.

5 comments about How to Keep a Sketchbook Journal.

1. I like both the layout and the pictures in the book. I found it very inspiring and a good addition to my sketch library.



2. This book not only has great ideas for sketchbook journals, but wonderful detailed lessons on pen & ink work and watercolor techniques. I wouldn't say it was directed at beginning artists, thought. This is more geared to drawing & painting than actual journaling.



3. I got this book for Christmas and it was a rather nice gift. The copy that was sent to me was a bit imperfect on the cover but I was much pleased with the content. The author presents good tips on how to choose a journal type, the right medium for you and adequate tools, type of drawing, how to draw basic forms and more sophisticated images, what details you should write on your journal, etc.
   
   The images in the book are very nice and they vary in sophistication so they are not intimidating. Even if you really don't know how to draw, there are very nice ideas on how to start, for example use plant leaves to make prints and add details with pencils, paints, etc. Another great thing is that the author advises you to research the subjects of your drawings further, instead of just drawing them.
   
   Overall, I was rather pleased. Now, if only this book would come alive and send me out the door...



4. Really, this book is good. But to tell you the truth, there's not
   much of a 'journal' enthusiasm than I wanted. If you're looking
   for how to draw, what you need type of book, than this will be
   a good book for you. I recommend Pencil Dancing or Making Pearls.



5. This is more of a "how to draw and paint" book than about keeping a journal. It is packed with plenty of drawings in mixed media from pencil to pen to watercolor and a blend of all of them.

   I must say the book is attractive. The format is like a wider-than-long sketchbook, bound attractively with a wide hessian cloth band. But the drawings didn't do anything for me most of the time, though the butterflies were nicely done. There is a very handy schematic for sewing a field drawing and painting carryall to carry your book and implements with you in the field. That was a nice touch.

   I already have a library of art instruction books, and that wasn't what I expected from the title. This book just doesn't have enough "journal" content for me, nor do I like the style of drawings so this isn't my cup of tea. However, you might like the style and the art lessons, so your opinion may differ completely from mine.

1 comments about Material Journeys: Collecting African And Oceanic Art, 1945-2000.

1. MATERIAL JOURNEYS is a strong pick for any college-level art library serious about African or Oceanic art representations. This catalogue of holdings comes from the Genevieve McMillan Collection and supplements a study of how African and oceanic arts were brought to Europe with the items in the McMillan Collection, using the collection as a foundation for examining collection strategies as a whole. Any interested in museum holdings, the arts, and African and Oceanic arts in particular will find it a powerful survey embracing many modern art debates, from issues of authenticity to the social, political and commercial forces underlying holding choices.
   
   Diane C. Donovan
   California Bookwatch

5 comments about Art of Violin Making.

1. I found this to be a fantastic book. It is very well written and beautifully illustrated. The text covers every detail of the art of making a violin. It does lack in a few areas however. I would have been thrilled with the addition of some information on original design and or mechanical drawing of a violin. Also, the book is a bit thin in the areas of plate graduation, tap toning, wood selection, tools and varnish. Overall though, I highly recommend this book; it is more than enough to get anyone started on building their first violin. I'm sure it is the best text currently being published.



2. I've read a lot of instructional books over the years, and this ranks as one of the best. My greatest concern was that it be worth the price, and it certainly is. Explanations are clear, photos and diagrams are excellent and the first chapters on historic and contemporary makers make good reading. The book is ever so slightly thin in the area of plate tuning and violin varnish -- but one might argue that both of these topics are so broad as to justify a separate investment in instructional material. I am confidant, however, that one can make a very good instrument using this book alone as a guide -- with the exception of plans and patterns for a specific model, which are not included. The English generally do a very good job at books addressing traditional arts/crafts, and this publication is no exception. I consider my copy an excellent investment.



