Artists Books

I have an Early 1970's copy. I bought it used and in the inner sleeve was written Merry Christmas 1972 Mom and Dad, From Bob and Carrol. I found this book is as old as I am and has lived another life altogether.

Anyway here's my review. This is the biggest Norman Rockwell book I have ever seen and I own 90% of the popular ones. This being said, i must comment on the greatness of the printing. Some paintings like The Land of Enchantment, A problem We all Live With, Strictly a sharp shooter, Yankee doodle and quite a few others are available in a gigantic fold out version in startlingly great color. Thats not all....The book is also full of small Prints glued into the pages. WOW!!! and to add to all that theres a Ton of color pictures printed directly in the book. Alternate sketches, Pictures he used as reference for the paintings such as shuffletons barbershop. I paid Under 5 bucks for this used and Its a crime. But its now one of my treasures and hopefully you'll get one too.

If you must buy only 2 Rockwell books get this one (Norman Rockwell Artist and Illusttrator) and The Saturday evening Post (The Complete Cover collection 1916 to 1971)

I have the one that is published in 1970. I have picture that can be removed out of mine, and I just love it I don't know if the 1997 published version has the same but I will never part with my book.

Just Great !

My mother bought this book in 1970 and it is a precious family treasurer. Our library board which is in the process of fund-raising for a new library is considering this book as a drawing card for donations for a give-away. It is one which board members said they would love to own. Mother's large heavy book has several large prints that can be framed. It's a heartwarming book which emphasizes the truth that a picture can say a thousand words.

My family is artsy, and when I was little, my dad or my uncle (I was too young to notice) gave this book to Grandpa for Christmas. It was the BIG GIFT that year. We all ooohed and aaahed over it. Grandpa and Grandma handled it so reverently. Whenever I would visit Grandpa and Grandma, I loved to sit down and look at every picture. (I had to wash my hands first.) This is a big book, like a coffee table book, with many, many pictures in full color, and big enough to see all the details. I could see how he painted each picture, how he handled the light, the expressions on the faces, how he made each person seem like someone you knew (or yourself), and how he make each story in the paintings reveal itself. The pictures are not shrunken down, black-and-white half-tones. They are reproduced like fresh Post Covers. I would sit there for a long time absorbing every page. I don't know if it has EVERY post cover, but it seems to, as well as other things like calendar pictures. When I grew up, I wanted that book so badly, so I went to a used book store (before the Internet) and bought it for $80, which was a lot for a young adult, but worth it. If you can get it for less, more power to you. This has more Norman Rockwell pictures than another Norman Rockwell book that I have ever seen. So if you only get one Norman Rockwell book, this is the one to get(except for his autobiography, which is hilarious.)

I was certain this was a 100 dollar book. It's a work of art. You will never get a book of this quality for so little money ever again.

This book, with its two companion volumes on Egyptian Art and American Art, helps create a fun and focused visit to a specific collection. The reader learns what to look for in the paintings, and also learns entertaining facts about the various artists. The introduction is particularly helpful. For example, it explains basic concepts about colors and perspective, and sets reasonable expectations about what children can absorb. The section about "museum feet" is very pertinent. Obviously the authors know children as well as the art.

It is a thoroughly engrossing overview of the artists and their artistic accomplishments written in a manner so easy to read aand remember. It really could be for any age tii use in any museum in the world which has Impressionist paintings. Fascinating! Informative!

This book, with its two companion volumes on Egyptian Art and American Art, helps create a fun and focused visit to a specific collection. The reader learns what to look for in the paintings, and also learns entertaining facts about the various artists. The introduction is particularly helpful. For example, it explains basic concepts about colors and perspective, and sets reasonable expectations about what children can absorb. The section about "museum feet" is very pertinent. Obviously the authors know children as well as the art.

If you don't have children, but have a number of them on your holiday list, these three Off the Wall Museum Guides for Kids by Ruthie Knapp and Janice Lehmberg are truly a find. They'll delight everyone - the kids will love them, their parents will be thankful for something that is both mind-expanding and great fun, and, you'll be thankful for pleasing both parties. Every child on my list will be receiving them this year. What's more, if you need some brushing-up in American art, Egyptian art, or French Impressionism, take a look before you wrap them up or, better yet, get a set for yourself. ART 101 was never so much fun! (Make sure to order all three books.)

