Drawing from the Modern (3 Volumes)

Book Description

Many of the key achievements in art of the last 125 years have been worked out on paper. From pictorial investigations that expanded the possibilities of vision to the invention of entirely new kinds of media, drawing has been the perfect laboratory for avant-garde experimentation. Drawing from the Modern traces such groundbreaking innovation through the unparalleled holdings of the drawings collection of The Museum of Modern Art. This three-volume set consists of Drawing from the Modern 1880-1945, with work by Kurt Schwitters, Georgia O'Keeffe and Paul Cezanne, among many others; Drawing from the Modern, 1945-1975, with work by Jasper Johns, Andy Warhol, Louise Bourgeois, Dan Flavin et al.; and Drawing from the Modern, 1975-2005 featuring Bruce Nauman, Gerhard Richter, Martin Kippenberger, Kara Walker and Luc Tuymans, to name just a few. Together these three deluxe volumes detail both the blossoming of different art positions on a broad, international scale, and the coming of age of drawing as an independent--and for many artists, primary--mode of expression.

Customer Reviews:

should have been better.......2007-09-13

I purchased book 1 & 2 from Amazon. The illustrations are far too small to be a professionally represented art book from MOMA I've decided to save my money rather than pay out for the 3rd edition. It sounds a good buy from its description but I don't consider this trilogy to be very satisfactory.

Don't waste your money!.......2007-08-09

This is not a good artbook. The images are way too small to be satisfying. This book could have been great, but falls way short of its potential. Don't buy it, you will be disappointed.

DRAWING from the MODERN.......2006-12-27

DRAWING from the MODERN is the first of a three part series published by MOMA as catalogue to accompany the chronologically arranged exhibitions of their drawing collection; in part, celebration of the seventy fifth anniversary of the founding of the Museum.

This first book looks at the late nineteenth century through the beginning of the twentieth. Care and preservation of these drawings dictate that they are displayed infrequently, paper being a delicate medium, subject to fading, discoloration and brittleness. The publication of this series then allows us to have at hand a history of drawings seldom seen, and a visual education demonstrating how problems of that era both evolved and worked themselves out.

The introduction by Jodi Hauptman is broad and well worth reading. Aside from her entertaining "end of art" stories, she addresses artists and process leading to the dissolution of prevalent notions: relationship of "mark" to "ground", took new form; spatial notions of an orderly page, questioned; the element of chance, explored as process; the ego relationship of an artist to work, dissolving. New imagery happened: collage, abstraction, grids, enhanced emotions, metaphors of feeling, the sublime re-imaged. New subjects explored brutalities of war, notions of "city", identity, the spiritual, and the abstract.

As perhaps with all process of art, the uncertainty of change brought forth much that is new. The 139 plates of drawings both demonstrate and give testimony by leading artists of the time to new era in process. Drawing as subject matter is fascinating. To be expected, the book is well printed. Of course, what is book one without book two and three?

Nancy Gutrich

Remote Viewing: Invented Worlds in Recent Painting and Drawing

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Remote Viewing: Invented Worlds in Recent Painting and Drawing
Elisabeth Sussman
Manufacturer: Whitney Museum of American Art
ProductGroup: Book
Binding: Hardcover

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ASIN: 0874271487

Book Description

New painting and drawing is the subject of Remote Viewing, which accompanies an exhibition at the Whitney Museum. The book brings together eight artists, some well known, others emerging, all of whom create new worlds that exist somewhere between abstraction and representation.

Each of the featured artists-Franz Ackermann, Steve DiBenedetto, Carroll Dunham, Ati Maier, Julie Mehretu, Matthew Ritchie, Alexander Ross, and Terry Winters -is part of a revitalization that has been seen in recent years in contemporary painting and drawing. Their work grapples with the overwhelming abundance of information now present in our lives, information that is historical, scientific, technological, geographical, visual, literary, hallucinogenic, mass-media, or otherwise, and shares a fascination with assertive color, invented form, and the construction of dynamic spaces. The book includes color illustrations of works in the exhibition as well as studio photography of each artist.

