5 comments about The Diary of Frida Kahlo: An Intimate Self-Portrait.

1. I loved this book! I can't seem to put it down I do have to say that I would recommend it for billingual readers you will get a better understanding of the book. It is translated in english towards the back but, spanish readers will benifit the most out of the book because you will be able to understand Frida's humor about Diego. The first part of the diary is all in spanish and was written by Frida. The 2nd half is the english translation that will show a small replica of her drawings with the english translation. Some words are better left in spanish because the translation in english will not do them justice. Frida expresses her feelings so well that you can't help but feel her burning passion for diego and her lonliness. Frida was an intersting individual and her art is magnificent. She was an artist and a poet. Frida's diary is very morbid to say the least but, I love it. She expressed exactly what she felt at that exact moment. Her explanation to the way she sees each color is fantastic. I have gone through her paintings to see how many times she used the color Yellow. Buy the book to find out what this color means. Her physical pain is obvious and her paintings speak out for them selves. There is no doubt she was madly in love with diego above all. I learned much more about her through this diary. Please buy the Frida movie starring Selma Hayek things will make more sense to you. The author of this book uses every day language to translate her art. It is a must have book, I will definetly read it over and over. The book is absolutely a must have for Frida addicts like myself. I sometimes get lost while I'm reading it because I feel as if I can see and feel what she is describing. I absolutely love Frida and her artwork. Don't hesitate to buy this book it is worth every dollar you spend.



2. This book is simply beautiful. I especially love that it's a full color reproduction and then an English translation follows. If you are Frida devotee, I suggest getting this book.



3. for those who love the work of frida kahlo this book has lots to look at im very pleased that i found it



4. Frida Kahlo's diary has amplified my admiration for her. Her beautifully disturbing drawings and poetic words in this book are more than what I had expected. Though her handwriting is hard to read at times, the translations in the back are a big help. I shall cherish this book for a long time.



5. When I find out there was a book of all of Frida's actual writings and drawings from her diary, I was amazed! And this book totally fit all my expectations. It includes everything from her infamous red leather bound journal that she sought refuge in until the final moments of her life. You can actually see the ink from the next page leaking through the page before it, so you feel like your reading the actual thing. Its in big, bold, deep colors just how Frida liked it, and it translates and explains everything in english in a detailed and sufficient way. Definitely a MUST for all fans of the AWESOME Frida Kahlo =)

4 comments about Art and Experience in Classical Greece.

1. J.J. Pollitt is one of the most respected scholars of ancient Greek art, and with good reason. His analyses are clear, well-written, cautious, and highly logical. Art and Experience is a classic (!) work of Pollitt's early career. It is an authoritative and engaging introduction to the history of art in ancient Greece, focusing on the Classical period (fifth and fourth centuries BC). The book assumes a general familiarity with some ancient history, philosophy, and literature, so it might be most useful for students or enthusiasts of classical culture who feel that their understanding of classical art is lacking. Nonetheless, the text is introductory enough that even a reader with no background in classics could find the book interesting and informative.
   What makes this book a particularly valuable introduction to Greek art is that it aims to explain the motives and ideas behind the art rather than to provide the reader with a list of works and names of styles. Pollitt answers the question of why Classical Greek art looks like it does, and he thus gives his reader a framework for understanding individual works.
   I can level only two criticisms at the book, and they are both relatively picky. The first is that, because of the brevity of the book and its intended non-specialist audience, some of Pollitt's conclusions seem to me like logical leaps, and some of his arguments seem too summary to be fully convincing. I would have preferred a more comprehensive treatment with fuller explanations--something along the lines of Paul Zanker's Power of Images in the Age of Augustus. As an introduction, however, the extent of the arguments in Art and Experience is sufficient. My second criticism is that Pollitt at times reveals more personal value judgements regarding the art of ancient Greece than I thought were necessary or appropriate. This is no doubt in part the product of the period in which the book was written, when value judgement still played some role in the teaching of art history (it has since largely been abandoned). It also may relate to the intended audience: I am sure that some readers will be interested to hear what traditional considerations have made art historians consider certain works to be "great." At the same time, readers should be wary of Pollitt's negative statements about some of the art (e.g., Hellenistic sculptures of children). The value of such art has recently been reevaluated by many art historians, including Pollitt himself, and the works do not deserve the dismissive tone apparent in Art and Experience.
   On a final note, readers should keep in mind that this book is intended to cover only a brief (though significant) period in the history of ancient Greek art. Because of its scope, this book does not provide a "grand tour" of all famous Greek art--works like the Nike (or Winged Victory) of Samothrace are not covered. While Art and Experience is a great way to begin an exploration of the art and culture of ancient Greece, for a full picture one must consult additional sources. I highly recommend following Art and Experience with Pollitt's masterful (and more scholarly, though still quite accessible) Art in the Hellenistic Age.



