Artists Books

The sheer momentum of the author's imagination and consummate skill in delivering the visual evidence was a big surprise. This book is a must-have for those whose vision of the future soars beyond the predictable Trekoidal Sword and Sandal stereotypes. Kofoed mixes wild fantasy into a look at what might be reality in the next Millennia or two.

Great fun for adults and for kids!

Karl's book Galactic Geographic takes you on a daring voyage into uncharted realms never before imagined. You really believe that this is a book from the future, and not just from the content (no spoilers here)! This is a book that will appear on my coffee table and all my friends will get a copy - because these are NOT the Star Trekian worlds - They are Kofoed's. For those that love _real_ science fiction, I recommend this book.

This book seems to me to be one of the most imaginative and beautiful works of science fiction published in the last decade. A must for anyone's collection.

This is a stunningly beautiful and mind-expanding foray into speculation about life on other worlds, packaged as a remarkable artifact. Imagine having your friends drop by and notice this interesting book on your table, that turns out to be a coffee-table book from the future! An absolute treat!

The Galactic Geographic series originally ran in Heavy Metal magazine years ago, and is currently running there again. It was created by my favorite off-world artist, Karl Kofoed, who paints images of alien worlds so dynamic and tactile that you can only assume they were painted on location!

Don't pass this one up!

A colleague gave me Gardens of Light as a gift. She said its poetic prose and soothing art gave her such a sense of spiritual peace that she wanted to share it with all of her friends. I was not only touched by the book's insight, but I could also almost feel the artist's hand lead me to a more beautiful place within myself.

The presentation of thoughts & their connections to the Arts is very interesting. My favorite was "The Treasures of the Garden". She made me feel that being on the downhill side of life isn't so bad after all.The lovely paintings really emphasised what the artist felt & portrayed. The butterflys, the flowers & the swans were beautiful. I will watch for her next book.

This small treasure of a book should be read by anyone who is reaching deeper within themselves, their relationships, and the world. The art is wonderful, and one can see how the artwork inspired the artist to create a beautiful message to share with others.

The illustrations are beautiful. The grace and use of color is very soothing to ones' soul. Her art speaks to me. I find the book dear and quite lovely. It is a great gift book. The design of the book is very user friendly. The writing is thought provoking. I highly recommend this book.

This book, actually the catelog for an exhibit of 3 of the panels, tells you everything you want to know about the panels and the doors that are one of the signature achievements of the Renaissance. It's got well written chapters on the narratives in each panel and a detailed step-by-step description of how they were made, with beautiful diagrams.

A must read if you're going to see the panels or doors...

"The Gates of Paradise" is the title Michaelangelo gave to the extraordinary bronze doors on the Baptistery in Florence created by Lorenzo Ghiberti in the mid-1400's. This book is not a "coffee-table book" for impressing friends, but is for lovers of great art or the Italian Renaissance who want to look at beautiful photos of these doors (recently restored after years of painstaking work), and to learn more about them in a serious way. The book is a collection of essays, each focusing on a different aspect of the doors; their origin (questions of authenticity, date of the work, the extent that Ghiberti [and not his apprentices] were involved; the technical aspects of casting, and then gilding, bronze in the 15th century (how Ghiberti was truly at the leading edge of his time, not just in artistry, but in technology); the difficulty and technical aspects of restoration; and more. I found this book fascinating and would recommend it highly.

The book is excellent. Each chapter is written by a different person with his or her own area of expertise. Somewhat redundant comments at the beginning of some chapters recounting the history of the doors but overall each chapter is very good. Image quality is good and text is readily understood by the average person . . not an overly technical book and is thus good reading. However, the format of the book is absolutely stupid. Who would create a book illustrating SQUARE panels such as these and then print it in a tall rectangular format. Someone wasn't thinking and it leaves the reader longing for a full page image of each panel in its entirety. All we get are vertical slices of panels and no complete image of any of them. One of the silliest mistakes in a book I have seen. Also some pages are not numbered and the numerous notes at the end of each chapter can have you jumping back and forth a bit. We went to the exhibition in Seattle and the book was a great background read. Shortcomings aside it is well worth buying. Enjoy it! By the way I have not yet purchased the other book available here at Amazon but may yet do so.

