Average customer rating:
- Awe inspiring photography from the master of nature.
- Beautiful
- Absolutely superb
- When I had lost all hope ...
- So Beautiful it brings tears to your eyes
|
Andy Goldsworthy: A Collaboration with Nature
Andy Goldsworthy
Manufacturer: Harry N. Abrams
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Andy Goldsworthy's Rivers & Tides
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Passage
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Time
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Stone
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Wood
ASIN: 0810933519 |
Amazon.com
Scottish artist Andy Goldsworthy uses a seemingly infinite array of purely natural materials, from snow and ice to leaves, stone, and twigs in the creation of his one-of-a-kind sculptures. Unlike such artists as Christo and Michael Hiezer, whose works leave definite marks on the landscape, Goldsworthy's approach is to interrupt, shape, or in some other way temporarily alter or work with nature to produce his fragile, mutable pieces. To create "Broken Icicle," for example, Goldsworthy was only able to work on the sculpture in the early morning, when temperatures were below freezing. As with most of his works, ultimately, the materials used to create this piece returned to their natural state, leaving no trace of the artwork's existence save for the stunning photos in this book.
Customer Reviews:
Awe inspiring photography from the master of nature........2007-09-17
This is classic Andy at his finest. A must have for your coffee table, bookshelf or any tucked away corner or your home. Fantastic intro book to get anyone to know Andy and his work. A great gift. Pick up a few for yourself.
Beautiful.......2007-07-30
This is a beautiful and original look at nature as art. Gorgeous photos and well put together, insightful commentary by the artist.
Absolutely superb.......2007-07-12
I cannot reccomend this book enough. It is one of the freshest and most unique photo / art books I have ever seen. Goldsworthy's ideas are rock solid and the book will amaze anyone with even the slightest desire to see good art.
When I had lost all hope ..........2007-05-12
I have tried to find Andy Goldsworthy's 'Ice and Sno' for quite a few years without any luck. I had already given up on ever finding it again at a reasonable price when this new title appeared. This books contains photographs of Andy's many and various creations, including quite a few in ice and snow. I am really happy with it!
So Beautiful it brings tears to your eyes.......2007-05-03
Some of the work is so beautiful I could cry. Some delight, some amaze, some leave you reflective. It makes you want to go out and experiment in the world yourself or take a walk. It is truly an amazing book.
Average customer rating:
- Merce Cunningham:Fifty Years
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Merce Cunningham: Fifty Years
David Vaughan , and
Merce Cunningham
Manufacturer: Aperture
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Binding: Hardcover
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Merce Cunningham - A Lifetime of Dance
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Merce Cunningham
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Points in Space - Merce Cunningham Dance Company / Merce Cunningham, John Cage, Elliot Caplan
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No Fixed Points: Dance in the Twentieth Century
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Chance and Circumstance: Twenty Years with Cage and Cunningham
ASIN: 0893816248
Release Date: 2005-06-15 |
Amazon.com
Unlike so many biographies of dance maestros, Merce Cunningham: Fifty Years offers no litany of substance or psychological abuse. The volume, assembled by the archivist of Merce Cunningham's world-renowned U.S. company, records and analyzes Cunningham's work process and documents the provenance of his modern dance classics. Heavily spiced with biographical detail, Merce Cunningham packages the choreographer's life story in a lovely design that respects his whole body and conveys a rare sense of movement in its mass of still photos.
Book Description
Merce Cunningham celebrates the career of one of the most important artists of the twentieth century, from his first innovative and explosive solo dances to the present. This unique book incorporates images of performances by many world-renowned photographers, including Imogen Cunningham, Barbara Morgan, Annie Leibovitz, Peter Hujar, and Arnold Eagle.
Customer Reviews:
Merce Cunningham:Fifty Years.......2000-08-02
An excellent resource. Insightful. Beautiful pictures. Highly recommend for folks in dance education, collaborative artists, school teachers, dancers, and children.
