Artists Books

In his Introduction, Witt wrote, ". . . I write because I like to and because I can." If for no other reason, this would have been good enough for me to buy the book. When another's philosophy so expressed, is identical to one's own, then a look at what has been written is a must.

Poetry is about feelings, feelings that come from the heart, often unsolicited, just there, and when put onto paper, can be shared by others. An example is "Clouds" on Page 14. Simple, short and tugs at emotions like water pulling you along a deep stream. I give you a treat by copying it here.

"Clouds"
In a world of hunger and pain
Of bloody battles and acid rain
Why when we watch the clouds above
Do our thoughts often sway to the tune of love?

Short, succinct and loaded with emotion.

I look forward to reading more works of art such as this anthology, "The Naked Soul".

John F Christian,

Excellent investment in independent talent. The poems are well written with solid imagry and plenty of general interest.

A welcome addition to any library. My favorite verse is Life's Antonyms on page 28 especially the last bit:

Knowledge, in all its antiquated glory
Listen. Can you hear it?
No, I thought not
Too discerning, too visual
Knowledge is ignorant

At first I didn't get it but when you stop and think about it, you begin to see the logic. Very clever!

This collection of verse blends traditional poesy with modern freestyle. The poems are simple, easy to grasp yet rich in multiple meaning. Readers will recognise familiar poetic themes such as love and hope, although occasionally there is the odd abstract thought such as the 'The Gift' (p30), which examines Christmas through the perspective of a rubber ball.

The lyrical compositions are a nice addition providing further insight into the author's mind. Subtle phrasing such as "Silence was the choice of voice as Sunday came and went; and only whispers in my mind recall the past events," from 'Another Morning' (p51) sit equally well with the more obscure "Knock-knock! Who's there? Where do the angels play? I fail to see forgotten friends. It's a book I think I've read. Mother Mary save me, I think I'm finally dead" from 'Mother Mary' (p57).

Those of you who are sticklers for technique, or who expect prize winning literature, may want to give it a miss but for the rest of us, this honest and insightful journey into the author's mind will leave you feeling content.

This fascinating book gives the little-known history of the growth in the first half of the twentieth century of a vital community of visual artists in the Greenwich Village -- in the two blocks just north of Washington Square -- and the inevitable gentrification that followed. Using real estate records and other contemporary sources, the author provides an illuminating account of the often collaborative -- and very successful -- effort by landlords and artists to develop and renovate property here. Many of the renovations remain today as highlights of one of New York's most famed and picturesque historic districts. Especially noteworthy is Ms. Budny's illustrated accounts of the transformation of part of one particular block by the use of stucco, glazed tiles, and window boxes to evoke a Parisian charm, and of the artists who animated those spaces.

This gem provides beautiful photographs and fabulous documentation of the interwoven influences of art, artists, and art patrons. Context is rarely provided in discussions of artistic excellence, but Budny gives us the spirit of the time and opens the frame of reference to the broader international and provincial levels that compose the vibrant early 20th century art world. This work is an important link between the fabulous Parisian scene and the emerging American dominance of the avant-gard.

This little book is meticulously researched and rich in historic detail and human anecdote. The text is eloquent--spare and clear; the illustrations--many previously unpublished photos--are stunning and arresting. It tells the story of the conversion of a Greenwich Village neighborhood north of Washington Square at the turn of the 20th Century into a creative mecca evoking the Latin Quarter of Paris. Our knowledge of these artists and their families is enriched; a must have addition to any library, personal or public, that is serious about American art history.

A thoroughly enjoyable read about an exciting artistic time I did not know existed. Well researched and illustrated with a clear love by the author for the groundbreaking artists that inhabited this forgotten area of New York City. Clearly a time of extraordinary artistic sharing between artists like Noguchi, Manship, Lachaise and Hopper and many other characters that fully comes alive with colorful stories from the day. The book is both a redefining of the historical beginnings of America's avant garde in the art world and a poetic call to arms for the need for such a nurturing artistic community in New York City.