This is a wonderfully entertaining and a very informative book for kids, parents, school volunteers and teachers! There's something for everyone. I've used it as a parent and art volunteer in the classroom for our kids and the other presenters. My eight year old daughter reads from this and their other book on American Art. Wish there were more in the set besides, Impressionists, American and Egyptian Art guides!

This book is well worth the cover price of $27.00. Nearly every page is filled with large color plates of very high quality. If you want a high quality collection of Palencar's work this book delivers. Many of the color plates also have smaller versions of the pencil study for the work next to them. This is a great book for artists and art lovers. Palencar has extraordinary talent in drawing, painting and composition.Some of the book is devoted to some bazaar and creative fantasy work, but what I like most are his extraordinary figurative paintings. This is one book that can be judged by it's cover. If you like the cover then you'll find much inside to like.

This is a fabulous collection of work, I have never come across this artist before and am thrilled to dicover him. Do not make the mistake of thinking of Mr Palencar as a Fantasy artist, although there are some fantasy elements in some of his work, he is an Aritist period. His work has an exceptionally strong figurative element and calls to mind the work of Odd Nerdrum.

The other great thing about this book, is the inclusion of many of the preliminary drawing the Artist has produced for each of the final works, this is a great aid to anyone who has also embarked apon the path of learning to paint and draw. I have no hesitation in recommending this book

John Jude Palencar's art is beautiful and horrifying. Contradictory descriptions perhaps, but thoroughly fitting. Origins: The Art of John Jude Palencar, is the first collection of the artist's work. Palencar's work has been seen on hundreds of book covers as well as in the pages of magazines such as TIME, National Geographic, and Smithsonian. Even if you didn't know him by name, you've probably seen his work, and been mesmerized, just as I was.

The first Palencar cover I recall seeing was for the cover of the H.P. Lovecraft collection "Dreams of Terror and Death" back in 1995. This cover is included in the book and never has a title had a more fitting cover painting than Palencar's disturbing images of death and madness. He would also provide the covers for other Lovecraft collections: "The Road to Madness", "Tales of the Cthulhu Mythos", and "Shadows over Innsmouth." All of these covers capture the essence of Lovecraft's work superbly. These are some of the most disturbing Lovecraft images ever seen!

What is striking about Palencar's work is the strong feelings of isolation they convey, although not necessarily loneliness. A perfect example is the two-page spread of his painting "The Forest House" for the Marion Zimmer Bradley book of the same name. This painting depicts a Celtic woman, wandering in the moonlight of the foggy moorland with a Stonehenge-like ring of stones in the background.

Palencar has also tried his hand at the works of J.R.R. Tolkien, producing covers for each of the books of the trilogy for the Houghton Mifflin published editions. The most striking is his cover for "The Two Towers" showing one of the hobbits riding on top of Treebeard the Ent. The face of Treebeard was based on a photo of Tolkien himself.

One of the most simple, but effective pieces is Palencar's "Macbeth" depicting a horned, and skull-headed figure wearing a spiked crown with several small men impaled on the spikes. It's a gorgeous piece...

In all, the book features some 200 illustration in the 128 pages. Thank the good people at Underwood books for giving Palencar fans a long-overdue collection of his work.

Reviewed by Tim Janson

The general public is probably most familiar with Palencar's work via the portraits of dragons for the covers of the "Eregon" series of fantasy novels. Those illustrations are included in this book, as well as a number of other works, mainly designed for jackets for books in the SF / fantasy genre.

Palencar's work has a unique character to it, focusing on depicting human forms in contemplative poses against background landscapes often featuring intricately detailed tree branches and shrubbery. His color schemes rarely stray far from sepia tones and some whites and grays. The closest affinity he has to another artist is probably Edward Burne-Jones, the Victorian painter who also used a subdued palette and liked to place human figures against flat, high stylized backgrounds. Like Burne-Jones, Palencar is a skilled draftsman with expertise in rendering the human body, and his art combines realism with symbolism in an engaging manner.

Palencar contributes an interesting introductory essay in which he lays out his attitudes and opinions on contemporary art, the "artist Vs illustrator" debate, the workings of the fantasy book market, and the creative processes behind his images. Physically, 'Origins' is well-produced, with reproductions of very good quality. It should appeal to anyone interested in SF / fantasy illustration.