Book Description
Captures the unique style of fashion maverick Iris Apfel and her exuberantly idiosyncratic personal chic.
With remarkable panache and discernment, Iris Apfel combines styles, colors, textures, and patterns without regard to period, provenance, or aesthetic conventions. Now in her mid-eighties, she is a unique style icon.
Over ninety sumptuous color plates, photographed by Eric Boman, show off a selection of Apfel's extraordinary outfits on wittily posed mannequins, some sporting her trademark outsized spectacles. The originality of her style is typically revealed in her mixing of Dior haute couture with flea-market finds, Dolce & Gabbana lizard trousers with nineteenth-century ecclesiastical vestments, pink Lanvin worn with ropes of Navajo turquoise. Apfel's eclectic pieces might come from a Parisian couture house, an American thrift shop, or a North African souk, or they may have been made to her own design in a tiny studio.
Detailed captions describe every aspect of the outfits, including names and dates of designers, plus full information on fabrics and accessories. A selection of audacious accessories also comes under the spotlight: a giant necklace made of bear claws, a turn-of-the-century Indian horse ornament worn as a necklace, a parrot's-head brooch in colored glass and rhinestones.
The book includes an introduction by Harold Koda, director of the Costume Institute at the Metropolitan Museum of Art, and an essay by Apfel herself, describing her lifelong love affair with style and illustrated with vintage photographs from her personal collection. 169 illustrations, 149 in color.
Customer Reviews:
A delightful inspiration.......2007-06-11
This book reminds all its readers that true style grows from individuality. In a time were you would recognize a stylist's style easier than the style of a designer, Iris Apfel's approach to and interpretation of fashion is the light at the end of the tunnel, she certainly has nudged me into the one or the other "true to myself experiment". Iris Apfel's witty introduction perfectly accessoirizes the clothes and jewellery presented, not only poviding background information on how this exhibition came to life but also shedding light on a certainly most interesting and colorful life in a warmhearted and humorous way. This book most certainly will be a longterm occupant of my coffee table.
Need more like her!.......2007-05-22
Loved, loved this book. The comments, the photography and most importantly the crediting of designers to each style was extremely well done. This rare bird of fashion serves us notice that we should embrace our individual style and glory in it and not follow the herd or be shy about manifesting our true "feathers".
Iris Apfel, what a rare bird indeed..........2007-04-02
I was lucky enough to view the exhibit 'Iris Apfel - Rare Bird of Fashion' at the Norton Museum in Palm Beach, and what a visual treat it was... Not only is she an icon of fashion, but her style, her combinations of colors and her very different approach to the matter is something everybody should see and study. I have seen and met her in New York, she is the most terrific person!!! The book is amazing as well, great photography!!! I will always treasure this book and every time I open it, there is something else to marvel at or read about... An absolutely great source of inspiration, that simply makes you smile! One could only wish there will be other 'rare birds' to follow her lead.
Book Description
Gabrielle "Coco" Chanel (1883-1971) is a fashion icon unlike any other. She invented modern clothing for women: at the height of the Belle Époque, she stripped women of their corsets and feathers, bobbed their hair, put them in bathing suits, and sent them out to get tanned in the sun. She introduced slacks, costume jewelry, and the exquisitely comfortable suit. She made the first couture perfume-No. 5-which remains the most popular scent ever created.
In this beautiful volume, the glorious life of the incomparable Coco Chanel shines again through hundreds of illustrations and the lively prose of Edmonde Charles-Roux, her official biographer and close friend. Chanel knew and collaborated with the likes of Picasso, Diaghilev, Stravinsky, Cocteau, Jean Renoir, and Visconti-even as she matched their modernist innovations by liberating women from the prison of 19th-century fashion and introducing a whole new concept of elegance. The staggering collection of photographs amassed by the over decades of friendship with Chanel sheds new light on one of the great stories of the modern age. AUTHOR BIO: Edmonde Charles-Roux began her journalistic career at Elle and ultimately became editor-in-chief of French Vogue. She has published three novels, among them To Forget Palermo (Oublier Palerme), which won the Prix Goncourt in 1966.
