3 comments about Van Gogh and God: A Creative Spiritual Quest (Campion Book).

1. Eventhough my studies do not allow me a great deal of time to read books of my choice, I could not deny the work of Dr. "Cliffy-baby" Edwards. His book, "Van Gogh and God: A Creative Spiritual Quest" was just that. It was, in every sense of the phrase, a creatively spiritual page turner. His language and content captures the reader's mind and by doing so, captures the reader's spiritual core. Once mesmerized by the life, work, and creative madness of the artist, the reader becomes smoothly inundated with the thorough biographical information that Dr. Edwards so eloquently puts to page. At the risk of sounding mildly educated, I had never realized the influence Zen Buddhism had on the artist until reading Dr. Edwards' book. I did, of course, realize the "oriental" aspect of Van Gogh's approach to painting but I never knew of his "Zen Buddhist" approach to living. Sometimes the samurai leaves the monarchy and spends his life in caves painting. Congratulations Dr. E. for a fine work indeed.



2. I recently heard the author of Van Gogh and God, Dr. Cliff Edwards, speak about Vincent. At this particular gathering, he also showed wonderful slides of the artist's work. As a result of that encounter with Dr. Edwards and Vincent Van Gogh, I bought Dr. Edwards' warm and accessible book, Van Gogh and God. While reading it, much like the disciples who spoke to Christ without recognizing him on the road to Emmaus, I felt my heart burn within me while Vincent's life opened up before me like a lotus flower. I especially connected with Van Gogh's insistence that he was "not an admirer" of biblical subjects (to paint). Apparently he felt that paintings such as The Nativity and Christ in the Garden of Gethsemane avoided getting to the "reality of things" and gave him "a powerful feeling of collapse instead of progress." To paint biblical material must have felt inauthentic to Vincent as he journeyed on his spiritual quest. Lois Lowry in her book, The Giver, addresses this very issue of authenticity. Jonas, the hero, lives in a community where sameness and conformity are valued. Jonas sees things differently, though, and is chosen to become the one who acts as receptacle and transmitter of the community's collective memory. Jonas receives these memories/stories from the Giver, someone who currently has the task of holding memory. One of the questions the book raises in the reader's mind is, "When does a story become MY story?" People in Jonas' community lived without authenticity because the locus of memory was institutionalized within an individual. I couldn't help but think that Vincent, striving for authenticity, wanted to show that those sacred memories (institutionalized in the Church and in biblical paintings) gave him "a powerful feeling of collapse instead of progress." For a story (either word or image) to have meaning, it must first connect with an individual's experience. Vincent Van Gogh, like Jonas, saw things differently. Both struggled in a world that would have preferred their acquiesence to the status quo. Dr. Edwards convincingly shows that Vincent imaged God outside the parameters and conventions of the Church. Dr. Edwards suggests that "[p]erhps such profound power revealed through one's life task was a more accurate description of the divine than the word 'God.' " Another powerful image is "the child in a cradle as best evidence for God." As Dr. Edwards points out, "Vincent experiences God in the concreteness of his own most intense and significant personal history." We all do. Vincent found meaning in his life's work, his care and concern for the prostitute Sien, her daughter, and newborn son, and also in nature--wheat, flowers, olive groves, cypress trees. To image and paint a Christ that has no personal connection is, again, to live inauthentically. It would appear that Vincent would have none of that. One of my favorite parts in Dr. Edwards' book is in the Preface. "[M]ost Judeo-Christian scholars...[take] the unyielding position that religion must be expressed primarily as hearing and obeying, and cannot be expressed significantly as seeing and creating. Dr. Edwards shows how Vincent navigated those waters. It gives hope to those of us who have felt stifled by the Church's insistence that memory/story resides within its embrace.



3. The author misleads the reader by perpetuating two myths about van Gogh's religious life 1) that he was raised Calvinist and 2) that he was Buddist. If the author had taken the time to research van Gogh's biography, he would have found that van Gogh's family rejected Calvinism entirely, particularly the notions of sin and limited salvation, for a more liberal theology, favoring universal salvation and the belief that God dwells within us all. The author continues his false representation of van Gogh by arguing that he became a Buddist after he left the Christian ministry. This is based on one simple painting that van Gogh made for his friend, Gauguin, with his head shaven like a Buddist monk. Although van Gogh was thoroughly fascinated with Oriental culture, he never visted the Far East, never studied Buddism, nor did he show any real understanding of its basic ideas. In fact, all he learned of Asian culture and religion came from what he saw in the Japanese woodblock prints that came into Europe in the late 19th century and also what he garnered from reading 19th century French novels. Mr. Edwards only clouds our understanding of van Gogh with his own personal interests. For example, his discussion of van Gogh's famous work, "Crows over the Wheatfield," reads "The painting itself enters the mode of being of all things in their impermanence yet transformation, becoming a koan that poses the Zen Master's question: 'If you call this wheat you cling to it; if you do not call it wheat you depart from the facts, so what do you call it then?'" (What does this have to do with van Gogh?) The reader is best to stay away from this book entirely.

