No comments about Forever and Ever: New Works by Shawn Barber.

1 comments about The Frampton Flora.

1. 
   This atmospheric book preserves a classically British place and time -- country Great House, 19th century. Ladies of sensitivity and breeding painted watercolors (oils were for "serious" male artists).
   
   These 2 generations worth of works are reproduced finely enough for framing the larger examples. Backgrounds are age-yellowed; the drafting, composition, and coloration are impressive for unknown amateurs (again, ladies were considered charming dabblers).
   
   The cover (printed same as the shiny DJ, with a bit of an incongruous linen-texture finish that will nevertheless wear well) is done in fancy marbled paper/leather-tipping simulation -- a great "old time" look for the country decorated sunroom table, etc. Nice peek into a bygone era!

3 comments about The Magic of Remedios Varo.

1. While I found UNEXPECTED JOURNEYS more fun to read and enjoy visually, I am glad I added this to my shelf next to Janet Kaplan's work on the terrific surrealist female artist, Remedios Varo.
   
   If you are unfamiliar with the artist, this book is a nice introduction to her work, person, milieu, and style. It's a companion book created for an exhibition of the National Museum of Women in the Arts (back in, I think, 2000?) This is a reprint version.
   
   As I am Hispanic, I enjoyed that it is a bilingual edition (so I can read in either language).
   
   Since the other reviews didn't say much about the book itself, here's what the contents are:
   
   1. Sponsor's statement
   2. Acknowledgements
   3. Prologo/Foreword by Rafael Tovar
   4. Mensaje/Message by Jesus R. Reyes Heroles
   5. Descifrando la magia de Remedios Varo: Una Pintora de Mexico, que emergio del surrealismo/ Deciphering the Magic of Remedios Varo: An Artist from Mexico Who Emerged from Surrealism by Luis Martin-Lozano
   6. Color Plates
   7. Exhibition Checklist
   8 Remedios Varo: A Biographical Sketch
   9. Selected Bibliography
   
   The cover, inside back cover and frontispiece are a joy. The cover is a large reproduction (part folded over to become an inside-front flap) of The Juggler (detail). It's really beautifully reproduced. And the back inside flap cover is a reproduction of the image of THE CALL (one of my fave Varo paintings). The frontispiece is a detail from Armonia/Harmony. And the color plates are quality reproductions, but sadly, rather small ones. Not mostly whole-page repros. But the colors and sharpness are nice. You will surely enjoy the art images.
   
   Varo's art is magical and mystical and metaphysical and alchemical and full of psychological depth. And there is humor, too. Her face is often the face of the women in her art (look at photos of her and compare.)
   
   If you enjoy surrealist art, you will have a visual treat here. If you're new to Varo, you will learn something and SEE something of her. If you just collect Varo books--the few out there-- here's another.
   
   Enjoy.
   
   Mir



2. I saw Varo's art for the first time at the National Gallery for Women in the Arts. Instantly she became one of my favorite artists. Her imagery is definitely strange and dream-like, but it has its own sensibility. "Magic" is actually a good word for it, because alchemy and the supernatural are common themes of hers.
   
   If you're not familiar with Remedios Varo but love the strange and unusual in art, I'd highly recommend this book. It's not the same as seeing the real thing (which blew my mind) but as far as I've seen, it's the next best thing.



3. remedios varo is a surrealist in the sense that she is utterly original in her definition of reality. i feel like she lies somewhere between m.c. escher and frida kahlo, somehow fusing his old-world, masculine attention to the making of fine art, and kahlo's guttural, organic approach to story-telling; really, though, to compare the work of remedios varo to that of others is a grave mistake - - she is entirely herself, her art is a world all it's own. this book presents her work in a fine way, some of the pieces are a little small on the page - - i believe her work has such fine detail, it must be seen very close to truly appreciate that aspect of it. but it has a good biography section on her, and the rest is divided into themes running through her work illustrated through the paintings they contain, which i found intriguing. a great book, i am proud to have it.

No comments about Goodbye Picasso.

5 comments about Texture Techniques for Winning Watercolors.