3. This is not a type of beautifully decorated book usually found on coffee table to amuse guests even though it is of superb quality. It belongs in the workshop. It is written for both inspired and motivated beginners as well as serious luthiers. The chapter on tuning plates is revealing but can confuse a beginner. Since I am a beginner myself, I wished for complete measurements of the violin. I overcame the shortcomings by contacting a supplier of woods, tools and plans. Rest assured, the author included the list of suppliers at the end of the book.



4. I have purchased a few books on Violin making and this is by the far the most impressive of all. This book is full of clever techniques and lead you through the complete process from beginning to end, including the delicate area of varishing. Alternative methods are also give for some key areas, such as hollowing out the back and front of the voilin. The thing that makes this book stand out from the others is the artwork and the photographs that accompany each step of the process and the superb presentation. The tip I liked the best, was how to solve the problem of forming the rib joint at the bottom of the voilin. Being a novice, I struggled with this initially.

   If there had to be a criticism it would be that it does not have typical template for the main mould, however this is only minor as templates are available from a various other sources.

   This book is worth every penny..




5. This book has the best drawings and photographs of the process of violin making that I have ever seen. Large format, good camera angle, good shadowing and lighting. I have been an amateur violin maker for a long time and I learned about a half a dozen new procedures or tool modifications right away. I highly recommend this book for aspiring violin makers.

5 comments about The Art of Art History: A Critical Anthology (Oxford History of Art).

1. Ok, I confess, I have not yet read the book or even seen it. I am however reading its introduction, which was given to me by a former student as part of a collection of essays she had to read at Bard. I find the ideas discussed in Mr. Preziosi's introduction very exciting, and have come here to see what the rest of the book is like. In doing so, I was most struck by the V-curve distribution of its reviews; this is obviously not your "average" book! And in the interest of making a stand for the average and smoothing out the curve to a U, I am giving it three stars. (I will also be putting it in my wish list).



2. This book is a must have for any college art history student. This is a reference book; not a book to be read from cover to cover like a novel. It gives one enough background and resources to pursue a specific aspect of art history. How I learned of this book was through a reccommendation from the Art History Department Chairperson at a SUNY school with a world wide reputation for producing outstanding graduates in the Arts.



3. This is a book for anyone interested in reading excerpts from original texts (by Helgel, Kant, Derrida etc.) about specific problems encountered in the field of Art History since, approximately, the creation of the modern concept of Art. It is divided into chapters about specific themes, with a short introduction, and bibliography. I would recommend Preziosis own book "Rethinking Art History" as a companion. This is not an easy book, as some angry reviewers discovered, but - how could it be? Art is about life, and life is a very complex thing. If you have absolutely no experience with philosophy or theory, then this might not be the right place to start. If, however, Art and Art History is something you are interested in, and have some basic knowledge of, this is a very rewarding book.



4. This is a collection of essays by various writers who have either been or written about seminal art historians, philosophers, historians, critics, etc. throughout time.
   
   Preziosi has grouped the essays and excerpts according to foundation concepts such as "Style", "Aesthetics", "Iconography and Semiology" which would be used cohesively in the study of art history. Each of these chapters contains a collection of essays. For example, the chapter on aesthetics contains excerpts on aesthetics in philosophy by Kant and Hegel. In picking these aspects apart and exposing their origins within the time frame of art history, Preziosi generates a book that allows an analysis of the way that art history works.
   
   As the book is a collection of texts it would not serve at all as an introduction to Art History without some familiarity with the subject, or some one to help ground the texts in their application to the field. For this reason, it is probably better suited to those willing to put a certain level of academic rigor into their reading, or to students who can benefit from the guidance of a structured course. It is also far from "brilliant" or pioneering, as it really only serves as a re-organization of available materials.
   
   Similarly, it is not an introduction to important art in history. Less that half of these essays are analysis of works of art, and the texts are not arranged chronologically or according to the art they may or may not discuss.
   
