1 comments about Women Impressionists.

1. When it comes to research into art history it is lamentable that the accomplishments of male artists are over-represented in scholarly publications and that those of women artists are by and large glossed over or just plain ignored. This failing of traditionally conservative male art historians to address this imbalance is slowly being reevaluated and corrected. A fascinating task, it is being carried out by a new generation of scholars and authors (mainly female) who are giving a revealing and inclusive perspective on the history of Western art. The story of the French Impressionist movement is no different, the names of male artists like Renoir, Degas, Sisely, Manet, Monet and Pissaro are well known around the world and their vividly painted canvases are represented in significant international art galleries. But when it comes to the women Impressionists who painted alongside their male peers, history is surprisingly silent and there is a lack of awareness of their unique place in early modern art. There is an unspoken consensus amongst some academics that these women artists were not quite as talented as their male colleagues, and that there certainly were no creative geniuses amongst their number. Based on a travelling exhibition, this well researched volume aims to improve the art loving publics knowledge and understanding of these pioneering women artists who struggled against restrictive social conventions and entrenched misogyny to achieve their painterly visions of the world around them.
   
   In the 19th century and well into the 20th century women were solely expected to fulfill the complimentary roles of motherhood and obedient housewife. The limited work available to them was primarily of the menial or nurturing kind: as governess, nannies, teachers, maids, nurses or midwives. When the prospect of marriage loomed women were dutifully expected to give up their jobs, and so their fragile sense of independence. Thus when a woman wished to pursue a career (such as painting) they invariably had to forgo almost any prospect of starting a family and having a "respectable" life as a devoted wife and mother. Throughout Western art history up until the Impressionist era women were barred from attending most art schools for some absurdly prudish and moralistic reasons. When women were allowed the privilege of studying alongside men, there was a hidebound social etiquette in place to "protect" them from anything that may have affronted their delicate sensibilities. This stiflingly Victorian attitude discouraged many women from pursuing art in a professional manner; sadly relegating them to the margins of the art scene... as amateurs. Still, there was a small yet noteworthy number of women who chose to become professional (and successful) artists in this oppressive environment. Undaunted they resolutely studied and practiced their craft against almost all odds, and eventually won the begrudging respect of their male peers.
   
   This timely book focuses on the handful of female artists who belonged in the French Impressionist art circle and includes beautiful examples of their oil paintings, pastels, watercolors, sketches and etchings, many in full and vibrant colour. The likes of Bertha Morisot, Eva Gonzales, Marie Bracquemond and the American Mary Cassatt are all included and due attention is given to each artist. The contribution of these four women to this revolutionary movement has been largely (but not entirely) omitted from the annals of art history, and is indicative of a wider cultural bias against the accomplishments of women in all walks of life. It is a shame that this wonderful book does not have more of an international scope, for I'm sure that in the 19th century there were many women Impressionists around the developed world whose names and creative oeuvres have been painted out of official histories of art. This engaging book with its lucid essays will open your eyes to the artistic legacy of these gifted yet undervalued women artists, and its publication will be most welcome by those interested in women's issues. If like me you admire and appreciate the Impressionists with their fresh and progressive approach to painting, Women Impressionists will be a fine addition to your library.

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 Elizabeth Taylor: My Love Affair with Jewelry.

1. Received book that was listed in Very Good condition--Book arrived with binding completely torn away from book-front and back pages glued together for what reason I am not sure. Wrote seller, never received reply. Would not buy from this dealer again. This was a purchase that virtually needs to be thrown away.



2. I recently became interested in a pair of pearls and did a lot of research on them. I bought a pair of Mikimoto pearls and then bought this book. I really enjoyed learning more about pearls and other famous jewelry.



3. I paid $175.00 for this book before I discovered amazon.com and the wonderful prices. Even so it is worth every dollar I paid and it is a book to treasure. Elizabeth Taylor has a truely stunning collection of jewels and such a vast amount but she knows each piece and the story behind it. The book is filled with stunning photos and is interesting to read. I was not a great fan of Elizabeth Taylor before reading this book but since then I have read more about her. You will not be dissappointed.



4. This book has many expensive pieces of jewelry in it, and the stories behind the pieces. Most of it was bought by Mike Todd and Richard Burton, the "two loves of my life", as Elizabeth puts it. Her two greatest loves were the ones who bought her the most jewelry. I admit, I was touched by the stories of what Richard Burton was like as a husband. I think those two would've been the greatest together, if only they could've worked through their problems and conquered them.
   
   I also think most of this jewelry is big and gaudy, not something I'd want to wear. I often wonder what it was about Elizabeth Taylor that made men want to buy her so much jewelry. Beautiful? Certainly. A compassionate, loving woman? Sure. But was she worth that kind of outrageous spending? Make your own judgments.