1. I have an extremely large collection of watercolor instruction books since I love to try new approaches. This book is one of my favoriteS. Many(most) watercolor books are just self praise books with not much useful instruction. I find Mr. Hendershot's book to be extremely informative and well written. I find myself referring to this book often.



2. Hendershot's book is, as stated, not for the beginner, but what he has here is something that I think the beginner could use and would find greatly inspiring.
   His own style is quite beautiful, and if you are looking for it, a more than passing hint at A. Wyeth can be found in his work. Artists interested in His technique will / may find something similar in Hendershot (though Hendershot definitely has his own amazing view, also Andy ain't going to talk soon, so this may be as close to it as one gets).
   
   It is not merely a technique book either, it is practically a monograph for Hendershot. Reproductions are quite amazing.
   
   Having communicated with the publisher, there are "no plans" to republish this book. If you find one here, grab it!! The one at the local library here can now have a rest, as My copy has arrived



3. While not a beginner's book, Hendershot's book offers straightforward advice on creating realistic textures. I was surprised how easy it was to add realism to my work. I enjoyed the subdued palette. Raw umber and paynes gray figure prominently in my palette now. As other reviewers have wrote, Hendershot's book has helped me create my best work to date. A treasure!



4. This is by far the best watercolor book I have seen. This book is not for beginners as the author points out at the beginning itself. Maybe that is why it is so much more interesting for advanced beginners and beyond as he quickly and methodically takes us through a progression of splendid techniques for painting trees, grass, barns, buildings, still life etc. As a lover of landscape paintings, I find Ray Hendershot's paintings simply a joy to study. I am really happy I got this book.



5. I am a novice watercolor painter. I've bought several instructional books, but have found this one to be the best. Mr. Hendershot's instructions are clear and easy to follow. The techniques I've learned have dramatically improved the quality of my paintings. The paintings used in instruction are beautiful and fun to paint. I will always use the techniques I've learned from this artist. I only wish he would do another.

4 comments about By Nature's Design (An Exploratorium Book).

1. This book is a must for people who study or work in the field of graphic art. It reminds us the shapes and maths we use in computer programs originate from cosmos ;-). The subtleties of natural colour shape and composition remains an inspiration to my every day job as a graphic artist. Beautiful photography indeed.



2. This book is lovely. The pictures are gorgeous. The text only compliments the pictures. The text is simple and easy to understand.

   I used this book when teaching the gifted students math and science. The book is so lovely that many times my students would just read it because of that, not because they were trying to see a concept.

   Now I use it as a goal for my personal photography. (I can only hope to be that good someday!)

   This is a gorgeous book and well worth the money.




3. If I could give 10 stars to this book, I would. As a fellow nature photographer and instructor, we use this book as the text book for our photography programs, especially the ones on composition, patterns, and natural design. William Neill's photography is outstanding, each picture simple and clear to the point being made. The text is a reflection of the outstanding quality and precision of the photographs, making their point clearly and simply, yet capturing the imagination. You will start looking at the world differently after reading this book, having your imagination captured by the shadows and cracks on the sidewalk, the curls in the petal of a flower, the fascination of designs found in food, plants, the clouds, everywhere you look will seem fresh and new, seen through new eyes.

   Interested in math and geometry, this book will open a new world to you in understanding the complexities of nature as well as geometry and other sciences to you. Fractals, rectangles, spirals, mathematical computations we all learned in school come alive under the simple and magical words and the gorgeous images by Mr. Neill. I would include this as a text book in any math class, inspiring and opening student's eyes to the possibilities found in nature.

   For nature and photo enthusiasts, you will go back to this book time and time again for inspiration and information. It will help you understand why rose petals open as they do, how a drop of water can hold the most volume before it explodes, making yet another geometrical shape. You learn why cactus have spines, how lava cools, cracking in even shapes. A very exciting lesson comes in learning how scientists, after many frustrating centuries, with the help of computers finally came up with a mathematical computation for measuring mountains, coastlines, clouds, fog, the physical and ethereal elements of nature. The chapter on fractals really expands your understanding of the sciences.