Infinite Worlds : The Fantastic Visions of Science Fiction Art

Average customer rating:

Beautiful Book
Excellent resource
A fine survey of a neglected field
A coffee table book, but a beautiful one
An Invaluable Source

Infinite Worlds : The Fantastic Visions of Science Fiction Art
Vincent Di Fate
Manufacturer: Studio
ProductGroup: Book
Binding: Hardcover

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ASIN: 0670872520

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Infinite Worlds has a little bit of everything to offer those interested in science fiction art: a brief history of the field, short biographies of more than 100 artists, and 700 images from some of the finest sci-fi book and magazine covers ever created. Author Vincent Di Fate combines all of these elements to create a book that is as enjoyable to read as it is to look through. It even has a two-page digression on the influence of Stanley Meltzoff's famous painting for Robert A. Heinlein's The Puppet Masters. Whether you're after a coffee-table art book or an encyclopedia of the science fiction world, Infinite Worlds is the book for you.

Customer Reviews:

Beautiful Book.......2001-05-06

A nice coffee-table book, featuring both well-known and almost-forgotten pictures. There is a wonderful two-page Foreword by Ray Bradbury.

This book is divided into two sections. The first section, "Doorways to the Future," which has lengthy and informative narrative, focuses on the history of Sci-Fi art. Beginning with woodcuts, early mechanical drawings, and illustrations for the works of Jules Verne, this section gently leads the reader though the many stages of evolution of fantastic art. There are quite a few black and white drawings from such artists as Henri de Montaut, Joseph Clement Coll, Virgil Finlay, and Leo Summers (a colorblind artist who created some fine, detailed sketches). Also included are some examples from early "Flash Gordon" and "Buck Rogers" comics.

The second section, "Masters of the Infinite," showcases artists in alphabetical order, starting with Paul Alexander and ending with Stephen Youll. Of course some popular artists are left out, but the samples of those who are included do give ample credit to those named (although some of the selections are not always among the artists' "best"). There are a few borderline Sci-Fi/Fantasy works in this book, from Frank Frazetta, Manual Sanjulian, and Boris Vallejo, though most of the art is focused on Science Fiction art.

The art in this book includes book covers, magazine covers, illustrations for stories, and commissioned/noncommissioned art. The colors are sharp and clear, edges are crisp and clean. There are many full-page pictures, even a few two-pagers. No pictures are "too small."

While a great book, I'm taking one-and-a-half stars off for the bad editing. Quite a few of the works are identified incorrectly (mislabeled), really they are just transposed in most cases. Still, someone should have caught these errors before the book was printed.

Recommended for Sci-Fi buffs.

Three-and-a-half stars, rounded up.

Excellent resource.......2000-10-17

This is a truly wonderful, beautiful book. Opening the mind and eye to all sorts of great science fiction artists that might otherwise be forgotten. I spoke to Mr. DiFate about what caused the absence of the important artist Chris Foss from his book. He said there were problems with, first, getting Foss's permission (Foss wanted all his work to spread over the crack in the middle of the book, as if this would deter electronic copying), and then Foss dilly-dallied in sending his work to DiFate until it was too late to publish. Really too bad, because this is otherwise the best imaginable survey of science fiction art.

A fine survey of a neglected field.......2000-05-15

I'll add just a couple of comments to the good reviews done on this. I see INFINITE WORLDS as a great survey of science fiction art - there is little purely fantasy art here. DiFate is himself a leading SF artist, and his narrrative in the book is enthusiastic and informative. If you ever get the chance to see him in person, as I did in Chattanooga, don't miss it! He clearly knows the field very well, but he uses artistic jargon sparingly. The book surveys a wide variety of styles, usually paintings but some in other media. Yet I think those who denounce his inclusion of earlier "pulp" art are missing his purpose in this. DiFate is trying to present here a history of SF art and to show its variety. He sees some of those "pulp" artists, especially Frank R. Paul, as very influential on later artists. Some of that work was of good quality, and takes up much less than half the book in any case. Incidentally, INFINITE WORLDS is also beautiful. The various sizes of the images is nicely balanced, and the book is large enough for full-page reproductions to look very impressive. Maybe this book will encourage more museums to take notice of the many fine science fiction art works that have been produced!

A coffee table book, but a beautiful one.......2000-05-07

Infinite Worlds is divided into two lushly illustrated halves. The first half, "Doorways to the Future", is an eighty-odd page history of science fiction art. Di Fate goes back to Bosch and da Vinci, and then gives several pages to the late nineteenth century illustrators such as Robida and the early pulp artists before moving on to the genre work that fills most of the pages.