Customer Reviews:
Chanel!.......2007-05-28
I paid almost full price for this book and I don't regret it. I found this coffee table book just lovely.
I am not a fashion expert. I'm just a reader interested in interesting people, so I was looking for a book on CHANEL that gave a brief background on her life and photos of Coco and some of her fashions. Well, this book seemed to fit the bill---for me. I was not disappointed.
I have enjoyed this book very much and it sits on my living room table , ----for the book to be browsed by others.
Entertaining book with mostly pictures.......2007-04-08
I was looking for a book showing photos of Chanel's clothing designs and styles. This book focuses more on her life and the celebrities and cultural/social trends of her era (spanning 1910's - 1950's), so if you are looking to see her clothing styles and designs, you will be disappointed as there isn't that much coverage of the actual clothing. However, it is a very absorbing, encyclopedic, pictorial collection of the people of Chanel's time and you can spend many a lazy Sunday afternoon thoroughly exploring les temps perdus. There are many many pictures of Coco Chanel - like Madonna, she looks different every few years, a real chameleon. It retails at $65, so the $37 Amazon price is a good deal. It is a heavy thick book with glossy pages.
Chanel and Her World.......2007-04-06
I was disappointed in the text. I guess from the title I should have expected some world history. The story line is somewhat incoherent and doesn't seem to present her life very well. I had to use the index to find a couple lines of reference to her "Boy", a romance started in the story and then dropped, only to be finished much later and with no real detail. Either Chanel was very closed mouth about a lot of her life or the author didn't know her that well. Also, there are a lot of pictures of rather irrelevant items. I wouldn't purchase it again.
Coco Chanel: The French self-made woman.......2006-06-01
From an orphanage in France to the Ritz hotel in Paris, Coco Chanel created an entire style empire that lives on. A French fasionista version of Eva Peron for the couture world. Coco remains an icon and legend.
A designer of authentic beauty.......2006-05-26
This is a substantial book in both size and pictorial content.
As an ideal complement to the Metropolitan Museum's Chanel exhibit last spring (2005), this book actually exceeds - and outlasts - the exhibit itself.
More than just an intelligent, fascinating woman, Chanel was a fascinating opportunist in the way that she manipulated and transformed the trends of her times (and many men of her times), turning them to her advantage. She was as much a businesswoman and social and cultural politician as a fashion designer, and to see her in this book's big, beautiful photographs, modeling her own creations, is an inspiration to any woman who disbelieves that humble beginnings and a less than conventionally perfect countenance can lead to high achievement.
The best photograph of all - the photograph that tells all - graces the book's cover: one look at that face of intelligence, intensity, self-composure, and elegance, and one knows what the book is all about (philosophically as well as biographically) even before opening it.
The classic Chanel endures as a legend and lesson in the achievement of authentic beauty, i.e., defined by compelling creation rather than passive, taken-for-granted standards of acceptance.
Average customer rating:
|
Erte Sculpture
Erte
Manufacturer: Studio
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ASIN: 0525244530 |
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- Calculations are only as good as your numbers
- Pants on fire?
- Accepted History & Chronology Must Be Changed.
- Very Interesting
- History as Science Fiction
|
History: Fiction or Science? (Chronology, No. 1)
Anatoly Fomenko
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Similar Items:
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History: Fiction or Science? Chronology 2 (Chronology)
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History: Fiction or Science? Astronomical methods as applied to chronology. Ptolemy's Almagest. Chronology III
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Discovering the Mysteries of Ancient America: Lost History And Legends, Unearthed And Explored
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Before the Pharaohs: Egypt's Mysterious Prehistory
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
ASIN: 2913621058 |
Book Description
Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.