This is the luxuriously published catalogue on the occasion of the exhibition "The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece", till January 13, 2008 at The Metropolitan Museum of Art in New York after having been on show at Atlanta's High Museum of Art and the Art Institute of Chicago. It's about the gilded bronze reliefs on the East Doors of the Baptistery of San Giovanni, Florence (Italy), made by the Florentine sculptor Lorenzo Ghiberti between 1425 and 1452. The book contains seperate quires with photographs, mostly in detail, of the three reliefs on show: the "Adam and Eve" relief, the "Jacob and Esau" relief, and the "David and Goliath" relief, which allow the spectator to see what great masterpiece indeed Ghiberti made in his reliefs, depicting intricate scenes from the Old Testament. And these photographs do capture --since but few people will be so lucky as to see these reliefs in reality-- Ghiberti's artistry and amazing craft: his originality of invention, his majesty of designs, his vivid illusion and clarity of space as well as the diversity, intensity, and meticulousness in his depiction of the figures' physical, mental, and emotional states of mind, the aforementioned being a new realm of representation in Renaissance art. For all the expressive power and convincing vitality of human figures in early Renaissance art and their seeming to be intensely alive, only rarely are their individual and distinct states of mind and sentiment indicated if not captured the way Ghiberti managed to achieve.
The book contains very readable essays on the artist Ghiberti and on the art and innovation in his amazing reliefs. In his essay, Andrew Butterfield offers scholars and students who still put their trust in Richard Krautheimer's 1956 book on Ghiberti (the 1970 hardcover and the 1983 paperback editions are still available) convincing arguments --based on the latest research-- to question Krautheimer's methods and results (in despite of their overall importance) which are largely based on Krautheimer's basic principal of the "single-point perspective". Mr. Butterfield argues that "single-point perspective" is a system intended for the projection of space on a two-dimensional surface, whereas relief sculptures are three-dimensional and have complex surfaces. It's a basic problem that figures in a relief must have real three-dimensional volume, and consequently there must be a projection at the bottom of a relief for these figures to stand on. This being rather self-evident for us now, Mr. Butterfield pursues his point by explaining the requirements of narrative and setting that Ghiberti faced, and fulfilled, among them the direct confrontation of but a few (usually two) figures in one scene of a relief, against the necessary depiction of large groups of figures in events in the biblical history of a nation or people in another scene of the same relief. All this is connected with Ghiberti's other primary concerns: legibility and a desire for clarity. Which stresses the need to look beyond the prejudicial notion that Ghiberti was in essence a Gothic and conservative artist, as advocated a.o. by J. Pope-Hennessy ("Italian Gothic Sculpture", 1986).
Gary M. Radke's essay explores the realms of collaboration Ghiberti had to enter into and looked for. In his days, most public commissions knew a high amount of interaction and Ghiberti had manipulative relations with his patrons, at the same time furthering his own best interests. Furthermore, this book explores historical documentation on the Gates of Paradise, reconsiders the creative sequence of Ghiberti's doors, documents the now almost finished restauration and examines both Ghiberti's art of chasing and casting technique of the Gates of Paradise reliefs, abundantly supplied with photographs and illustrations giving overviews and many details of each relief under survey. There also is a chronology of Ghiberti's life. See "The New York Review of Books", Vol. LIV, Nr. 17, November 8, 2007 for a more professional review of this catalogue.

I read this book because it referred to Nantucket---the place I now call home. What I hadn't anticipated, though, was learning from its pages that much of what makes Nantucket seem so special derives from what all those of us who discover it had to go through in order to arrive here. Mr. Hallam's tale truly is no mere "travelogue", but that of a journey, which both forms and reveals character by the sheer requisite of living through it.

And what a journey he describes! From the bleak, dismal North of England, Mr. Hallam managed to pull himself up by his bootstraps, shake off the dreary prospects of living the life expected of him, and embark on an odyssey of self-discovery through art and music. No matter what the circumstances, Hallam seems never to have lost a sense for what is sensual, what is vibrant, what is most human about the human experience.

Although the context of "Getting to Nantucket" deals with overcoming all of the challenges that daunted him, Hallam's witty narrative is utterly bereft of "doom and gloom". In fact, it is not only amusing, it's often hysterically funny. This is not a book to be read in a public library unless you are prepared to deal with hearing "shush!" repeatedly as you laugh out loud.

I wouldn't recommend "Getting to Nantucket" to my close friends... for the simple reason that I'll probably just get them each a copy. I will, however, have to keep mine in the car---so if I recognize Mr. Hallam from his photo on the dust jacket I'll have it on hand for him to autograph.

great reading!