2. Knowing little of Greek art, I happened upon this book in my shelves (an old college textbook belonging to my husband). I was pleased and impressed with this overview of Classical Greek art. Pollitt covers the main strands of development in architecture, sculpture, and painting and places the works firmly in the context of the historical events and cultural atmosphere of their times. As a result, I came away with an increased appreciation and understanding of the quality and value of Classical Greek art and of the interconnection between art and larger society in ancient Greece.



3. [let this man speak for himself...]
   A thoughtful observer of these events, like
   Aeschylus, could not but have felt uneasiness.
   Were the Greek cities and the factions within
   them being drawn, through their quest for power
   even at the expenses of principle, into the
   cycle of *hybris*, *ate*, and *nemesis* which
   they themselves had seen in the undoing of the
   Persians? In a world where Zeus punished
   *hybris*, where men reaped the fruits of their
   own actions, were they sowing the seeds of
   their own downfall?
   "...be mindful, men of Greece and Athens,
   lest one among you, disdaining in his
   mind the fortune of the present, and
   lusting after more, waste the great
   blessings he has..."
   the ghost of Darius had said in the *Persians.*
   These fears, and with them the vivid memory
   of what destruction actually means (particularly
   in Athens,which had been sacked and ruined by
   the Persians) must have been strong motivating
   forces in the creation of the serious and
   meditative character of so much Early Classical
   art. The "Aspasia," the Charioteer of Delphi,
   and even the very early "Blond Boy" from the
   Athenian acropolis all seem to be attempts to
   embody the ideals of thoughtful restraint and
   responsibility which the Greeks were so frequently
   prone to forget. (pp. 26-27)
   * * *
   The fallen warrior [sculpture] from the east
   pediment [of the Temple of Aphaia at Aegina] is
   another matter. As life ebbs away and he sinks
   toward the earth, he tries futilely, sword (now
   missing) in hand, to raise himself. His eyes
   narrow as his consciousness fades; his mouth is
   slightly open as his breathing grows difficult;
   he stares at the earth. His enfeebled movements
   contrast poignantly with his massive physical
   frame in which, for practically the first time,
   the individual details of the musculature are
   fused and unified by a softening of the lines
   of division between them, and by increasingly
   subtle modulation of the surface from which one
   senses the presence of a unified physical force
   emanating from within the body. The sculptor
   who conceived the figure had obviously thought
   carefully about exactly what it meant. He must
   have asked himself what it must really be like
   when a powerful warrior is wounded and falls.
   What does he feel? How should we feel? And
   what meaning is there in our feeling? (pp.19-20)
   * * * * * * * * *
   There are irritations in this work...amidst the
   riches. Pollitt seems to find no inspiration in
   the *Diskobolos* statue by Myron at all...devotes
   little space to it except to mention its "rhythmos,"
   but, incredibly, nothing about its beauty and the
   idealization of the harmonic development of the
   musculature of the male body by an athlete.
   And Pollitt has the bias of "reason" and
   "rationality" as the supposed prime virtues of
   Greek thought and art...over the mystical.
   Yet, if divine inspiration of poets and
   artists is not a mystical experience, then
   what is? And the Greeks certainly seem to
   have subscribed to that belief early on.
   * * * * * * * * *



4. Pollitt's book is one of those rare pieces of writing that rewards you with fresh insight each and every time you pick it up. It is beautifully and sensitively written, and manages to breathe remarkable life into the civilization of ancient Greece. This is a wonderful way to prepare for a trip to Greece--it will only make your travels even more rewarding. This is history at its best.

No comments about Snyder's Medieval Art.

No comments about The Visual Arts: A History (Combined) (7th Edition).

4 comments about History of Japanese Art.

1. This volume is a good overview of the arts of Japan from a historical perspective. The perspective is decidedly Western, however, and tends to overstate the relevance of "fine arts" as opposed to the so-called "minor arts" and crafts. Thus, woodblock prints are given less space than their cultural impact would imply. More importantly, ceramics are accorded very little space - a major shortcoming to any art history of Japan.



2. Depending on what your intended usage for this book will be, this book may be somewhat helpful. I needed this for an art history class my senior year of college as an art history major. Thing is, the class was pretty ridiculous. It was supposed to be an introductory class into the art of japanese art & tradition, but the professor spoke more of Chinese art & traditions.
   