5 comments about Brushfire: Illuminations from the Inferno.

1. Artist Wayne Barlowe is simply brilliant. With this book and its predecessor, INFERNO, Barlowe gives illustration to that most dreaded place still to linger in the minds and consciences of many a man and woman: Hell.
   
   Barlowe's literally tortured landscape is one of the few truly original and imaginative renderings of the Demonic realm that I've seen or read in quite a while.
   
   Barlowe's Inferno with its demonic overlords, ruling from citadels built with the crushed souls of condemned humanity over a dimension of pain and humiliation is repugnant yet fascinating.



2. But please do not let the title heading fool you. Of course Mr. Barlowe's work is brilliantly creepy (in this respect). In fact, with this book, there are more creatures in addition to his previous Inferno book which gives his hellish world more life but my disappointment lies with the fact that it is very short in comparison to his former work.



3. Beautiful, Interesting and Haunting. Really makes you think about the bad side of judeo christian beleifs.



4. First off, Barlowe is an amazingly talented artist, and anything he does is worth owning.
   Second, this book is an excellent continuation of "Inferno". If you do not own "Inferno", this can be read alone. However, the two are part of the same vision of Hell.
   Third, while this book has slightly less content than "Inferno", it's still excellent. The artwork is inspired and haunting. The demons have an organic feel that makes them look real. They also have the remnants of their angelic heritage. Whereas "Inferno" is Barlowe's travels through Hell, focusing on people, places, and "beings", this book focuses on beings in the hierarchy of Hell, from officers to demons to fallen souls.



5. As my first thought, the point of view of Brushfire was much different from that of Inferno. This time it is written as if Barlowe were actually in Hell while painting his various subjects. Although this can be interesting, the perspective sometimes leaves out alot of information about the demons major and minor, focusing more on what he was thinking and what was happening around him at the time he was painting.
   Brushfire mananages to have very visually rewarding illustrations. Pictures of "posing subjects" tend to be more photographic, while pictures outdoors are usually more like the ones from Inferno. However, I feel it could have incorporated more of the titanic scale so ubiquitous in Inferno. This effect gives Barlowe's Hell a very supernatural feel, one that separates his vision from that of other's.
   As a humorous ending note, there is a little "insider joke" in the book. One of the pictures is of Morphaiis, a demon that Barlowe befriends on his visit to Hell. What makes it funny is that the painting is of James Cowan, Barlowe's friend and book publisher (who just happens to work for Morpheus International.

3 comments about The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting.

1. This is not a book for light beach reading, but it is a book worth reading for anyone interested in painting in general or still life specifically or Dutch still life very specifically. Actually, I quoted it in my M.F.A. thesis. Put simply, the author discusses painting as a way of thinking and 3-dimensional perspective (or the lack thereof by extrapolation, I suppose) an expression of painting as a way of thinking--all placed in the context of Dutch Still Life. That was worth the price of the book to me. As a painter, this idea led me to deeper exploration of the connection between my ideas and the vehicles I choose to present my ideas; i.e., oil paint, linen, brushes, 3-D modeling, color schemes, etc.



2. As a painter of still-life, I purchased the book for obvious reasons. The text is for a more academic audience; this is not a light read. Some familiarity with post-modern analysis is helpful. Fortunately the writing is not too dense. As an artist I was able to gain some insights into how some intellectuals would interpret my own work and to a lesser extent made me aware of some of my own unchallenged assumptions.



3. Grootenboer takes a fresh and captivating look at Dutch Still Life and its philosophical implications, touching on many fields and ways of seeing. This book is dense, yet Grootenboer's voice leads the reader through its density towards a whole new way of experiencing this specific, fascinating genre. I was excited to read someone appropriately synthesizing postmodern theories and ideals into a new way of looking at Dutch art, which in my opinion lends itself perfectly to these heady ponderings. Buy the book and more importantly read it, like the great artworks it discusses, Rhetoric of Perspective may change your overall "perspective."

No comments about Watercolor Painting Techniques.