I enjoyed Palencar's surrealistic cover art for years without knowing his name. I think the first may have been for Connie Willis (both her collections of short fiction). I remember stopping and studying the cover and thinking, "Wow, this is really, really something." I saw more work, recognizably "that artist's" work, on other covers--Octavia Butler novels, Charles de Lint books. Oh, "The Onion Girl", that's another one that made me pick up the book. He makes you do that-- stop, look. He makes you stare. He does things to your insides with this amazing unreal reality he presents.

Look at the cover of FOUR AND TWENTY BLACKBIRDS? I remember being stopped cold in the bookstore for that one. "What does this mean?" It's eerily beautiful. Startling. It's something special.

And he is that. Really, really something special. There is a moodiness, a sort of solitude and mysticism, that you can feel in the artwork. I've gotten this same feeling enjoying the work of Remedios Varo--though without the consistent weight of Varo's symbolism, I gather-- that dazzling surrealist obsessed with alchemy. Palencar seems to be interested in the isolation of the humans in his worlds of wonder or terror. (The Lovecraft cover art paintings are very difficult to behold. Chilling, nauseating, as they should be.) (Then again, I could be totally wrong. This is, after all, just my impression, and I am neither an artist nor an art historian. I'm merely someone who loves SF novels and enjoys SF art.)

So, after years of enjoying cover art by JJP, I was delighted to discover that this book was out there. I have it, I've perused it, I sigh over it, and it will sit next to my other books on SF art, including my Richard Powers one. I'll be enjoying it for years.

What's inside? Well, open it and get to a fabulous two-page title page spread with a robed angel, all soft pale colors and that gorgeous face. (Palencar does faces with marvelous skill. Beautiful, dreamy, thoughtful, inward-looking, trance-y, aesthetically superb faces. And hands and feet, too. I love studying his painted feet and faces. He makes them beautiful.) ORIGINS: The art of John Jude Palencar. Turn the page for another two-page spread with the copyright info. A brunette woman with an exquisite upper back, bared by the robe that's fallen off her shoulders. Slim-fingered hands reaching out to the left, up to the right, strands meticulously painted at her nape. Again, pale colors, greys and whites,and the browns of the woman. That texture that you associate with Palencar--a graininess, like wood or granite or some other natural object with a FEEL to it. Turn one more page and you get to the painting used in ELDEST by CHristopher Paolini, and it is Paolini who pens the foreword, which he ends with, "Welcome, then, to this collection of one man's visions. You may find them thought provoking, you may find them awe-inspiring, but if nothing else, I hope you find them memorable."

I think they are memorable.

Turn the page again and you find the painting "Angelica", painted for the Sharon Shinn novel of that title. A brunette, eyes closed, face turned up, seemingly in prayer, a subtle moon to the right, unattached wings flying off to the left, and a dawn (or maybe dusk) palette of pale lavenders/grays/charcoal, and the soft and pale wings. Note the fingers and that exquisite bone structure. Opposite this painting is "Burning the Midnight Oil" : A biography of the artist, complete with photos.

After several pages of insight into the life and work of the man, the great stuff parades for you: sketches, fully realized works, titles. Page after page of the subtly painted, gorgeously executed, profoundly pleasurable art. Don't expect commentary. This is the only thing lacking in the book, although some may say it's not needed. Me, I love when works are commented on by the artist. What does it mean to him? Why that object? Why these colors?

But sans commentary, you still have paintings that speak well for themselves of wonder and the fictional or theatrical works they relate to.

Palencar just got nominated for a Hugo award for his art. I, for one, hope he wins. These paintings say he's already a winner, just by having this grand talent.

Buy ORIGINS and just abandon yourselves to his art. It's not a bad way to spend a few hours. Not bad at all.
[...]

I know the Rev. MacAbloo is at least partly responsible (and he's probably *mostly* responsible). Miss Quartermourning knows something but isn't telling. Miss Underfold had second thoughts after the fact but she was in too deep to get back out.

What I haven't figured out is the missing floorboard or those odd two-legged creatures.

I don't know where this late sixties Gorey work has been hiding, but it's good to see it in print now. Apparently this is part one of a mystery, and I look forward to part 2. Fans of Gorey's unique world, with its obscure humor and painstakingly rendered artwork, will enjoy this offering as yet another fine example of the master's hand. It tells the story (more or less) of an Edwardian garden party at which somebody dies, whereupon the characters dither about in various suspicious and barely coherent ways, and nothing is yet resolved. Fans may find this one reminiscent of "The Willowdale Handcar." Those unfamiliar with Gorey's work should first investigate his fine "Amphigorey" collection to get a sense of the utterly unique niche Mr. Gorey occupies, a mix of fine art, cartooning, illustration, highly subtle literate wit, and a morbid turn.