I found it very inspiring and informative to read about Paul Stankard's path as a glass artist, including his stuggles and triumphs. Not only was this an entertaining read, but I also relate to some of the tribulations Paul has faced along his path and I really connect with his love for nature. As a glass artist myself, I find it comforting to see that with perseverance, one can find the right path and eventually be successful doing what one loves to do. Thank you Paul for sharing so deeply and honestly of your experiences.

The book is a well written collection of autobiographical essays that sometimes include astonishingly honest descriptions of his life and thoughts. It describes his personal journey from a troubled dyslexic schoolboy to an internationally known glass artist. His pathway to success and international recognition was not an easy one - instead, it was marked by his relentless determination, commitment, and an unquenchable desire and pursuit for overall excellence and perfection of his work.

I found the book easy and delightful to read. His stories give a personal insight into this most recognized paperweight artist and leave you feeling that you have personally known and understood him for years. Some of the stories are funny, some are touching and some explain his intellectual and artistic blossoming. His spiritual core values, work ethics and artistic integrity become clearly obvious. In this book, Paul wrote "In the studio, I promote excellence like a holy doctrine."

Paul Stankard, by all accounts one of the most recognized and successful glass artists alive today, has collected his experiences from decades of work with hot glass into a small tome of reminiscences. His memories are organized into a dozen and a half essays, loosely chronological but often overlapping, doubling back upon, and fleshing out earlier episodes. Additional materials include 32 full-color pages of photographs after the Epilogue, and an unexpected but handy Index following that. All of this is bundled within a thoughtfully-designed cover that cradles Mr. Stankard's prose in tones of green and cranberry.

While short in length (183 pages, not including the Foreword and Preface), No Green Berries or Leaves is densely packed with feeling and reflection. Despite the weight of the material, it is a quick and easy read, owing to the fact that the voice which comes through is Paul's. It resembles more a story he might share over a cup of coffee rather than a piece of print. It is this quality, coupled with the way the book is broken down into small bites of his life rather than chronological chapters, that is the underlying strength of the book. No lofty phrasing or clinical assessments are found here, just plain words written with warmth, thought, and honesty.

Paul gives more than just a standard re-telling of how he got here from there. History is interwoven with artistic philosophies, psychological states, and spiritual beliefs, resulting in a story rich with detail and meaning. He relates his youthful dreams, training, and creative yearnings that led to career changes, but also reveals personal struggles with a learning disability, anxiety, and nagging self-esteem issues, all of which culminate in the development of Paul Stankard the artist, family man, friend, mentor, and human being.

Several themes are reinforced throughout: hard work, perseverance, the importance of continually educating one's self, harmony with Nature and its Maker, and gratitude, to name a few. Paul is forthright about the difficulties he endured, but also encourages his readers that if he was able to overcome those to become the acknowledged glass master he is, others can do the same through hard work, dedication, and faith in one's abilities. He strives to be an inspiration to others just as he was mentored throughout his career. His appreciation to all of the people who played a part in his journey flows through the pages, another prominent layer to the book and the person.

For the paperweight enthusiast, this book offers a rare look into the heart of a master craftsman, delving into what originally inspired him to take up the torch to recreate those lovely handfuls of glass, what drives him to push the boundaries of the genre, and how the medium's siren call draws him ever closer into communion with its mysteries.

Mr. Stankard's story, at it's core, resonates with me. As a enthusiast of glass art, I expected to be interested in his journey, but I did not anticipate Mr. Stankard's level of candor and honesty. The combination of his balancing act of family, his struggle with dyslexia, and the pursuit of excellence is more than an inspirational story, it's an affirmation of life as an artist.