Customer Reviews:
Calculations are only as good as your numbers.......2007-08-03
Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.
Pants on fire?.......2007-07-19
Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.
Accepted History & Chronology Must Be Changed. .......2007-04-09
There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.
For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.
Very Interesting.......2007-03-07
It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.
History as Science Fiction.......2007-01-10
Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.
I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.
Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.
Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.
I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.
This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.
Average customer rating:
- A Beautifully Printed Book!!!
- Eugene Smith... what can I say!
- Staff Photographer, Seattle Times, Seattle, Washington
- Review of Smith book from an old friend
|
W. Eugene Smith Photographs 1934-1975
Gilles Mora
Manufacturer: Harry N. Abrams
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Dream Street: W. Eugene Smith's Pittsburgh Project
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Friedlander
ASIN: 0810941910 |
Customer Reviews:
A Beautifully Printed Book!!!.......2005-09-18
Ugly cover design, but beautiful tonal range in the printing of this beautiful collection of Eugene Smith's work. A very comprehensive book of Smith's photojournalistic art.
Eugene Smith... what can I say!.......2002-01-20
Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.
Staff Photographer, Seattle Times, Seattle, Washington.......2000-07-17
An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith
Review of Smith book from an old friend.......1999-01-08
SMITH BOOK REVIEW
Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.
That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a `spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.
To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.
Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.
Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.
And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.
One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."
Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!
Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.
We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.
Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.
I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about `objectivity'.
This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.
In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.
You know? This fellow really had one goddamned great eye and sense of when.
David X Young
Oct 22 1998
Amazon.com
Anatomy for the Artist is like having your own life-drawing studio in the privacy of your home. Carefully constructed photographs of the human form allow you to see the structure and function of the skeleton and main muscle groups. Six imaginative drawing lessons, each supported with photography, show how to portray the bones, head, rib cage, pelvis, hands, and feet in perspective, from different angles, both in still poses and in movement.
Book Description
In Anatomy for the Artist, acclaimed artist and teacher Sarah Simblet unveils the extraordinary construction of the human body, and celebrates its continual prominence in Western Art.
The transparent body. Using superb, specially commissioned photographs of male and female models, together with historical and contemporary works of art, and her own illustrations, Sarah shows us how to see inside the human frame, to map its muscle groups, skeletal strength, balance, poise, and grace. Selected drawing superimposed over photographs reveal fascinating relationships between external appearance and internal structure.
Drawing from life. Six drawing classes guide the reader to see the human body afresh, offering techniques and attitudes that imaginatively show how to view and draw the skeleton, head, ribcage, pelvis, hands, and feet.
Dissecting the Masters. By investigating ten Masterworks, the author demonstrates different artist's ideas and knowledge across time, ranging from Holbein's Christ Entombed, to Edward Hopper's Hotel Room. Each Masterclass presents a photographed model set in the same pose, so that anatomical comparisons can be made. Understanding anatomy is often the key to an artist's understanding and interpretation of the body. This imaginative modern reference book will enhance the drawing and painting techniques of artists at every level.
Customer Reviews:
An Excellent Reference for the Novice or Intermediate Artist.......2007-09-30
"Anatomy for the Artist" is an impressive reference guide for those artists looking for a helpful leap into the world of anatomy. This book is full of high-quality, tasteful nude photographs (most in black and white, some in color) of a variety of models that will provide great insight into how best to acurately portray the human body as a whole, as well as parts of the body in particular.
"Anatomy for the Artist" is, helpfully, divided into segments - upper torseo, lower torso, upper arms, lower arms, thighs, legs, etc. - and focuses on each part in particular in an unhurried, elegant manner. Many sections of photographs are accompanied by translucent overlays that illustrate the muscular/skeletal structure beneath the skin of the models (there are pencil sketches, largely). Additionally, classic paintings of note are presented next to models taking the pose of the subjects in the painting and deconstructing how the artist extrapolated their models' positions into their finished pieces; this I found especially enlightening. It appears that no expense was spared in the production of this book. I found its section of the upper torso, the forearm, and the legs most helpful to me, and I don't doubt that many artists will find much of this book illuminating and revealing.