There is somthing about this book. It is so intrigueing I keep reading it over and over. For such a short story I have definately gotten my kicks out of it. Well worth a read again..and again...My favorite Gorey book.

Out of all the Edward Gorey books I've read so far, I think THE OTHER STATUE is the finest and witties. Published in 1968, it is similar to most of Gorey's works from this era, but the humour is even more droll than usual and the characters amusingly named. Moments of great significance and total unimportance are juxtaposed in a hilarious manner.

No one reads Gorey for the plot alone, as the pen and ink drawings hold most of the charm, but a summary may be of interest. Like Gorey's first novel THE UNSTRUNG HARP, our tale is set in the province of Mortshire near Backwater Hall. A number of guests arrive for a party, but the weather turns stormy, and LordWherewithal is killed by a statue blown from the roof and the priceless heirloom, the Lisping Elbow is stolen. Who among the cast of characters could be responsible? The clergyman Rev. O. MacAbloo, Horace Gallop, a gypsy selling Orphobismic Lozenges, or Miss Quartermorning? I would suspect the governess Miss Underfold, but Dr Belgravius and his nephew Luke Touchpaper are out to find the person responsible.

Now that I have written a little about the book, I see that it sounds weird and silly, but this is a very entertaining book, and certainly the best introduction to Gorey around. Give it a look if you like droll humour.

Gorey fans will enjoy this dark vintage offering, which was first printed in 1968 and has been out of print until this year. Gathered for the annual charity fete at Backwater Hall in Mortshire, the assembled guests are suddenly disrupted by the mysterious death of their host, Lord Wherewithal and the theft of the family's heirloom, the Lisping Elbow. The Other Statue is a gothic mystery filled with exquisite details and haunting images (both in the illustrations and the words.) It leaves its readers pondering and wondering what happened to the sequel, "The Night Bandage", promised "to follow" on the back cover.

I have a hardback copy of the painter and the wild swans,i got it in north carolina i think that the art work is firt class.

HOW could a book like this be out of print??

I decided that as a children's librarian who loves picture books, I can no longer simply sit back and admire them in silence, so I'm determined to review my favorites here on Amazon and share with others the treasures I've found. The Painter and the Wild Swans is just such a treasure, and I regret that the cover image isn't available for the book, because that would at least give readers some idea of the stunning illustrations available in this book.

Claude Clement is a Parisian author of children's books who wrote this after she was inspired by pictures of Siberian swans. All I can say is, it's no wonder this book received the French Foundation Grand Prize for Children's Literature. The story is that of a skilled Japanese painter who is rich and popular. When he catches sight of wild swans, he is enraptured by their beauty and decides he must paint them. This pursuit of beauty becomes his obsession and ultimately, powerfully transforms him by the end of the tale. In addition to Ms. Clement's lovely text (translated to English by Robert Levine)there is a line of Japanese poetry in calligraphy on each page of the story. At the end, these lines are translated for the reader into Teji's (the painter of the story) Poem, recounting the entire story in poetic imagery. That alone would have made the book worth reading.

But then there's the art. Acrylic paintings by Frederic Clement (no relation to the author) give the jewel of story a worthy setting. This gifted illustrator has provided images that at once invoke the Japanese culture and style, and yet become art in their own right. Clements marvelous technique of morphing pictures (On one page the viewer can see the swans fade into snowdrifts. On another, a view of clouds and mountains slowly changes into an old man offering a cup of tea. The pictures are there to savor and look over time and time again.

There is perhaps one downside of this particular treasure, and that is the audience it is meant for. This book probably won't work for most youngsters--it's too subtle and mature. But adult readers may avoid it thinking that all picture books are for children only. This is simply not true, and I'd like to convince more individuals of that fact. The Painter and the Wild Swans really works best for ages 9 and up, in my opinion. It's a marvelous example of a folktale styled story from Japan, and should work well in any folktale, or multicultural book collection.

Those who enjoy the Painter and the Wild Swans may want to also look at THE BOY WHO DREW CATS: A JAPANESE FOLKTALE by Arthur Levine and MUSICIANS OF THE SUN by Gerald McDermott.