Di Fate's history is sound, and the stories are interesting, but he accompanies them with pictures that are distractingly gorgeous to look at and which make it hard to concentrate on the tale he tells. Page 34, for example, has a full page reproduction of the Startling Stories cover for van Vogt's "The Shadow Men" that shows a black robot firing a ray gun, with green rays shooting from its eyes, and a beautiful scantily clad woman struggling in its arms. How can you concentrate on the text with that sort of thing going on?

The second half (actually two-thirds by page count) of the book is called "Masters of the Infinite" and consists of (mostly) two page spreads of each of about a hundred artists. There's a little text too, maybe two or three paragraphs, to give you some context for the artist. Only the most influential get more than two pages--Freas of course, Frazetta, Whelan, Paul. Richard Powers gets four pages, which is good to see--he's not as well known now as he should be, perhaps because he did so much work for book covers rather than magazines; but he is a major figure.

There are a couple of odd omissions, which other reviewers have noted below. I'll just mention one: Chris Foss, who was perhaps the single most influential British sf artist ever. What makes the omission even more extraordinary is that di Fate acknowledges Foss' tremendous influence twice, on pages 82 and 84. Perhaps there were copyright problems, and Foss' work wasn't available; whatever the reason, it's a pity.

The only other negative comment I have is that the book is no more than a survey. Lovers of the work of any of these artists will have to go elsewhere for their fix of Bonestell or Finlay or Barlowe--no one artist has more than half a dozen works here. But that's what the book is designed to be, and *as* a survey it works wonderfully well.

An Invaluable Source.......2000-03-31

As a science fiction screenwriter and art designer, I looked a long time to find examples of classic science fiction artwork from the past century, and found myself limited to the covers of moldy and ragged original paperback editions. Then I found this book, which contained everything I was searching for in a single place. Here is a collection of the best work from the greatest illustrators, Chesley Bonestell, Paul Lehr, Richard Powers, Stanley Meltzoff, and countless others. This is a beautiful history not only of science fiction artwork, but of science fiction itself. My only complaint: like a lot of art books, the paintings are often spread over two pages, hiding the middle of the picture in the fold of the spine. But that's my only complaint.

Balthus Catalogue Raisonne of the Complete Works

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Balthus Catalogue Raisonne of the Complete Works
Virginie Monnie , and Jean Clair
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover

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ASIN: 0810963949

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The fact that this 500-page catalogue raisonné was approved by Balthus himself, the most mutable of authorities on his own life and oeuvre, will make it suspect for some historians. And the fact that the texts for the 2,100 black-and-white reproductions are in French (a long, earnest essay by Jean Clair is translated into English) will limit its usefulness for nonacademic readers. But the book is beautiful, and something even better: a cautionary tale about an artist of enormous talent tarnished by unresolved neurosis. As the poet James Fenton wrote of Joseph Cornell, even the most devoted admirer must sometimes turn away, when "the pathology glints from the depths."

Balthus has often lamented that his paintings are mistakenly discussed in terms of their subject matter, but it is the imagery that rudely seizes the viewer's attention away from the paintings' serene, early Renaissance formality and lush 19th-century brushwork, so easy on the eye, and directs it toward the spread legs of all those pubescent girls, to the knife on the floor near the nude on the bed, or to the music teacher's teeth tearing the skirt of her trapped, flailing student.

Book Description

Before legendary artist Frank Frazetta became an American institution for his lush paintings, he was drawing muscular hillbillies and scantily clad women for an earlier American institution: the comic strip Li'l Abner, which boasted 60 million readers daily. From 1954 to 1961 Frazetta toiled as a ghost for Al Capp, the most famous and successful cartoonist of his era. Volume 1 (of four) features The Bald Iggle (from Capp's Shmoo-and-Kigmy school of creatures with social messages), Loverboynik (a thinly disguised Liberace), and Milton the Masked Martian (an early super-hero parody) as well as Indian princess Minnie Mustache, Moonbeam McSwine, The Tigress, Daisy Mae Yokum, and Gloria Van Wellbilt - as only Frank Frazetta can draw them!

Customer Reviews:

Comics Junkie.......2007-07-31

Grew up reading this series. Now I have a permanent copy of my own. Good price and great product for comics junkies.