5. This book surpasses any written bios of Ms. Taylor. She has masterfully catalogued her acquisitions with quality photographs and a synopsis of who gave her each of the gems and when. I have never appreciated the art and beauty of jewelry until I've seen this book (I never could afford to!).
   Elizabeth Taylor and her life has always intrigued me but this book is mesmerizing: Imagine, a man will tell a woman he loves her with extravagant jewelry. And, let's face it, don't we all fantasize that?
   By the way, she also catalogues the Cartier-Burton Diamond of which she no longer possess.

5 comments about The National Gem Collection.

1. Excellent information on the history of gemstones, understanding color and cuts. Exquisite examples, beautifully photographed. A must for anyone interested in gemstones or the history of jewelry.



2. This review is for the paperback version of the book, which I loved. It has a lovely balance of terrific photos & explanations of the various sources of the featured gems. It serves as a nice beginning reference when you have heard the terms sapphire & red sapphire (huh? I thought red gems were rubys or spinels) and would like to know more about which gems are related to others.
   
   And did I say the photos are just wonderful? Enjoy!



3. "The National Gem Collection," by Jeffrey E. Post, features photographs by Chip Clark. The book is a beautiful celebration of the title collection, which is part of the Smithsonian Institution. The informative text discusses the history of the collection, facts about types of different gemstones, and specific pieces in the collection.

   The full-color photography is really stunning, and brings a rich assortment of gems to glorious life. Some of the historic pieces pictured are the blue Hope Diamond, the diamond Napoleon Necklace, the Hooker Emerald, and more. Also shown are a colorful collection of "fancy" diamonds, a rare red diamond, the 858-carat uncut Gachala Emerald, the delightful "pink tutu" (a band of dainty rose quartz crystals on a large smoky quartz crystal), a dazzling group of fire opals, a lapis lazuli carving from Afghanistan, and more.

   I appreciate how the book celebrates gemstones at various stages: uncut, cut, and set in artfully crafted pieces of jewelry. Many different types of gemstones--aquamarine, garnet, spinel, chrysoberyl, turquoise, etc.--are covered. Features such as a scanning electron microscope photo of the inner structure of an opal give the reader a deeper understanding of the science behind gems. From start to finish, this book is a marvelous feast for both the eyes and the brain.




4. This is a beautiful book with lots of interesting information on the gem collection.



5. If you have visited the National Collection and want a souvenir to remind you of the stunning array of unique World Class Gems then this is the book for you. Both the format of the book and the superlative quality of the photography make this book the next best thing to being in the exhibition hall. There is a fairly light weight coverage of the gemmology in the text, but it mostly focusses on the history and ownership of these fabulous gems. The National Collection is unique, no where else in the world is there such a concentration of fabulous jewels with such an interesting history, with the possible exception of the British Crown Jewels in the Tower of London. This book is a fitting celebration of such a marvellous collection.

No comments about Andy Warhol: The Record Covers 1949-1987, Catalogue Raisonne.

3 comments about Hiroshige: One Hundred Famous Views of Edo.

1. This huge and beautiful book is an achievement in itself, but I really meant Hiroshige's original cycle of prints, 118 in all. They cover every aspect of the bustling city: summer and snow, crowds and quiet, industrial sectors, temples, and pleasure quarters. In some, the city's people are clearly the focus of attention. In others, they are implicit and unseen. Even when birds, exotic trees, or vast landscapes dominate, the human presence remains. This is about the city, after all, and the city is always there.
   
   Hiroshige's composition displays distinctive layering. His strong, immediate foregrounds place the viewer directly in the scene, then lead the viewer inward and onward to skies and mountains in the distance. It's dramatic and engaging, and striking by its absence in the very few images composed by his successor.
   
   Japanese prints are hugely more complex and subtle than nearly anything in the Western canon. These masterworks are built up from images on a dozen or more blocks, perfectly aligned on the printed sheet of paper. That comes through beautifully in these large reproductions, even in the subtleties of "bokashi" gradients of color. Even so, the commentary reminds us of how much we're missing. The originals are often overprinted in lustrous mica, in glossy inks that emphasizes an eagle's claws, and in un-inked embossing or "cloth printing." Between the dramatic printing in these reproductions and the authors' description, we get nearly the whole effect of the imagery anyway.
   
   I recommend this book to any reader, whether a connoisseur of fine prints already or some who can learn to love them - in otherwords, to everyone.
   