Anyone who thinks that becoming a "real" artist isn't hard work has never read Kerry Hallam's earnest and funny book, "Getting To Nantucket: An Artist's Journey." He takes us from his youth in northern England's rust belt, through his life as a workaday designer, and then shares his epiphany: the decision to throw caution to the winds, sell everything he owned, and set off to become a successful artist. What inspired me was the fact that no matter what else he had to do to grub a living -- which included singing at restaurants for tips -- Hallam never deserted his first love: painting. This book is a "must read" for every aspiring artist -- and even more importantly, for every artist who, as Hallam often did, feels as though their artistic career has run into a roadblock. Hallam never gave up, and yes, he made it to the artistic "big time." But he never lost his down-to-earth values, his kind heart, or, thank goodness, his wicked British sense of humor.

Getting To Nantucket: An Artist's Journey is Kerry Hallam's lively and funny autobiography. Beginning in a frigid industrial town in northern England and ending on a picturesque New England island, Hallam's is a personal success story that engages the total attention of the reader as his perceptive eye and artistic spirit takes us from his dead-end job in London, to an accidental music career on the French Riviera and in German, followed by life as an itinerant artist across the United States. Like his watercolors, Hallam's biographical vignettes are vivid, memorable sketches. Getting To Nantucket treats us to an amusing account of an artist's evolutions; a series of hilarious predicaments involving celebrities, aristocrats, and steely-eyed gendarmes, along with a little light-hearted and insightful social commentary. Getting To Nantucket is greatly enjoyable reading from first page to last.

The book is of the finest quality in printing and binding. The content is very educational and the reproductrion of JD's paintings is superb.

Descriptive words of Ghost Dancing, joined with the timeless wisdom contained in the words of Native America. Couple this with the paintings of JD Challenger and you have an opportunity to not read about but really feel. This is not a book just narrating the past but speaks volumes to the future. This book called to me from the library shelf and I have ordered to place in a prominent place on my shelf. This is a book to share with others and come back to often.

The text of this book is extremely informative on the Ghost Dance Religion of Native Americans. It covers the origins of the religion, its climax and the results thereof. Adding to this educational context is the Beautifully compelling work of artist JD Challenger. His riviting paintings jump from the pages virtually reaching out from the book and pulling you in. I would highly recommend this book to anyone interested in learning more about Native Americans and most assuredly to anyone who loves art that emits emtional impact. I constantly go back to this book as a source of inspiration and to gain understanding of Native American's plight.

JD challengers work was the first original art that I have purchased. When I saw his work in a gallery in Santa Fe, I was mesmorized by the character of his subjects. Ghost Dancing provides a good overview of many of his prints that are available.

This book is interesting. I enjoyed the models perspective, but the beginning is better than the whole. It need something more in the end.

I always know when I am confronted with a portrait by Giacometti. The manner in which he presents his work is completely different to that of any other artist. Giacometti was haunted by a desire to understand what it meant to be alive. His own life he could dismiss, but faced with another, the mystery of his alien being-how it filled up space, how it battled with the hostile elements of its existence-seemed to Giacometti infinitely mysterious and marvelous. It was, above all, the head that perpetually challenged him, and more specifically the gaze-the look that another person exchanges with us, which Giacometti saw as both unfolding the mystery of that personality and yet, perpetually concealing it.
The portrait of "Jean Genet" is beautiful. Giacometti had known Genet for a year when he painted "Genet" oil on canvas. It is an impressive picture. It was Genet's appearance that had first drawn Giacometti to him, especially the shape of his head, so bald, so round-a skull in which the whole mystery of personality resided. He avoids the allure of colour; instead the picture is brown and white, with just the faint streaks of earth red to enliven it. Yet never is it more clear that a human being is a creature of majesty.
When Giacometti used his wife as a subject of painting you can see through the art he was striving to come to terms with this person who, in theory, was the closest to him. The piece of work, "ANNETTE" It is almost as though he has scratched her portrait out of a world of white into which she would otherwise disappear. There are black markings that claw her back. She seems as riveted and horrified by the experience of encountering her husband's gaze as he is by hers. Those great eyes of hers glare at the world without emotion, the lips are pursed, and, although the body is sketchy, there is an uncanny sense of presence. He has cought her, as if in a momentary flash of light, and there she will stand transfixed forever.