Happy Reading! ^_^

The Painter and the Wild Swans is one of the most beautiful books I've read. The art work is stunning, the story is unforgetable. This author's other books are also of equal quality. It is utterly, utterly incomprehensible that they are out of stock.

We took this out of the library some months ago and it is still with me. The tale is marvelous: light, airy, beautiful but the pictures are what carry the book. They are carefully crafted and have a spirituality all of their own. I can't wait to get my hands on a copy and send a couple to friends of mine. Transportational!

I'm a third year art student with an enthusiastic appreciation for sorolla and his ability to handle painting the natural light of spain. I have this book by luck from a relative who searched high and low all over madrid, and came up with it from some obscure book seller, who had only two copies. The sorolla museum "when its open" never has this book. Good luck searching.

Sorolla lovers rejoice! New - "Joaquin Sorolla" by Bianca Pons-Sorolla. General editor Edmund Peel, ISBN 0856676055, 352 pages, larger format, more paintings, SUPERB, hardcover. Available from Amazon. The book can also be found at the San Diego Museum of Art in a softbound edition ISBN 0937108367 which is less expensive.

very goo

Sorolla is an outstanding painter of light and all of the above. His oils are so fresh and alive, it makes me salivate. When I read this out-of-print from my art teachers library I was in awe. He is a great painter and you will identify with him if you're interested in : life drawing/painting, John Singer Sargent, and Zornes. It is sad that this book is out of print. You might be able to find it at certain art galleries that might exhibit this kind of work. Or you can always visit his museum in Madrid.

This is a wonderful artist and a wonderful book. It was reprinted in 1998. I found a copy at the San Diego Museum of Art. This fabulous book would be of benefit to any portrait painter or plein air painter.

Susan Hall's Painting Point Reyes offers a lyrical gallery of rural landscapes wrought with the refined sensibility of an artist who cherishes her birthplace. Ms. Hall's selection of the spacious natural environment for her subject matter - California's stunning Point Reyes National Seashore - is as important as what she leaves out: all the peripheral contemporary distractions of billboards, crowds and cars. By haunting us with the universal through richly layered minimalist compositions often depicted under the diffuse light of night, she offers a spare and precious moment of touching the lagoons and pools, the hillsides and meadows she calls home.

The paintings are haunting and immediately transported me into a place from where I was able to see Pt Reyes spritually rather than literally. Susan's perspective of Pt. Reyes is unusual and soothing. Whether you know Pt Reyes or not, this is an opportunity to get intimate with one of America's greatest artists and look through her eyes at how she describes her place of childhood. Some of the paintings in this book are from private collections, so it was a treat for me to have in my living room, earlier work by Susan Hall, which is otherwise impossible to see, let alone own.

Painting Point Reyes is a real treasure. The collection of beautiful prints of Susan Hall's paintings provide an unparalleled look into the landscapes of Point Reyes through the paint brush of a native and outstanding artist. Her rich paintings are filled with emotion and capture a perspective of Point Reyes that one cannot see with the naked eye. This book resides on my coffee table and is hardly ever closed, people are drawn to it, and thus it is a perfect gift, both for those who know and love Point Reyes as well as those who simply enjoy fabulous art.

As "aum" captures the sound of the universe, as Georgia O'Keefe captures the vibration of a flower, Susan Hall's landscape paintings capture the very "prana" of the land in West Marin County in Northern California. The paintings of rolling green and golden hills, a watery marsh, a farmhouse nestled in the fold of a hill transport the viewer to what is transcendent in the landscape. Susan expresses a deeper essence of the land and water than could ever be subject to words. Her renditions of light, reflection, atmosphere and water are positively multisensory - I feel the density of the air, the moisture that lingers above the pond, I smell the dry sharpness of the grasses. Best of all, she leaves space for the viewer's feelings and projections while nonetheless managing to quietly and subtly uplift and inspire. Look for the joy in the brushstroke, the subtle whimsy in the color, the power in her earth.

The introductory sections are worth reading, locating Hall's body of work in the history of landscape painting (which I suspect will be significant!), in the local geography and geology, in her own personal history/memories there, and.as a commentary on human use of the land and water in the Point Reyes area. From these, the reader gets the sense of the largesse and intelligence and relevance of Hall's landscapes, yet it should be noted that the majority of paintings, modestly titled "Rocks and Sea," "The Beach," "Full Moon," are already in people's collections. A great American painter who obviously speaks to the souls of her audience.