   //wiredweird



2. In college I met one of the sons of George Braziler, the publisher, and feel that the wonderful quality of their art books reflects the generous and thoughtful nature of their family. The prints are meticulously reproduced, complete with woodgrain. The written text takes the reader back to another time within a totally different culture with subtle details explained. More generally, Japanese prints represent an effort to provide art to the normal working people, not just wealthy aristocrats. Hiroshige memorializes the exquisite and delicate mood of ancient Japan and lets you feel their experiences.



3. Darcy Kishida (midk@crisscross.com) Anyone who has ever visited modern Tokyo knows what a dreary and uninviting place it can be. Monotonous rows of offices, apartments with no charm whatsoever, and a shocking lack of architectural originality conspire to rob the metropolis of most of the character it once had. "One Hundred Famous Views Of Edo" will, if not completely change your opinion of Tokyo, at least make you see the city in a new light, enabling the reader to look past the run down buildings and aging neon and view the city as it used to be: an enchanting place virtually untouched by foreign influences and filled with ancient shrines, women in kimono, swaggering samurai, Kabuki theaters, the pleasure quarters, and everything else we associate with old Japan. It will also, if you're not already, make you fall in love with the art of ukiyo-e. "One Hundred Famous Views Of Edo" succeeds in two ways. First, from a purely artistic point of view, it is a stunning collection of all 118 prints in Hiroshige's "Meisho Edo Hyakkei" series (One Hundred Famous Views Of Edo), full-size and faithfully reproduced from the Brooklyn Museum's high quality set of mostly first edition prints. The book is unique in that it includes, in addition to the acknowledged masterpieces such as "Plum Estate, Kameido" and "Sudden Shower over Shin-Ohashi Bridge and Atake," many inferior prints which are rarely, if ever, seen. Here though, every print, even the obscure ones, is given its own commentary. Henry D. Smith II, a professor of Japanese history at Columbia University, wrote the commentaries accompanying the plates and explains in his introduction that only focusing on the stronger designs "discourages the appreciation of the many strong features of the lesser designs, and it also distracts attention from the descriptive qualities that clearly appealed to Hiroshige's audience and that can teach us much today about the city of Edo and its culture." Also significant is the fact that "One Hundred Famous Views Of Edo" shows us the series as it was meant to be seen. Those who are familiar with Hiroshige already know that this was his last series and it was enormously popular. As was the case with most ukiyo-e prints, the first edition copies were generally of the highest quality, with sharp, clear lines and delicately graded colors. In later printings, which are comparatively plentiful, a sharp drop in the subtlety of color becomes obvious and the once clean lines begin to blur. The majority of the prints from the Brooklyn Museum fall into the former category. As Professor Smith notes, the great success of the series "led to countless later impressions of far inferior quality, eliminating the most refined printing effects and transforming the color schemes in ways that utterly destroyed the expressive intent of the first impressions." Even to the untrained eye, a side-by-side comparison between a high quality, early impression and a hastily made later one will quickly make this clear. Any ukiyo-e connoisseur will tell you that there is really nothing else like a well-preserved, first edition copy of a favorite print and these are in abundance in "One Hundred Famous Views Of Edo". As impressive as the prints are, however, the commentary is what steals the show here, giving the reader fascinating glimpses into what was the city of Edo and its inhabitants. It has the effect of turning the prints into virtual postcards, which, in the absence of Edo era photographs, serve as a precious visual record of the city and its customs. In his commentary, Smith has the uncanny ability to make even the most mundane details fascinating. Mediocre plates, which would normally hold your attention for only a few seconds at most, are given substance and life by Smith, whose keen eye and attention to detail turn these lesser designs into mini history lessons, travel guides, or short biographies. A good example is plate 70 (Nakagawa River Mouth), which, artistically, this writer considers among the worst of the series. Here were are given a short history of Edo's canal system, learn where its citizens procured their salt, and discover how the scene has changed in the last 150 years. The print is thus saved from obscurity by, ironically, acting as a sort of visual supplement to Smith's text instead of the other way around. The amazing variety of the locations and subject matter of the 118 views and their astute commentary combine to bring Edo alive for the viewer, making it seem strangely familiar and real. We regret the loss of so many beautiful places to modernization and cherish the few precious gems that remain. "One Hundred Famous Views Of Edo" will make those who have never been to Tokyo want to go and former residents want to return for a visit. As for the fortunate who live there now, this book can only increase their appreciation of the city and its unique history.

1 comments about A Legal Primer on Managing Museum Collections, 2nd Edition.

1. This book was required reading for a Museum Studies class at GW, and everyone who works in a Museum should be familliar with it! It is a great reference guide as well.

No comments about Bare Witness: Photographs by Gordon Parks.

No comments about George de Forest Brush.

No comments about Tom Friedman.