No comments about Learning by Heart: Teaching to Free the Creative Spirit.

3 comments about Garden of Earthly Delights (Minis).

1. This painting inspired many theories and this book proposes one of them. It has many close-ups and excellent reproductions. Worth the price.



2. 
   fantastic XL pictures
   it is a great book and sorry that the publisher
   will not reprint this book at the moment.
   It is worth it.



3. This book is really mini, tiny and it works for a curious glimpse at this wonderful piece of art. It has no text and shows extracted parts of the piece that are zoomed in order to see the details. The printing is very good and colorful.

5 comments about Painting Greeting Cards in Watercolor.

1. I live in Australia so expected 3 to 4 weeks for delivery of this book, it came in less than 2 weeks so was plesently suprised with it's early arrival and it was well packed. I really enjoy the step by step projects how too's, and tips and tricks with lots of pictures to guide you.



2. This is an exceptional watercolor book that offers over 35 step-by-step projects in miniature art. It is not just for beginners. It is packed with useful information on how to design a painting, vary a theme to create a series of paintings. By walking you through the various painting techniques, then using them in step-by-step projects, Jaqueline Penny shows you how to how to turn one small painting into variations based on such things as differing the arrangement, color schemes, weather themes, horizontal vs. vertical presentation, etc..
   
   Here are some excerpts from the Table of Contents:
   Chapter 3 guides you through 5 projects that vary one scene by changing the sky, color, season, time of day, size and location.
   
   Chapter 5 gives 8 projects that help you become more creative by showing how a subject can be painted different ways--project 18 is how to paint a pear, including how to paint a droplet of water on the pear. Project 19 is painting an apple half. Project 20 Painting Hard Rocks--the author then shows how that same scene can be painted again, but by using different painting techniques, it does not become the same picture, but one with a whole new statement. The next projects are soft rocks, coastal rocks, little rocks. Next, painting two adirondack chairs(facing the viewer), then varying that theme by painting them facing out away from you, and changing the scenery surrounding them.
   
   Penny also teaches how to set up your paper so you can paint several paintings all on the same board, and how to do such things as making a postcard with three related small paintings--one of a landscape, then zeroing in on what's in the landscape and painting a close up of some flowers, or seeing the landscape from a different perspective, or changing the angles of 3 related paintings on a postcard, etc..
   
   I love Chapter 20, because it really shows where creativity and imagination can take you, and it's FUN!! Penny demonstrates how you can allow paints to run together to skies and flowers, then how to make minature paintings for the walls by varying mat colors. She gives you ideas on how to use such things as drips dropping on wet paper to make a colorful flower scene, and how to use that colorful painting along with a colored border cut in various shapes to add interest and make a variety of different greeting cards.
   
   Project 35 is especially exciting for me. It's title is "Pure Fantasy Another Way" It shows you how a wet-on-wet floral painting with a lot of soft edges can be used to create a beautiful fantasy scene with a tiny boy who is about 1/1000th as big as the flower is standing on the stem to gaze at the flower....This idea is then FURTHER EXPANDED by taking that floral idea and changing the boy to a girl, with a different pose and slightly different floral scene, or adding poetry to the scene of zeroing in more to one or two flowers.
   
   This book really demonstrates the multitude of possibilities in painting greeting cards, miniature paintings for the home, post cards, etc. The lessons are not difficult, and are easy enough for beginners, but it is also good for someone who is beyond the beginner stage, as it is also a book about design and creativity.
   
   A Wonderful book, that will help you expand on ideas for watercolors.
   If you like the book Work Small, Learn Big, this might be a good companion.



3. Thank you Jacqueline Penney for making my introduction to watercolor painting fun, informative and very helpful.
   The book, Painting Greeting Cards in Watercolor, was a step by step introduction to watercolor painting through the practice of greeting card design. The lessons were fun, quick and very easy to follow, making the student beg to beging the next lesson. After every lesson I felt like I really learned something and was proud of my accomplishment. I'll be honest, as a first time watercolorist I would have given up if this book wasn't easy, fun and easy to understand. Luckily it was a superb introduction and I am very happy.
   Thank you again.



4. I really enjoy using this book for inspiration and practice. I don't use her ideas for greeting cards, but for small paintings. Most of the paintings can be finished rather quickly. The topics are appealing and I have sold a number of them. I like her 3-in-1 compositions, dividing the paper with masking tape and having related subjects treated differently within each block. It is a practical and user-friendly book, well worth the purchase.