Fabulous Fifties.......2007-01-03

I bought this volume (and volumes 2-4) for my Dad for Christmas because he was such a big L'il Abner fan when I was a kid in the 60's. When they arrived I just had to sit down and read them all before wrapping them up! L'il Abner is a lens focused on it's own era in time, totally tongue-in-cheek! For rollicking fun and biting satire these comics can't be beat!

Thank goodness for Frazetta's reputation.......2005-12-06

Lil Abner always had a strong fan club that allowed the reprinting of the daily strips by Kitchen Sink press for about 25 volumes, which if there was no fan base, only one or two volumes would have been published.

In addition,we are very lucky that Frazetta's reputation and fan club would allow the printing of a comic strip that John Steinbeck once stated, its author, Al Capp, should be given the Putszler (excuse the spelling) prize.

Al Capp was a master satirist and storyteller, who would have one acclaim like Mark Twain or O'Henry if not for the snob attitude toward comic strips.

This is shown here. The 50-year-old color strips are re-printed in a fine manner with expert commentary about the period they were written in by Denis Kitchen.

Beware, they feature "politically incorrect" well-endowed women, and one main character, Daisy Mae, as mostly submissive, which would not be allowed in comic strips today as it would raise the ire of feminists and other "progressive" people.

On the other hand, it features the two main male characters, Abner and Pappy, as idiots or wimps, Abner and his brother Tiny as "hunks", and the one of the main women characters, Mammy as the leader of the Yokum clan, who occassionally beats Pappy, which are allowed in comic strips today as the "Progressives" seem to have no problem with this.

Remember, vintage comic strip reprints do not generate big bucks, some even lose money. They are produced out of great admiration for the strips, and we should be grateful for the publishers for doing so.

By the way, why does Amazon include a 'NO' in 'was this review helpful to you?'. People are only human and don't like opinions that differ from themselves. With some who are less mature, this the 'NO' makes it too easy express such displeasure.

Are they trying to discourage negative reviews, hence not purchase the CD. Such reviews only help a person in not being dissatisfied a product that received positive reviews

Highly amoosing.......2003-11-18

These are Sunday Li'l Abner pages, penciled by comics legend Frank Frazetta. In my opinion, Li'l Abner was the greatest comic stip of all time. The strip was fantastic during the 1950s, so you can't go wrong here. It seems like this was released because of the Frazetta connection, but the art looks pretty much like all other Li'l Abner art. Frazetta was clearly drawing as close as he could to Al Capp's style. But any excuse to have Li'l Abner strips released works for me. Highly recommended.

Hilarious stories, so-so reproductions.......2003-09-29

When I first opened this book I was disappointed that instead of reproductions of the original art, I was seeing photos of printed newspaper pages, which creates a somewhat degraded image, with the ben day dots smudging together in blotchy patterns, the ink lines losing much of their delicacy, and the light/dark composition being thrown off. Newspaper printing in the '50s wasn't that crisp to begin with, but obviously this was what was available, and so if we are to enjoy these great comics today, it will have to do. All in all, it is legible (about as good as a quality color xerox from a newspaper), and it's a wonder that these pages of the NY Sunday Mirror were saved at all in such good shape.

The stories are absolutely all-time world-class, the drawings are superb and Lil Abner is one of the most memorable comic strips the form has ever produced. There is also a nice explanation of Al Capp's relationship to Frazetta, and an interesting B/W reproduction of Frazetta's artwork for a parody of the motorcycle flick, "The Wild Ones", which drew complaints that it was not consistent with the look of the strip (they were right; the book states that afterward Frazetta did not ink his own drawings).

Amazon.com

This richly illustrated book brings together 14 essays by such luminaries as former Metropolitan Museum of Art director Thomas Hoving and art historian Robert Rosenblum, and finally and firmly anchors Rockwell's reputation in the art-historical world. The catalog of an exhibition at Atlanta's High Museum of Art, the book's 133 color reproductions are marvelously large, clear, and true in color and offer what is probably the best introduction to Rockwell for anyone who takes his illustration seriously--or anyone who doesn't, yet. Indispensable though it may be, however, Pictures for the American People may slightly irritate lifelong Rockwell fans, especially those who grew up with the Saturday Evening Post and fell for Rockwell at a time when his nonpareil illustrations were mocked by the moderns. And experienced Rockwell lovers probably have on their shelves the huge 1970 work by Thomas S. Buechner, then director of the Brooklyn Museum of Art, Norman Rockwell: Artist and Illustrator, which was the first comprehensive look at this uniquely American master.