However, this book is certainly not perfect. There are some poses and angles that I would have liked to have seen (for instance, more examples of the back of the upper torso; more three-quarters views, as the book seems to focus on side and full views mostly). Also, while the compartmentaliztion of different body parts into different chapters is helpful in most ways, the segregation of the upper and lower portions of the arms and legs will force you to flip back and forth in the book whem trying to make an accurate rendering, which may get tiresome. Overall, however, this is a superb book to learn and sketch from. Recommended.
Amazing art book.......2007-09-14
Finally, an anatomy book for artists that's not too technical in nature. It's more about art, just with the basic structures you need to be aware of to create more lifelike work.
There are tons of photos to work from, since most of us don't have live models around.
The best feature of the book is the overlay pages. There are pages in the book of clear plastic with the underlying structures of the body printed on them. You turn these pages over photos of the body and see how the underlying structures affect the shading, lines, and movement of the figure. It's fantastic.
Good reference book.......2007-05-14
Great photographic reference for any artist, especially for those working in digital medium. It will not substitute for a traditional anatomy book with drawings, but great as a supplement for realistic depiction of human body.
Best book ever!.......2007-04-11
This book is amazing, I love it, so worth the money. if you are into art, then this is a book to have in your collection!
If you draw figures you must have this book!.......2007-03-26
This book is an absolute must for anyone who does figure drawing. The photographs are wonderful and offer a range of figures in various types of poses and lighting. I have a friend in drawing class who purchsed this book so I was able to look at it first hand before I bought it. I came home and ordered it that very day. It is that good.
Book Description
More Than 1,900 Markets for Art and Creative Services
*Every listing is updated and 500 are brand new to this edition
*A wide range of markets, including magazines, book publishers, record labels, galleries, art fairs and stock-art firms
Artist's & Graphic Designer's Market has been the creative professional's bible for more than 30 years. This book not only includes hundreds of priceless sales leads--it tells artists and designers exactly how to put these listings to work. There's also a wealth of tips and advice on everything from paying taxes and shipping artwork to copyright basics and self-promotion. It's a one-stop resource for turning creativity into profits!
Customer Reviews:
Great book for freelance artists.......2007-09-24
This is a great book of sources for freelance projects. It has interesting articles and tons of people to contact. You do need to read through carefully to pick publishers who are more likely to need your services.
must have.......2007-08-14
essential to the start-up freelancer or the old pro who wants new contacts for work. I wish they had this when I was starting out...
Don't Waste your money........2007-06-21
Don't waste your money. As an art-rep I think this book is depressing and does not give a complete view of the choices that artists have. I found many mistypes and I believe that their sources are not a good spread of the market. My advice is to get it from the library and explore your options on the web. Just like anything start at the bottom, be nice, willing to learn, and stick to it. It is possible to make it.
-KTB
Best thing I could have ever invested in.......2007-04-03
Full of information and where to submit things. It is really helpful. I'm so glad there is a book out there like this.
Great Resource.......2007-03-09
This book is so inspiring. I have not yet sent any art off to the world, but I feel confident now..before I had no idea how to go about it.
Book Description
The storied and turbulent career of glamour artist Alberto Vargas took him from Florenz Ziegfeld's Follies in the 1920s to Hollywood in the 30s to Esquire magazine and the emergence of the "Varga Girl" in the 40s and, ultimately, to a lasting home at Playboy in the 60s and 70s.This is the first book on the works of Vargas in more than a decade. It is also the first to include a generous selection of his vivid original drawings and his finest work for Playboy magazine. Along with these highly sought-after pictures, the book features early unpublished works, unpublished sketches, the celebrated Legacy Nudes, and more. The decade-by-decade narrative essay and captions are by Reid Stewart Austin, an art director at Playboy for 20 years, and author of the bestselling Vargas biography written in 1978 in collaboration with the artist.