Anyone who has ever wondered how a truly great artist gets his inspiration, works on a daily basis and incorporates his philosophies of life into his work will want to read this terrific story of how a young, American writer sat for his portrait by the legendary Alberto Giacometti.

Almost non-stop upon their meeting, Giacometti opens up and begins letting his thoughts come tumbling out of his mouth. He tells his subject that he looks like "a thug...if I could paint you as I see you and a policeman saw the picture he'd arrest you immediately!" And then, "Don't laugh. I'm not supposed to make my models laugh." He tells the author of his trip to London's National Gallery where he says, "...I deliberately didn't look at the Rembrandts, because if I had looked at them I wouldn't have been able to look at anything else afterward." Later on in his work, "It's impossible to paint a portrait...the photograph exists and that's all there is to it."

Giacometti was not only one of the greatest artists of the last century he was also, obviously, a wonderful, contradictory, clever, intelligent, verbal, loving, open, warm companion. When the painting is not going well, the artist exclaims, "If only Cezanne were here, he would set everything right with two brush strokes." Lord gently corrects him pointing out that Cezanne had plenty of trouble. And then Giacometti (probably with a hint of happiness) agrees, "Even he had trouble."

One comes to know these two men so well in this small, beautifully written memoir that one feels close to them and to their emotional upset when after only eighteen days, they part ways. The author reminds us that Giacometti would be the first to remark that a portrait could only achieve a "semblence of reality." He hopes that the artist will enjoy this written portrait. As Lord writes, "To see even so little will be to see very much." True.

Included in the paperback are snapshots taken to show Lord's portrait in progress. HIGHLY RECOMMENDED.

This book is a must, for fans of Giacometti's work and for artists world wide. It gives one the opportunity to be in the studio with a great artist. It is wonderfull but terrible at the same time, as an artist, I came away from the book feeling completely insignificant untalented and without hope, however this is a good thing, it is an experience all artists must, and do go through. Please read the book you will learn so much!

Just like the picture. My brother really liked it for his birthday. Good gift for those creative kids.

My daughter loves to draw and gets tired of drawing stick men. This book is very good at helping her break down the parts of a drawing into something she can understand and has kept her busy for hours. That alone is worth the price of the book.

Not as well received by a 10 year old.

This books starts out with easy drawings and gets increasingly difficult. Nice book.

Charles Dana Gibson, I think, can be credited for single-handedly creating in our minds the ideal of Victorian womanhood in the Americas. His "Gibson Girl" was the pin-up of its day (if that's not too vulgar), stoic, immaculately dressed, and a formidible match for her man. I've enjoyed his work for a long time, and was happy to find thsi volume. In it, you will find a wealth of Gibson's "GIbson Girl"-related illustrations, as well as a selection of illustrations that are more satirical in nature, dealing with members of America's social classes around the turn of the century.

What is most amazing - beside Gibson's excellent command of line and his beautiful, sensitive renderings - is his eye for irony. GIbson's illustrations - almost all of them accompanied by a witty caption - seems to have been something of a wit, and never failed to make a poignant pun on his subject. Some of his commentaries on the poor situations of the working class are actually quite scathing - unexpected from an illustrator I always associated with the "upper strata" of society. This book is not simply a gallery of work by a master - it is also an education.

What keeps this book, for me, from receiving five stars, is that some of my favorite of his cartoons have not been included. I saw a similar volume published in the 1970s that had a selection of similar size, but different illustrations, and I wish tha that would be published as well. However, at any rate, this is excellent and well worth the money for any fan of illustration. Enjoy!

This is a great book for anyone who likes the fashons of the late 1800's, Gibson girl, or just well drawn pictures! Gibson was a great artist, and you can tell from his captions he had a sense of humor. Every page in the book is filled with beautiful, clear, large sized drawings of Gibson Girl and her friends. I was delighted with my copy!! It even includes Gibson's "comic" book, "The Education of Mr. Pipp", and a brief but interesting biography of Mr. Gibson.

Awesome. I thought this would just be a few sketches of his ladies, but it's LOTS of his renderings of all kinds of different subjects. He's one of the most amazing talents I've ever seen.