Ah, well. It's about time the art world came to its senses and began to appreciate the genius and the subtlety of a painter who looked to both Chardin and N.C. Wyeth as masters. Rockwell's great works are here: Rosie the Riveter, The Four Freedoms, After the Prom, Breaking Home Ties, The Gossips, and scores of others that celebrate (and poke the gentlest of fun at) small-town, family life. There were other illustrators of Rockwell's ilk during the '40s and '50s, his most popular decades, but as Steven Heller writes in "Rebelling Against Rockwell," "Rockwell ran one step ahead of cliché, while his acolytes lagged a mile behind." --Peggy Moorman

Book Description

Accompanying the first major traveling exhibition of works by Norman Rockwell (1894-1978), this volume presents a complete reappraisal of one of America's most beloved artists. Contributors from a wide range of fields-including leading art historians, cultural critics, a renowned child psychiatrist, and a leading graphic designer-shed new light on the complexity of Rockwell's art and his place as a shaper of mass-media imagery. Stunning colorplates reproduce Rockwell's paintings in crisp detail, and the essays set them in fresh contexts, discussing such themes as Rockwell's urban scenes; the reaction by both black and white Southerners to Rockwell's historic civil rights painting The Problem We All Live With; and Rockwell's role in the development of American illustration. Above all, this important volume examines Norman Rockwell's critical place in 20th-century American culture.

Customer Reviews:

Is He a "Serious" Artist or "Just and Illustrator"?.......2003-10-01

Anyone who has wondered (even remotely) about Norman Rockwell's place in the World of Art will enjoy this book. In addition to 80 beautiful color reproductions of Rockwell's paintings, there are 14 essays about the artist and his work. The authors of these essays acknowledge that Rockwell was an anachronism and, to most people in the Art World, an object of derision. But each essay argues in favor of Rockwell's importance by focusing on one or more of his unique talents.

In "the Great Art Communicator", Thomas Hoving makes a very convincing case for Rockwell as an influential American artist. Rockwell's son Peter's essay entitled "Some Comments from the Boy in the Dining Car" (referring to the painting for which he was used as the model when he was a boy) offers invaluable insights into what the artist himself thought about his work. There is also an essay by Anne Knutson that tells the fascinating story of the Saturday Evening Post, its importance in the definition of "Americanism" and how Rockwell's relationship with the editor influenced his work.

The debate about Norman Rockwell's place in the history of art will undoubtedly continue. But as Laurie Norton Moffatt sums up in her essay "The People's Painter": "The personal transformation and communication that occurs when one looks at a work of art is the artist's defining moment. Rockwell was a master of delivering that moment to his public."

great book.......2001-11-18

In a world that is completely inundated with so many Norman Rockwell books, I thought that i would never buy another one. I'm an artist and fan of Rockwell's but quite frankly there are so many other great illustrators out there, at times i wish that fewer books were written about Rockwell and more attention was given to other less known American artists like James Montgomery Flagg, F.R. Gruger, J.C. Leyendecker, Howard Pyle and Harvey Dunn, among many others. Then this book came along. I told myself I didn't want to buy it, I already have four books on Rockwell, I certainly don't need another. Then I opened the book and saw that the quality of the prints in this book are outstanding (the best I've seen) and the text is really informative. Now I'm telling myself THIS will be the last book I buy on Rockwell. This book will give you a new appreciation for Rockwell's skill as a painter and a colorist. After seeing these painting in person for the show that this book was written for, I can say that this book does justice to Rockwell's amazing talent.

Norman Rockwell is an unappreciated artist........2000-07-19

This book is comprised of articles about Norman Rockwell and his career as an illustrator with the Saturday Evening Post. Rockwell remains a controversial figure in the art world. Although his illustrations were enjoyed by millions of Americans, they were dismissed by art critics and academia as amateurish.

Rockwell portrayed Americans in their daily, mundane activities. He believed that there is beauty in the ordinary. He depicted for example, a couple obtaining a marriage license, a family going and returning from a vacation, and a barbershop quartet.

Rockwell's illustrations did intersect with the world of politics. Because the Saturday Evening Post had a large circulation, he was able to influence public opinion. He designed several covers during World War II, including Rosie the Riveter and the Four Freedoms, to honor the contributions of civilians and to remind Americans of the reason for the war.