Customer Reviews:
Excellent, but with a few Caveats.......2007-09-22
This book is beautifully produced, with all of the art reproduced in a large format (sometimes across two-page spreads) in luminous color. I am very pleased with this book, and I feel it is a wonderful introduction to Mr. Vargas' incomparable artistry, and serves as a nice retrospective, chronicling his work from his Ziegfeld Follies glamour illustrations of the 1920s and Hollywood starlet paintings of the 1930s, through his work with Esquire and on into the Playboy work of the 1960s and 1970s.
However, luminous and beautiful as the included images are, prospective buyers should be warned that many of the images reproduced herein are either unfinished preliminaries, rough sketches/paintings, or items that were rejected or unused. This does not detract from Vargas' artistry, but may be disappointing to some lovers of his art. All in all, a superb volume for art lovers or pin-up enthusiasts alike, but one that may require some consideration before purchase.
Just breathtaking..........2007-06-08
I thoroughly enjoyed the book and reading about Alberto Vargas, his work, his relationships with his publisher(s) and his wife. The man was an amazing talent. The size of these illustrations were incredible, sorry to see a seam going down the middle ... If I could I'd take them out and hang them in poster frames!
I wish there were even more drawings to enjoy.
Outstanding artwork.......2007-05-30
The Max Vargas Collection is an excellent collection of his finest commercial works. The illistrations and the commentary offers excellent backgroung on his life and body of work. The only thing I found wanting was the large collection of Vargas art that invariably made it onto the noses of many warbirds in WW2 and Korea. There's little refernece to this.
Vargas at his best.......2007-03-10
Great book. Lots of history about Alberto Vargas and his continued struggle to make it in the art world. Well he did make it and how.
THE LEGEND THAT IS VARGAS.......2007-02-18
There are a few legitimate greats, legends of the pin-up and glamour art world whose names are synonymous with style and perfection. There's Rolf Armstrong, Zoe Mozert, Gil Elvgren, and, perhaps the greatest of them all, Alberto Vargas. Vargas first came to notoriety in 1919 when he was hired by the Ziegfeld Follies to paint portraits of the various Follies Revue stars. He would work for several years producing pinups for Esquire Magazine but it was his work for Playboy Magazine beginning in 1960 that made him a legend. The Vargas page in Playboy would become a regular feature for the next decade and a half.
This book contains an eclectic assortment of Vargas art beginning with the earliest work in 1914 and running up through 1975, over sixty years worth of work. It is indeed fascinating to compare his works from the twenties to those of the sixties and seventies. Despite the changes in fashion, hairstyles, and even facial expressions, Vargas' work always had an innate sensuality to them.
The names of the Follies women aren't remembered by most people today but women like Olive Thomas and Nita Nadli were the starlets of their era. His work in the thirties included paintings of Hollywood stars as well movie posters. His subjects included a young Shirley Temple and the sultry Marlene Dietrich.
Several examples of Vargas' sketches are shown partnered with the finished paintings so one can see the progression and changes made along the way. There are a number of two-page spreads in the book such as "Cordillera De Los Andes" a wonderful nude spread of a sexy blonde lying face down. It is simple, yet remarkable erotic. "Blonde Venus" is yet another fantastic 1950's nude spread.
The first Vargas painting from Playboy included in the book is from December 1960 and shows a buxom nude redhead in a pink negligee twisting almost impossibly over her left shoulder to look at the reader. The thing that strikes me about Vargas' paintings, particularly the Playboy paintings, is the way the girls seem to look at you, and you alone with those big, watery eyes. It's no wonder he became so popular with the Vargas page.
The book is a beautifully produced, over-sized hardcover with some 100 full-color illustrations. Highly recommended for all fans of pin-up or glamour art, or those that just appreciate the female form.
Reviewed by Tim Janson
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