I return to this compilation over and over, to rest, recalibrate and inspire my psyche. In addition to people who appreciate fine art, it is also appropriate for people in psychology, deep ecology, nature enthusiasts, those who live and work in the outdoors, and those in the meditative arts. I gave it to a writer to evoke his cherished spaces in Northern California.

Susan Hall's paintings of Point Reyes, part of the Point Reyes National Seashore, are sublime meditations on a very special landscape. And although the book is a tribute to this idyllic area, her paintings go beyond any physical setting. As I looked through the book I realized that I was turning the pages more slowly at each color plate. The simplicity of the format, the beauty and richness of the colors (which is too often the disappointment in reproductions) and the images themselves captured me and I was reluctant to go quickly. This is a successful representation of both the spirit and the amazing skill of Ms. Hall's work. I highly recommend it.

This is a very informative book about the history of Disney's story department staff and the storyboards they created. I learned a lot. I would have liked to have seen more information about their art techniques, but the information about their careers and the vast amount of images made up for it. I particularly enjoyed the chapter on Carl Barks, which shed more light on the man behind the works I've read since I was a kid.

I have most of the 'Art of' books and, though this is a little more pricey than the others, it is worth every cent. It is refreshingly reassuring to finally have a Disney art book NOT written by a Disney staffer, but by a film academic. It was great to read about the men who worked alongside Walt and knew him for all his faults as well rather than the godhead he has become to the company. This book, while showing page after page of behind-the-scenes miniature masterpieces that went into making the classic early features, also describes the not-so-happy endings that such chemistry produced among Disney and his storymen sometimes. It also covers the latter-day storyboard masters like Chris Sanders and the Brizzi twins. I have ambitions of being a Disney storyboard artist someday and this book is perfect inspiration. More than worth it.

Too often in animation titles, the storyboard element is relegated to a minor footnote. This book presents a wonderful insight to the creative process of animation film making. Many animators and students collect resource material from feature films, and storyboard examples are rare and treasured items. As a storyboarder myself, I was in awe of the beauty and clarity of these works, many I was seeing for the first time. However, anybody with an interest in art or animation will enjoy this book. It is an amazing and definitive collection.

This book shows off the (oddly enough) unsung heros of the Disney Animation Department, the Story Artists. Like his previous book on Disney Inspirational artists, John Canemaker piles on the rarely seen outside of Disney pre-production sketches that form the basis of all to follow. GREAT reproductions--and great to see the subject and the studio treated not only with great respect, but a healthy amount of constructive criticism, too. Beautiful job. I'm waiting for a companion volume featuring unedited complete storyboards for ALL the features(!).

If the Disney American Animated Film has one stigma, is the belief that it is made for childern. Mr.Canemaker's book disproves that notion by recounting stories by those lucky few that got to meet Walt,work with him and put his "Dreams" on "Paper" before they were made a reality on film. We are privy in the world of Walt Disney and the people who put his ideas on paper only to have Walt think that they could be better than that.The book is filled with instances of Walt cursing-four letter words and all,when his Soryman ideas did not cut the mustard. Why should they since Walt "was his own best storyman." We get to meet the men that were up to par with Walt-T.Hee and Bill Peet. But these man could be considered Lucifer to Walt's Christian God-those who wish to be better than him or take his place would end in Hell, which in a sense they did. Finally, lets not forget the geniuses Walt himself dealt with-Salvador Dali and Orson Welles. If there was anyone that could top Disney himself ,it was Orson,as described by Walt Himself.

There are few things that inspire me more than a true story of a child of God who is faithful in the face of success and apparent failure. I see the reality of this woman's walk with God to be the challenge and encouragement. The accounts of her passion, travels, and encounters challenge my perspective on missions. I don't believe I had a real grasp on missions until I read this book. The quotations of her own journals and other writings bring a special feeling of knowing Lilias by the end of the book. This is a book I highly encourage all believers to read.

As the premier art critic in Victorian England, John Ruskin was the arbiter of taste. In 1883 he revealed a hard-to-believe prejudice: "For a long time I used to say . . . that except in a graceful and minor way, women could not draw or paint." Ruskin then discounted this view, based on his reaction to the art of a young woman named Lilias Trotter: "I'm beginning lately to bow myself to the much more delightful conviction that no one else can" draw or paint.