Rockwell did not shy from controversy. As America became engulfed in the Civil Rights Movement, Rockwell depicted the ongoing legacy of racial tension. His most famous illustration in the area of civil rights is The Problem We All Live With, which depicts the traumatic effects of desegregation on whites and blacks.

In summary, Norman Rockwell must be include as a figure in American art. Although his works were harshly criticized by those in the art world, they were admired by the general public. Today, scholars have begun to acknowledge Rockwell as being an important artist.

"Rockwell" The Essence of Art!.......2000-02-01

I received Pictures for the American People as a Christmas gift and was delighted at the exquisite art as the pages unfolded. I collect all sorts of Rockwell works and this is truly the best I've seen. It explores not only the paintings, but what is behind them, the man himself. I felt as though I was being introduced to Mr. Rockwell through this masterpiece. It is a MUST BUY book! Even if you have never experienced one of his books or paintings, you will want to open this book again and again. The images are displayed in such detail and the stories behind them tell so much. You will be captured by the different aspects of art once you have seen what is inside. I will not spoil all this book has to offer, so if you haven't already purchased a copy, do so....or put it on your Wish List. You'll be happy that you did!

Spectrum 6: The Best in Contemporary Fantastic Art (Serial)

Average customer rating:

Slimmer helpings from a large platter
Toys, Wrestling, & Photography
Rather quaint
great inspiration
Another Winner!

Spectrum 6: The Best in Contemporary Fantastic Art (Serial)
Cathy Fenner , and Arnie Fenner
Manufacturer: Underwood Books
ProductGroup: Book
Binding: Hardcover

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ASIN: 1887424466

Book Description

The Spectrum series, now in its sixth volume, has become the standard source for modern fantasy illustration. Ranging in subject matter from classic science fiction imagery to futuristic erotica, and drawing on an international group of painters and illustrators, Spectrum 6 is culled from work created for book covers, comic books, magazines, television shows, and art galleries by the superstars in the field. They include SF genre favorites Michael Whelan, Jim Burns, Don Maitz, James Gurney, and Donato Giancola; comic artists Charles Vess, Alex Ross, and Joseph Michael Lisner; mainstream artists Thom Ang, Kiunko Craft, Peter de Sove, and David Bowers; and fine artists Kent Williams, Greg Spalenka, Dave McKean, and Jeffrey Jones. With cover art by Hugo Award winner Jim Burns, the book includes an overview of the field by historian Arnie Fenner.

Customer Reviews:

Slimmer helpings from a large platter.......2000-04-12

As with the last few books in the series, Spectrum 6 compiles the artwork sent in by various artists by categories, such as 'editorial', 'unpublished', 'dimensional', & 'comics'. In the past, the Spectrum series featured quite a bit of wonderfully stimulating /art/ -- unfortunately, it must be said that this compilation contains more /illustration/ instead. Unlike the more original works featured in the last few books, Spectrum 6 seems to concentrate on work done on popular subjects, rather than the creative talents of artists young and old to the industry. Though it is still a quality publishing, with glossy paper and solid binding, a person new to this series would be better advised to look at Spectrum 5 and prior. A mild dissapointment.

Toys, Wrestling, & Photography.......2000-02-26

As a photographer I was excited to obtain this book. Here in Atlanta Wrestling has become the males soap opera. This in turn has led to an increase in Action Figures. I have always longed to intergrate bodybuilders and fitness women into my erotic imagery.

This book gives me the necessary compliation to allow my mind to investigate how to mimic fantasy art. I like the fact that my fears as a child were awakened as well as my sexual stimuli touched.

Finally, I like the fact that one of the editors is a female. It is time that women who appreciate art and for me erotic photography began to play a vital role in persenting these images. Yes I am familiar with Olivia. Can some one provide me with ISBN's on the previous issues?

Rather quaint.......2000-02-06

I consider the sixth installation in the series to be rather weaker than the others. There is not as much variety in the art presnted within, and there is far too much (for my tastes) pseudo-fantastic art - the kind that deals with erotics, "babes wielding giant weapons", super-powered combat, etc. The volume does have many redeeming qualities, but they are not numerous enough to atone for the book's flaws. The fifth volume was SO much better.

great inspiration.......2000-02-03

If you're a fan of sci-fi art work, this book is for you, spectrum 6 has some of the biggest names in this genre of illustration as well has some lesser known illustrators. The problem with spectrum 6 (as with all the other spectrum books) is that the popularity of the artist often counts more than the piece itself.