The two leading American illustrators of women at the dividing point of the 19th and 20th centuries were Charles Dana Gibson and Harrison Fisher. I find that I have always liked Gibson much better than Fisher, because Fisher seems to lack a sense of humor while Gibson's work is informed by a sharp, dry, sometimes sardonic wit as he eyes the fads and follies of the high society of the 1890's and early 1900's (of which he himself was a part by virtue of his marriage to one of the Langhorne sisters). As the previous reviewer has mentioned, the highlight of this particular collection is the inclusion of the bulk of the drawings from his famous "The Education of Mr. Pipp", which combines Gibson's trademark humor with not one, but two, beautiful Gibson girls. (Considering that Gibson, earlier in his career, had issued vituperative denunciations of mercenary marital alliances between Eurotrash nobles and American women - most notably in his famous "America's Tribute" - it is particularly humorous that one of Mr. Pipp's daughters is snagged by a Scottish laird who is as clean-cut and upstanding as any American Gibson man!) As I mentioned in my review of Steven Warshaw's "The Gibson Girl", "The Gibson Girl and Her America" is best appreciated as part of a comprehensive collection including both aforementioned books plus Woody Gelman's "The Best of Charles Dana Gibson" and Fairfax Downey's 1936 biography (containing over 100 Gibson drawings) "Portrait of an Era as Drawn by C.D. Gibson". (Actually, the Gibson completist really needs to get - if he or she can find it! - the 1906/1907 2-volume behemoth "The Gibson Book", a compilation of 11 of the artist's volumes with a total of over 800 drawings.) Failing that, this book is a splendid introduction to the work of one of the true icons of America's popular culture.

Like another reviewer, I find it hard to put this book down.
It is frankly and beautifully written in a way that puts the reader in the back of the Rolls Royce with Abby Rockefeller and behind the desk with Edith in her Greenwich village gallery.

I am only half way through the book and am savoring it thoroughly for the ride that it is taking me on: I feel like I walked the construction site of Rockefeller Center,toured Radio City Music before the first Rockette,
and participated in persuading Mayor LaGuardia to put a subway stop at Rock Center....

Fascinating and excellent read.

Fascinating bio and first rate discussion of the strange intersection of high-art and commerece. Shows how much artists owe to the people who support and believe in them.

I had a lot of trouble putting aside the book so that I could take care of my normal daily chores and business. It was interesting to me from a variety of points. One of them was the excellent introduction information about how the author first learned of Edith Gegor Halpet and then how surpirsed she was to discover a treasure trove of available research material including an oral history that included more than 800 transcrbed pages. While I'm not in the gallery business, I do enjoy art and I found the book a very interesting story of how tough a business the marketing of art really is. Halpert's struggles opening and running a gallery have valuable lessons for any small business owner. Some of her sales techniques could be applied to almost any business with great success. The book is a great read and provides glimpses into the world of art, artists, patrons,museums, and the important contributions women have made to the art fields over the years. It's another example of how women have come into their own.

The title here is just a little bit misleading. Yes Edith was the girl with the gallery, but there were a lot of girls that had galleries. What Edith built was THE Gallery, at least so far as modern American art was concerned. Furthermore she did it from the outside, she was born Russian, coming to America when she was six, and at the young age of 26 founding the Downtown Gallery in Greenwich Village.

There was at the time no American art movement. The few painters of the time had great difficulty selling their work. Edith changed that. Her gallery specialized in the work of these New York locals, combined agressive selling with a devotion to this style that remained for forty four years.

It was largely because of her that there is an American art scene. This book is a fine tribute to her life that has largely been forgotten.

These were purchased as an early gift. Can hardly wait to give them to my special person.

This book with all the others all was so great i loved it from the beging to end. I couldn't put it down.

IT'S HART WARMING SERIES I LOVE! I couldn't put it down. You would love it to.

Thirteen-year-old Rose Forbes loves her life in New York City in 1905. Her wealthy parents give her everything she wants, and she attends an exclusive private school for girls where she has many friends. However, everything changes when her mother becomes a suffragette, campaigning for women's rights. Because of her mother, Rose loses all of her friends. Her parents decide it would be best for the family to start a new life elsewhere, so they move to the small seaside village of Cape Light, Massachusetts. Rose makes new friends in Cape Light, but she worries her mother will once again cause her shame. But Rose soon comes to a new understanding of her mother's views when she begins to train an abused horse and discovers that girls are not allowed in horse races.

Like other books in this series, this book was a charming, old-fashioned historical novel. It will appeal to young girls who like historical fiction or horse stories, with its likable characters and quaint setting, as well as its story of a determined young girl.