   I encountered this book as a textbook in an Art History course which focused on strengthening various methodological approaches. I'm not an art historian however, but studio (fine arts) MFA. I would place this book as approachable and simple by academic standards, but not for the general public unless you have the patience to wade through dry textbooks. Personally, I enjoy it, as the organization has allowed me a survey of topics in art history that has really helped me see how these topics relate to each other, and to keep my footing with people who have been taking courses in this for several years.



5. Beginning to read this book is quite agravating. It is a very advanced read, I would recommened it for graduate students. Personally I feel the vocabulary used was far too educated for some of us. I generally sat there with a dictionary through out thae majority of it.

4 comments about Watercolour Textures (Collins Artist's Studio).

1. 
   If you are looking for someone to hold your hand, forget about
   this book. Ann Blockley is a better painter than teacher, since she assumes you know quite a bit about watermedia. However, if you have a good foundation in painting, she can introduce you to some very nice techniques.



2. If you are familiar with Ann Blockley's flower paintings, you will be surprised by this book. (You can see a gallery of Blockley's paintings on her website.) It is no ordinary, watercolour how-to book, and the cover and title give nothing away. In this book, the author admits that she has stepped well outside her comfort zone to explore an entirely new approach to the painting process. We can be very glad that she did.
   
   The simple chapter headings give no idea of the innovations Blockley presents. There are the usual texture mediums described in other art instruction books, but Blockely applies these mediums in entirely new ways: clingfilm, salt, inks, granulation medium, bubbles and foam, gold and silver pigments, paint resist and more. The beautiful colour illustrations inspire and encourage the reader to experiment, but the text is even more important.
   
   You could approach this book in one of two ways: either you can use it for the techniques alone, or you can use the techniques to move outside your artistic comfort zone as Blockley has done - beyond what is familiar in your established approach to painting. Blockley admits that it took courage to do this publicly in a book. Any artist - of any medium - can take heart - and inspiration - from what the author shares of her out-of-the-zone process.
   
   This book has plenty of demonstrations and includes three guest artists: Shirley Trevena, Moira Huntly and John Blockley, all of whom explored art mediums in daring ways. You can google all three names and take a look at their on-line galleries.
   
   I nearly didn't buy this book because watercolour is not my medium. I am so glad I did. It's one of the best books I've come across for encouraging the exploration of new ways of artistic expression - in any medium. Better still, Blockley makes the process simple, interesting and fun.



3. Beautiful and inspirational book! I can't wait to try by myself all the examples and exercises.



4. I pre-ordered this book quite a while back and it finally arrived yesterday. WOW! Was it ever worth the wait! Every page is inspirational. I am primarily an oil painter but this book has inspired me to get back into watercolor. I must have 100 watercolor books but this is the one I would save in case of fire. What a great book!!!

1 comments about Iconology: Image, Text, Ideology.

1. The introduction says "This is a book about the things people say about images". As a person who buys a lot of instructional books which I hope are insightful and succinct I found this overwritten. Someone liking miles of wordy literary type criticism might find it appealing.

5 comments about Samurai Sword: A Handbook.

1. mr. yumoto's work is very descriptive and pictures fill the pages more than text does.
   
   "Samurai Sword a Handbook" lacks an analytic quality that would bring togheter the social, historical, technical and martial dimensions of the nihonto.
   
   last but not least, such an important - and relatively undocumented - subject as care and maintenance of japanese blades is simply and vaguely evoked in two pages that make up a ridiculous chapter.
   
   all in all, yumoto's work is too old to be satisfying to comtemporary readers in search of a meaningful, concise handbook which would explain rather than describe.



2. A PERFECT SOURCE WHO WANTS TO LEARN ABAUT JAPANESE SWORDS AND THEIR HISTORY



3. I finished reading it yesterday. It is too much for beginner and not enough for intermediate or even expert...
   
   It is definitely usefull for future reference in terms of finding more about your sword or swords you want to buy and using some of the criterias. Photos are B&W and crappy and references text-to-drawings are badly organized.
   