Contemplations visual, intellectual and spiritual. In 1891, French painter Paul Gauguin fled to the island of Tahiti - "a sixty-three days' voyage, sixty-three days of feverish expactancy;" begun as an unofficial visit regarding the imminent death of the island's king Pomare -- and resulting in a profoundly moving sea-change (spirit, observation, happiness). The Tahitian theology, natural history, and especially the progress of his relationships - a gift. This is a good book to read BEFORE embarking on your "desert island" voyage, but beware! Hard to top once you're there on some other island. An exceptional journal, with a graceful translation (it seems) by O. F. Theis from the French. Rated 9 (needs more color plates of paintings! but a lovely, portable paper edition) Other recommended travel/discovery books: Off the Map: Bicycling Across Siberia, by Mark Jenkins. 1993 HarperPerennial pb. Letters from Iceland, by W. H. Auden & Louis MacNeice. 1990 Paragon House pb. Why Come To Slaka? by Malcolm Bradbury. 1991 Penguin Books pb. Travels With Lizbeth (writing/homelessness), by Lars Eighner. The Starship & the Canoe (Freeman Dyson & son George) Bird of Jove (falconry), by David Bruce. 1994 Texas A&M pb. The Earthsea Trilogy, by Ursula K. Le Guin Ishi (anthropology/Native American history), by Theodora Kroeber

Very readable translation. This is not the best edition if you want good reproductions of drawings. But in terms of getting a good text for a good price it's great.

I'm not really going to review the book itself as I assume most people who are here know that this was Gauguin's attempt to put together a what he hoped would be a best selling travelogue that would promote his art. He was hoping to cash in on the success of Pierre Loti's best seller the Marriage of Loti which was set in exotic Tahiti. It never made any money, but this is mostly because of it's idiosyncratic style. But for anyone interested in Gauguin's Tahitian experience it's great. Also check out his intimate journals which came out posthumously and cover also his life before Tahiti.

Typically considered a journal or memoir, Gauguin's book is in fact an early type of experimental multimedia novel. Thematically, Gauguin burlesques Pierre Loti's "Marriage of Loti", while structurally he interleaves narrative with his own highly-inventive Post-impressionist woodcarvings. It's a fine book: Gauguin could have been a great novelist, if he weren't already busy.

Though you may quarrel with Guaguin tactics or motivations, his art stands alone--brilliant, moving, subtle. It is always intriquing to hear the voice of a master painter and "Noa, Noa," affords that opportunity.

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 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.

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.

I like this book for the excellent quality of prints throughout. I also has several fold-out prints that could be used for framing, and a lot of prints that I have not seen before in other books. Nice.

Christopher Finch has captured Norman Rockwell's magnificent and intriguing use of art to compile a work of American History. Each painting featured in the book is an amusing, yet truthful look at American life in the early 1900's and on. This book is a must to have in any home library!

if i wanted to have a complete culture in norman rockwell's art now i do.
this book is a very well made publication.
the art work is very well presented, pictures are great and high quality.
great purchase!

Great book with 659 illustrations and biography of Norman Rockwell written by Christopher Finch. Rockwell's life span (1894 to 1978) is depicted in his paintings and illustrations including Saturday Evening Post, Boys Life and portraits of the United States Presidents of his time. He captured the every day events and human expressions in his unique style that is very heart warming. This is a true classic.

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

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

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

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

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

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

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

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

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

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

a beautiful music book from a very opinionated photographer. both text and images are the top shelf material.

As post teeners in SF's North Beach, Jim and I caroused the jazz clubs in the 50s with his first Leica. Always caustic, ever insightful, Jim progressed from raw talent to brilliant. This book is super to those who lived it !!!! Jack Bennett

So MUCH ink has been spilled about the 60's & early 70's, most of it overblown or off base in someway. Marshall's black and white photos (most of them taken by a Leica without flash!) get to the heart and soul of the times in ways most writers can only dream of...I can't wait until the color volume comes out. Powerful stuff (like a shot of great whiskey), a must have for any music fan. The HIGHEST recommendation!