In a 1960s book, RUSKIN TODAY, Sir Kenneth Clark mentioned Trotter as someone lost to history. But Clark hadn't turned over every leaf, as has biographer Miriam Rockness, who discovered Trotter through bequeathed volumes of her out-of-print illustrated books.

A bright, talented daughter of a prominent stockbroker in London, Lilias Trotter (1853-1928) was comfortable in the company of privilege. At age 21 she was among guests, including George MacDonald and Bishop Wilberforce, invited to a religious retreat, the forerunner of the Keswick Conferences.

Spiritually stirred by this and the preaching of Dwight Moody, Lilias grew discontent with the in-vogue "charity from a distance." For more than 10 years in London, she devotedly worked to help establish a hostel for working women, the forerunner of the YWCA.

During this time, while on vacation in Venice, her meddling mother asked Ruskin to look at Lilias's watercolor paintings --- a request that led to art lessons, weekend invitations, and extended conversations and correspondence between the Miss and the Master, who claimed she could be the greatest painter of her generation if she would "give herself up to art." To the dismay of many, Lilias turned her back on Ruskin's challenge: "I cannot give myself to painting in the way he means and continue still to 'seek first the Kingdom of God.' "

When Lilias was 35, this whole-spirited commitment dramatically "called" her to mission work in northern Africa. With two female colleagues --- none knowing Arabic, none robust enough to pass physicals required by established mission boards --- she sailed for Algeria, where she lived a life of saintly proportions until her death, at age 75.

Two-thirds of Rockness's biography delves into the Algerian years. Learning Arabic was the first of many challenges: Muslim resistance to a Christian message, French resistance to British interlopers, male resistance to a female witness. And yet under Trotter's leadership, the original missionary band and later recruits translated portions of scripture, distributed literature, befriended women and children, opened cafés for men, and hosted summer camps for nomadic families.

There are no imagined conversations in this book; there's no mistaking it for a novel. This is history, relying largely on journals, with some analysis and helpful foreshadowing. Ever aware of Lilias the artist, Rockness faithfully describes the palette of the desert so well that it's hard to distinguish Lilias the missionary from Lilias the artist.

In time Lilias envisioned a "new approach to Arab literature": writings that would speak to Algerians, instead of what Trotter called the "hitherto translated stories of Jacks & Bobs whose surroundings are as foreign to children of the east as their names" and finding an affordable means of color printing, so as to attract people who delighted in color. To meet these goals, Lilias wrote and illustrated nature parables that may soon be back in print, thanks to Rockness's persistence.

Some of the biography's most interesting material comes toward the end. In her last decade, Trotter won the respect of a group of Sufi (male) mystics. "The artist in her responded to the artist in the Sufis," notes Rockness. "Yet she never lost her spiritual focus." Confined to bed in the last two years, she wrote THE WAY OF THE SEVENFOLD SECRET, explaining to them seven "I Am" claims of Jesus --- as she managed what had become an extensive mission outreach.

Trotter's printed word and art can indeed inspire a new generation. But only those who knew her can appreciate "perhaps her most palpable legacy": her love. As an obituary noted, "No wonder that Catholics and Jews and Moslems, as well as Protestants, are mourning her loss, for love, in the end, wins love."

--- Reviewed by Evelyn Bence

This book does indeed weave a challenging and interesting tale of a pioneeer missionary, who for the sake of the gospel left a comfortable and gracious victorian life for a life of sacrifice in the northern deserts of Africa, among Muslim tribemen.It is carefully crafted and includes some prints of Lilias' own artwork, which from what can be seen, is lovely.I wish a book could be devoted to more prints and more about Lilias' travels!

I am a voracious reader of non-fiction (particularly Christian non-fiction), but out of thousands of books I have read, this biography captivated me like no other. Perhaps because I am a writer and artist, I could identify with Lilias and her passions. Ultimately, however, this is a story of adventure, sacrifice, surrender and uncompromising dedication to Jesus Christ, all set against the exotic backdrop of Algeria. I can't wait to meet Lilias in heaven and tell her how she inspired me. Of course, I also look forward to meeting the authors someday because they brought Lilias to life. The narrative is as lovely as Lilias' art!