   What is strongly missing is types of sword damage, how to eveluate type of damage and find it on blades etc...
   
   I dont know when book was written but some information also seems bit obsolete...
   
   If the book was hardcover, had two times more pages, colored photos to go with drawings, better organized and have more information, I would give 5. Now I give 3 of 5.



4. This is a good, short overview of the basics of Japanese Swords. Recommended.



5. This is an awesome book for anyone wnating to know more about samurai swords and speaking as a beginner myself, I found that this book explained everything clearly and concisely - I now know a lot more about swords than i did before :)

4 comments about Jeremiah: A Romantic Vision.

1. jeremiah is a very special book done by an unbelievable artist with the most beautiful watercolor drawings of rooms of famous people. There are very few people if any, who can do watercolor painting the way Jeremiah does. Enjoy this book for the beautiful art work, which you will not see very often.



2. If you enjoy the early 60's aesthetic of the wealthy this is a fantastic book. Really gorgeous designs of a great designer at his best.



3. Previously I had viewed some of the material in various magazines and was eager to see more of Mr. Goodman's work. This book does not disappoint. As an interior designer I have always admired the art of "rendering." The book is a treasure to be enjoyed over and over again.



4. Mr. Goodman's remarkable talent to paint a portrait of an interior as lush, dramatic, grander than grand was clearly sought after by a legion of society's most celebrated style icons. Like the American painter John Singer Sargeant, Mr. Goodman's confident handling of paints thrusts the viewer into a world of impossible glamour. Environments that boasted the highest ceilings,gleaming marble floors, heavy gold frames,crystal ornaments, rare fabrics covering museum worthy pieces of furniture and forests of exotic plants all bathed in the most dramatically dappled sunlight easily, happily, transports the viewer to a dreamy never never land.We're talking rooms dressed to impress and then some!Homes belonging to high-style mavens like screen goddess-Greta Garbo,society designer- Bill Blass and the boy-crazy shutterbug who eroticized the male form in the public imagination, Mr. Bruce Weber. There's a history lesson here of decorating styles through the mid 20th century of both public and private settings. But the strength of the book is the spectacular painting technique and the rich, romantically luxurious point of view of the gifted artist, Mr.Goodman. In the 21 century world thats devoid of any masterful illustrations in the popular press, to see such skilled, dreamy, visionary work is a special treat indeed.

3 comments about Gospel Figures in Art (Guide to Imagery Series).

1. In "Guide to Imagery Series" books I found the books on art
   that give an exceptionally clear presentation of the subject.
   I bought 6 books from this series ("Gospel figures in art" among them) and I really found what I was searching for. You can study Old and New Testament as well as ancient mythology reading these books, understand the role of different details, symbols drawn on each picture. Inside each book there is a short description of the specific topic followed by full-colour reproductions of the pictures on this topic from different museums all over the world with detailed explanations to each picture. It was amazing to find and understand the meaning of different pictures I saw in art galleries in St.Petersburg, Berlin, Munich, Dresden, Venice, Naples and other places. Really a great selection of art works is presented in each of these books. I strongly recommend all these books to everybody who wants to understand the meaning of the pictures and get a nice art collection at home.



2. This book is spectacular ... don't miss it! It offers a comprehensive look at old testament artwork from the masters that will inspire you over and over again. It follows a basic chronological order that works well with the study of ancient history. Much information is given, yet it is concise and to the point. Beautiful for all ages!



3. If you think you know the gospels (the first 4 books of the New Testament), this book will open your eyes. If you think you know Western art, this book will teach you things you never knew you didn't know. Every incident in the gospels, as well as every incident that has grown up as a traditional addition to the gospels, is touched on. Then a large number of paintings are beautifully reproduced and annotated in detail. You can think of this book either as illustrating the gospels in detail, or explicating every detail of Western painting based on the gospels. A sheer delight. A wonderful treasure.