5. I have painted all the pictures in Jacqueline's book. Her detailed instructions make copying her art miniatures easy. Her instructions apply not only to miniatures but also larger sized pictures. I have used several of her designs for greeting cards.

3 comments about Fairy Kisses.

1. Fairy KissesI love this book. I've looked at many books on the subject but most were the artist's idea of fantasy. Becky suggests they may actually co-exist with us. I purchased it for my grandsons to re-introduce them to the wonderful world of fairies. My wish is that their minds may stay open to the belief that we share our world with many creatures, whether we see them or not. They love it. The book is truly magical.



2. Recentl read this one at a friends office. The art work alone is worth the price of the book. The author/artist presents her subject as it should be presented, innocent, nice and, well...just pretty. I was particularly impressed with the author's presentation of various wild flowers..granted, they are an artist's impression, but are actually quite accurate. This is just a nice, sweet book, well illustrated and well written. Good for young and old alike and a great message. Recommend this one highly.



3. This whimsical book is so sweet, and so glorious. If you like the enchanting world of faeires, or you enjoy her beautiful work with watercolors, this is a must have for you, and everyone on your gift list!!

3 comments about The Murals of John Pugh: Beyond Trompe l'Oeil.

1. John Pugh should be named a national treasure. His works are not only supremely well executed but also intriguing. So many muralists fail in their ability to render perspective both visually and mentally. You can truly "step into" Pugh's works and when you do, you enter into a new world.



2. This is simply a fantastic book of the art of muralist I've grown to admire over the years. After following his work on the web and around California and other states, I was very excited to find a book devoted to his work alone. And I was not disappointed. The quality of the text and images is superb as well.And as an artist I frequent the book to get those creative juices flowing.
   
   I highly recommend this book to anyone who enjoys Trompe l'oeil and murals.



3. Author Kevin Bruce writes that he first met John Pugh in a Los Gatos pub in 1984. The two became fast friends, and now Bruce has expanded his Stanford University master's thesis on seven of Pugh's murals into a breathtaking study of 35 of Pugh's finest works. "The Murals of John Pugh: Beyond trompe l'oeil" ($35 in hardcover from Ten Speed Press) features stunning full-color spreads of Pugh's art along with telling close-ups of areas the eye might well miss.
   
   The term "trompe l'oeil" means "trick of the eye," and it's applied to two-dimensional art that fools the eye into seeing a three-dimensional space. Though such techniques were practiced in ancient Greece, as Bruce notes in his historical overview, Pugh's real precursor was the Mexican muralist Diego Rivera, who in 1931 "produced a trompe l'oeil mural ... at the California School of Fine Arts" that saluted "the 'skyscraping' construction in the United States."
   
   Pugh himself got his start at Chico State University majoring in art. In his senior year he received a commission "to create a mural on a wall of Taylor Hall, which housed, most appropriately, the Chico State Art Department." As Bruce writes, "Begun in the fall of 1980 and completed in the spring of 1981, this mural would receive international recognition and launch Pugh's career in a spectacular fashion." The mural was called "Academe" (acrylic on concrete, 24 feet by 36 feet).
   
   Bruce writes that "at Taylor Hall, Pugh's first step was to establish a site-specific conceptual scheme: 'I kept looking at the wall thinking of how to best reveal in a mural the meaning of the art building both architecturally and conceptually.' He decided that the best symbol to accomplish this dual statement would be to 'go all the way back to the original Doric-style Greek column. ... My intention was ... to tap into the concept of the Greek academe as the essence of our western educational system'."
   
   Rather than simply paint a realistic-looking series of columns, Pugh was influenced by a dream to "break open" the wall on Taylor and, as Bruce puts it, "fill this fictive space with relevant narrative creations -- intended to engage the viewer on deeper levels."
   
   It is this narrative element in Pugh's work that sets it apart from mere trickery. Since his Chico State experience Pugh has painted many public art pieces, murals for hospitals, parking garages and libraries that attract the mind as well as the eye. Some are controversial, like his 2005 piece, "Drain," in Bishop, which evoked strong emotions about the "water wars" in the late 1900s. Other pieces, such as the mural in a San Jose café, "Art Imitating Life, Imitating Art, Imitating Life," are stunningly complex in their narratives.
   
   "The Murals of John Pugh" includes chapters on his studio, techniques and future projects, a fitting 3D tribute to a visionary artist -- which is no illusion at all.
   
   Copyright 2006 Chico Enterprise-Record. Used by permission.

No comments about Wildlife Painting Techniques of Modern Masters (Practical Art Books).