I just finished reading this book and was so impressed with the astonishing results this woman achieved because of her total surrender to God's plans. An accomplished young artist from an upper class Victorian family, she left the comforts of England and went into Algeria, a country inhabitated by Arabs who were mostly Muslim. It was a slow but steady start, because of language problems, government interference (because of suspicions about missionaries motives), and just the differences in the different ways of thinking and lifestyles of the Algerian people.

Lilias spent several decades of her life doing the "basics" in securing the beginnings of a life long ministry among a people hungry for deep spiritual lessons, but finding ways to do this required much patience, thought and forgiveness. And on top of all this, she is dealing with a new language, both spoken and written.

The majority of this book is taken from Lilias's copius journals, letters and writings where she kept records of what she was involved in day by day.

I learned a lot about what the foreign missionary effort entails, and especially when you're the first to go into an area with some brand new ideas where life is so different. But she won them over slowly with her love. As time went on, she had much help from other women and men who worked with her in this cause.

The last couple of decades her health was not good, but she just kept on plugging away, even writing from her bed the last two years.
She wrote some beautiful booklets that have profound lessons of faith and obedience in them. "Parables of the Cross" and "Parables of the Christ Life" are just two of them.

She gleaned such meaningful lessons from nature, things that the ordinary person would hardly think of. She could see great lessons from a grain of wheat, a peach, a bee, etc. She looked deeply into the whys and wherefores of the lessons that nature has to teach us.

Lilias really had a heart for these people and she felt that God gave her that heart and she was to do what she could as well as she could for as long as she could. She was true to that effort.

One thing I wished this book had was a map of the area that showed all the little towns and outposts that were mentioned in the book, and were developed over many years and many travels.
This book is a good read, even though you are dealing with some new words and another way of thinking. You will learn a lot and wish you had known this woman who was totally devoted to God.

Book was adorable for 1st grade! I bought it to go with Stefanie Harvey's Comprehension Toolkit for Grades K-2.

I used this book to introduce writer's workshop and help my students see that they can write about anything!

Patches Lost and Found tells the story of Jenny and her pet guinea pig, Patches. Jenny, who loves to draw, is assigned to write a story for school. She's nervous about the assignment because she isn't very good at coming up with ideas for stories. When she gets home from school that day, her mother tells her that Patches has escaped from his cage and is missing. They put up posters around town and Jenny draws pictures showing all the things that might have happened to Patches. Luckily, a neighbor finds Patches, but Jenny still hasn't written her story. Later that day her Mom comes into her room and shows her that she can add words to her pictures of Patches to tell a story.

I would recommend this book for ages 6 and 7. Most children in this age group will be able to identify with being nervous about an assignment for school, and they will be reassured that Jenny was able to overcome her difficulties and succeed in writing the story. There are a variety of ways this book could be shared with children in a school setting. It could be read as part of a section on writing stories, with the children later drawing pictures and then writing stories to go along with them. These stories could possibly be the children's own ideas about what could have happened to Patches. Another idea would be to teach the children about guinea pigs, possibly having a real guinea pig in the classroom, and then follow the lesson with this story. The artwork in the book was prepared digitally. Jenny looks like she could be a character in a cartoon on Nickelodeon. Children would find this very appealing. Kids would also enjoy the pictures Jenny draws of Patches because they probably look similar to pictures they would draw themselves. The artwork does a good job of telling the story, showing each picture Jenny draws along the way and then displaying Jenny's story about Patches with the pictures.

This is the perfect book for a teacher to use in the classroom. It helps children understand that when they have to write something, they don't always have to write then draw a picture to go with it, they might do better drawing first then putting words to it later!! The story is realistic and very fun to read with great illustrations!!!!!!!

When Jenny is assigned to write a stroy for school on anything she wants, she doesn't know what to do. Jenny likes to draw, and writing has never been easy for her. When Jenny comes home from school, and her mom tells her Patches is missing, Jenny draws pictures of Patches, and they hung then up all over town. When Jenny is in her room, she draws things that might have happened to Patches. Three days later and still no Patches, and Jenny still has no story.
On Saturday morning Patches is found, but Jenny still has no story. Jenny's mom goes in her room that night while Jenny is cuddling with Patches. Jenny tell her mom she still has no story. Jenny's mom looks on the wall and see's all the pictures she tells Jenny that can be her story all she has to do is add words. So Jenny does and she does a very good job. I would recommend this book for children ages 4-9.