One of America's pre-eminient rock photographers surfaces. Jim Marshall's work was a fixture of the '60s and some of the '70s, especially when it came to the Summer of Love and SF. But then like Flower Power & the '60s, Marshall indeed "faded away." His later output in the '70s and '80s is devoid of post-'60s icons as Springsteen, who had a huge pre-Time/Newsweek magazine following here, as well as others. I first met him 12 yrs ago when he sold me one of his photos. I was familiar with his work with Life (Stones 1972 tour) and before and was thrilled to be able to meet the man. At the time I wondered why he hadn't published a book yet. Now here it is and for the most part it delivers bigtime. Great insights delivered via the photo captions; sometimes when Marshall compliments an artist ("so-&-so was the greatest") it might come off a bit on the light side but you can't really complain. His work speaks for itself. It was powerful and awesome. Also in the book are photos of recent performers such as the Red Hot Chili Peppers. Maybe it's the Times...maybe it's the Subjects...but these recent photos didn't belong in this book at all. It's great to see Marshall's more current work, but I think quite a bit of the magic was missing. Marshall himself acknowledges this. If anybody can conjure this old feeling back through the art of photography, he can.

This is a lovely, warm book with gorgeous illustrations. I can't seem to get through it without crying, every time. I think it's a wonderful story that will help children with low self-esteem, adoptees, or anyone who has ever missed a bit of their early life -- as well as being a generally delightful book for all who read it. Certainly one of the very best children's books I've encountered.

This I must say is the most heartwarming of all children's books that I have ever read. Of all of my daughter's books this one is truly my favorite.

Our family really enjoys Mick Inkpen books and this one is a real treasure. The watercolor illustrations are beautiful and fit this sweet story perfectly. I won't retell the tale here since a summary is given above in the editorial review, but I will say that the story is filled with beautiful hope for any child (or adult) who has ever felt like "nothing". My two little girls always enjoy the surprise ending and the illustrations of the "transformation" (I won't say what it is) are done perfectly.

I give this book my highest recommendation.

My daughter and I love to read this book together. I won't tell you what happens because it would spoil the book - suffice to say that every time we read it, it makes us both smile! I hope you enjoy it too.

Brom stacks up as one of the most brilliant fantasy artists working today, and this book shows why. Within you will find beautiful maidens, dastardly villains, valiant heroes, vile beasts, and all manner of other characters fair and foul - each and every one of them marked with the twisted vision of Brom. Brom's art has the ability to send a chill down your spine no matter what image you might happen to be looking at - there is almost always an element of the unsettling in a Brom painting, of impending doom or contagion, and every painting yields something new to look at with each viewing. Another quality inherent in Brom's work is his ability to make the viewer wonder about his images, and construct stories around his characters in his head - you may find yourself engrossed as you construct motivations, origins, and storylines as you flip through this book. Those looking for an excellent book of fantasy art with just the right twinge of horror would well to pick up "Offerings."

This book is truly amazing and Brom has outdone himself again. The paintings are very interesting and depict situations that my mind would have never discovered on its own. One word of caution... though this is great art, it is women unfriendly. What I mean by this is that the females are generally depicted in painful situations that seem to take away from their beauty. I would highly recommend this book for anyone wishing to view dark and powerful fantasy settings and people/creatures. Amazing work!

This is Broms second book, his artwork is more mature than that in Darkwerks and perhaps a little less immediate, but never take a Brom picture at face value, even the classically beautiful images have something unpleasant lurking in the background. Fans of Brom will be glad to know that is more of the excellent, if somewhat disturbed work of perhaps the best fantasy illustrator working today. BUY IT !!

This is a good collection of Brom's art... but if you are thinking of buying a Brom book... buy 'Darkwerks' before you buy this book.

The art in this collection is more mature and refined in comparison with Brom's Darkwerks collection, but is lacking in quantity and the spontaniety of his card art.

He is one of the few artists who rarely uses reference material whilst painting. This approach is evident due to the fact that a lot of the figures have comic-book figure proportions -- which is admirable in this day in age where painters trace from photos.

Verdict: Buy Brom's Darkwerks first, buy this after.
Reviewed by Harrison Chua