   Mr. Neill has done a sequel to this book and it is also worth getting, as is anything he touches. He is an inspired and dedicated photographer, who some say is carrying on the work of his mentor, Ansel Adams, but I say he is carving his own unique road, in someways surpassing the master's work.




4. Each page is worthy of framing itself! You feel as though you are with the photographer as each description of the picture is both clear and inviting the reader to feel what was happening at the time the photo was taken ...All aspects of nature, from flowers to underwater scenes....are creatively captured for the viewer. I loved this book and din't want to finish it...

1 comments about David Bellamy's Developing Your Watercolours: Techniques to Improve Your Painting.

1. This book, and the video that came out about the same time, are among the best watercolour publications that I have seen. I am an ardent fan of David Bellamy and heartily recommend this and any other of his books to all watercolour painters, whether expert or, like me, novice. They are full of information and ideas that can help make us all better painters. I have almost all his books and videos and never tire of looking at them and learning.

4 comments about The Art and Embroidery of Jane Hall: Reflections of Nature.

1. I enjoy this book but had hoped for more instructions than is given. She talks about the materials and techniques but would have liked to see an example with steps all the way through the process.
   Beautiful ideas and results on Jane's embroidery!



2. What an idea generator! It's a beautiful picture book also. Makes me want to "stretch my wings".



3. I own many books and I have to say this one is by far my favorite. Many fiber artist and embroiderers will be drawn to this book, not only for the exquisite photography of Jane Hall's work, but also for her ability to express what inspires her. You will find that we all share the same inspirations and aspirations for our projects. I recommend this highly. Not a how-to book.



4. This book is fabulous. The work that Jane Hall has done is pure art. Fiber Art to the ultimate. I love how she has developed so many wonderful techniques to achieve the natural looks. I am devouring this book, cover to cover. You will love it!!

3 comments about Patterns of Intention: On the Historical Explanation of Pictures.

1. This book is so conspicuosly intelligent, and its exercises in criticism so involving, that it is a great pleasure to read. Baxandall begins by developing a scheme for the explanation of concrete historical objects in general.

   He takes the Forth bridge in Scotland. Baxandall, more than it makes it beautiful, he shows you that it really is beautiful. But wait, there's more. He takes Picasso's Kahweiler and shows it to you as beautiful, and damn well you believe it.

   Baxandall shows us how to interpret art.

   But he claims modesty: he is a historian, he says, and is only offering one method of many to think about pictures. I think this is the only place where he has gone wrong. After going through his method of understanding art, you will know there are no others. All the other ones are wrong. Baxandall is right.

   If you want to be someone who talks about art intelligently, buy this book and you will be able to talk of art in the only way you should




2. This book is a genuinely informative and at times engrossing view into the making and understanding of pictures. However, it reads (not surprisingly) like a textbook; it is brilliant and thought-provoking in some parts but dryly monotonous in others. (The bridge-building bit stands out as particularly tedious.) The points Baxandall makes via this tediousness are no less brilliant, but their lustre is lost beneath layers of dull, yawn-worthy prose. Baxandall's stylistic shortcomings should not scare away anyone with a passionate interest in the study of Art and its interpretation. But for the layman in search of a clear and down-to-earth discussion of how to look at pictures, this is probably a book to avoid.



3. Through three well-chosen case studies, Baxandall examines the question of artistic intention: how the constraints of the culture, the artistic medium, and the intended use of a work of art shape the process of its creation. Particularly penetrating is his "excursus on influence", in which he argues that participants in an artistic tradition shape and change how their predecessors are understood. This is an ingenious and satisfying book: I read it twice for two different college classes, and expect to read it again and continue to profit from it.

1 comments about Mondrian.

1. Mondrian's work is, in my opinion, best appreciated in context. He didn't simply arrive at perpendicular lines as form overnight, and this book demonstrates how Mondrian evolved as an artist over time. The text is highly readable, never too lofty, and quite fascinating at times. Those who are not entirely familiar with Mondrian's career or who want insight into his vision as an artist would do best to consult this text and its many color plates.