   This book will give you a pretty thorough knowledge in Japanese Art, as well as some of its culture, more through the introductions of the eras and periods and through its pictures. But that's it, do not buy this if you're looking for a complete knowledge, because that's not what it is. Also, if you are looking for early (i.e. ancient!) japanese history, there really isn't any, in this book or just in general.
   
   Definitely buy it here on Amazon, because I found it to be a lot cheaper in comparison to my friends who had spent a fortune on it through eBay and the university bookstores. You may also want to get a soft cover if you want to sell it back later on or use it solely for class, because it's such a heavy book (I have the hard cover). My intent was to keep the book, because it's such a nice book to have in anyone's collection.
   
   If you do purchase it, you will not be let down. It's a great buy.



3. very good book decent photos, covered a good amount of information . Got for my history of japanese painting class helped out



4. Excellent - Just what I thought it would be.

2 comments about Designing Interiors.

1. I had heard of this particular book before, and it was referred to me by one of my university professors. We practicaly use it everyday now (Faculty of Architecture)



2. This was a text book of mine and well worth the purchase. It should be owned by all interior designers and decorators. The authors are thourough and clear in their various chapters. They cover everything from decorating to space planning, architecture to furniture styles. A definite addition to an interior design library

5 comments about Interior Graphic and Design Standards.

1. This book is out-of-date, poorly written, poorly organized, and a complete waste of one's money, time, and effort. The graphics are inconsistent and poorly done, and it is a nightmare trying to make sense of technical information provided by Ms. Reznikoff.
   
   This reference has been eclipsed in light-years by Maryrose McGowan's book "Interior Design Graphic Standards", which is now considered THE reference book of choice and the Gold Standard in its class. Use your money wisely and opt to purchase McGowan's publication instead of this one.



2. This book is a necessary staple for every Interior Designer's book collection



3. I recently purchased this book while taking a Commercial Interior Design course as part of my Interior Design degree. I found the book to be very helpful in many aspects of commercial design and specification. Also, my boss, who is a licensed Interior Designer and has been practicing for about 10 years has a copy of the book that she used while in college; she refers to it as her design reference Bible, haha. Although some of the material (such as codes) may be out of date due to the everchanging laws and standards, overall this book is filled with valuable information. A must-have for all interior designers!



4. A great book for interior designers. Serves as a great refrence. A must add to any library collection!



5. A very informative and usefull book for all designers.

1 comments about Criticizing Art: Understanding the Contemporary.

1. A wonderful book. Boy, i was dragged through galleries and museums by my parents throughout the 60's and 70's, seeing things I thought interesting, some beautiful, some scary, some outright nonsensical. I never got to understand nothing, though I felt the impact of "the better stuff". Mr. Barrett does a wonderful job in being sincere and easy to understand as he, with impressively up-to-date examples, puts forth the meaning behind those formulae of formalism, modernism, post-modernism and the like. He carefully introduces techniques of criticism which are acknowledged as "best practices", but always underlines that other avenues will take us to excellence, too. I definitely appreciate what he covers under the "feminism" and "multiculturism" headlines, cos when we get to see it, we rarely have the nomenclatura to understand it properly. This is not just a book for someone who in earnest wants to make a living off "criticizing art", but for anyone young (in mind) enough to set out on the adventure to enjoy, understand and recommend contemporary art with some kind of vision for the betterment of mankind. The art, Mr. Barrett tells us, is all there - it's now up to us to make something with it.

3 comments about Drawing: Space, Form, and Expression.

1. Good book, has great examples and the definitions are not that hard to understand. Ideal for any artist or reader that is interested in ART



2. This book is an excellent resource. It is very clear and the examples are really very helpful. If you are a beginner or an artist of years, there is very much to learn from this book. The text does offer some excercises, but it's greater strength is from the explanation of processes. The book doesn't play out as an analysis of art pieces, but describes the process of creating an expressive and cohesive work in pretty much any style of drawing. It tells you how to practice and what to look for in a subject and in your drawing. This was the textbook we used in my drawing classes and it has been an invaluable resource since then.
   
   This book will help you find ideas and transfer them into your unique art.



3. While giving clear 'how to' instructions for those beginning drawing, this book treats drawing in a much broader way than simply the realistic rendering of the visual world. It's well written and illustrated with works by a good range of contemporary artists. As an art college lecturer I find this book very useful as a resource for both myself and my students.

1 comments about Experiencing Art Around Us (with CD-ROM).

1. Whew! Wonderful, fascinating, informative book on every aspect of art. Of course just an overview. There is so much to learn. Am glad I read this book. (I did not have the CD-Rom) I particularly love the work of Roche-Rabell.