Another Winner!.......1999-12-09

This sixth addition to the "Spectrum" series certainly lives up to its subtitle of "The Best in Contemporary Fantastic Art". There is a beautiful cross-section of work by old favorites and new talent alike. Shaun Tann, Phil Hale, Donato Giancola, and Gary Gianni are just a few of the stand-outs in this wonderful collection. You like Whelan? He's here. "Dinotopia" creator Jim Gurney? Him, too. Comics? They're covered. Statues and model kits? They're here as well. If your budget will allow only one fantasy art book, "Spectrum 6" is certainly the best choice.

Brice Marden Drawings (Whitney Museum of American Art Books)

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for marden fans

Brice Marden Drawings (Whitney Museum of American Art Books)
Janie C. Lee
Manufacturer: Whitney Museum
ProductGroup: Book
Binding: Paperback

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ASIN: 0810968282

Customer Reviews:

for marden fans.......2004-10-14

Good drawing books, but you probably have to be a marden fan. if you are, come on in, you'll like it. the book itself is nicely done.

Average customer rating:

a real beauty

Sigmar Polke: Works on Paper
Margit Rowell , and Sigmar Polke
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Hardcover

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ASIN: 0870700820
Release Date: 2002-07-02

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Sigmar Polke: Works on Paper, 1963-1974 accompanies the Museum of Modern Art's exhibition of drawings, watercolors, and gouaches by this famous German painter. Polke's works on paper are beautiful and funny with strong tinges of emotion. Potato Heads: Nixon and Khrushchev, from 1965, is a colorful watercolor line drawing of two world leaders with bulbous heads and green polka dots. His almost-comic-book style can be both sweet, as in Young Peas, an image from 1963 with quickly drawn circles, and unnerving--an untitled gouache from 1965 depicts a ghostly figure and a swastika. Polke was born at the end of WWII and came of artistic age at a time when Germany was undergoing major cultural changes. It was during this period of the 1960s that abstract expressionism was taking over the art scene, yet Polke was committing himself to "an idiom that was crude and humorous, its images outrageous, its content seemingly trivial, and its social message obvious although ambivalent." His drawings from this era highlight his interests in culture, politics, and urban life more obviously than his later paintings, photographs, and screen printings. Also included in the catalog are images from Polke's sketchbook and essays by Michael Semff, Bice Curiger, and Margit Rowell. This book is a wonderful opportunity to explore Polke's early art, and it marks the first time that his works on paper have been shown together. --Jennifer Cohen

200 pages, 326 illustrations including 299 in color.

Book Description

One of the most significant artists of his generation, Sigmar Polke came of age creatively around 1963 in Dsseldorf. His earliest expressive idiom was crude and humorous, its images outrageous, and its content seemingly trivial, but embedded in these works were subversive and parodic commentaries on consumer society, German postwar politics, and classic artistic conventions. Few of Polke's works demonstrate more vividly his imagination, sardonic wit, and eclectic creative process than the drawings, watercolors, and gouaches of the 1960s and early 70s. More than 300 works are illustrated, including small sketches in ballpoint and felt-tipped pen, larger sheets in watercolor and gouache, and still others stamped with a dot screen process, as well as pages from over a dozen small sketchbooks and several monumental works on paper. This books was published to accopany the first American exhibiton of these drawings shown at The Museum of Modern Art, New York in 1999.

Customer Reviews:

a real beauty.......2000-02-15

Sigmar Polke: Works on Paper 1963-1974 is a real beauty. A wonderfull cover and beautifully divided sections make this book fun to observe. The work within the book is strange and curious. A book which hard to abandon the viewer's eye, is this.

Egon Schiele: The Leopold Collection, Vienna

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Egon Schiele: The Leopold Collection, Vienna
Magdalena Dabrowski , and Rudolf Leopold
Manufacturer: Dumont Buchverlag
ProductGroup: Book
Binding: Hardcover

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ASIN: 0300073224

Book Description

Egon Schiele, the Austrian painter, draftsman, and printmaker, was one of the major figures of Austrian Expressionism. This beautiful book discusses and reproduces 150 of Schiele`s paintings, watercolors, gouaches, and drawings from the Leopold collection, which can now be seen in the new Schiele Museum in Austria.

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