Art History Books

As great as the photos are the text is almost as good.

Very refreshing; especially in the winter and in light of $250 million player contracts.

This is a fantastic book for anyone historically inclined. It focuses on an era- in the context of baseball. The descriptions with each amazing photo show how America viewed baseball as a microcosm of the country. A great discussion book. Highly recommended. An added bonus is the classic, unretouched photo of Ty Cobb sliding into third, knocking the third baseman off his feet.

I have been a reader of baseball history for most of my 45 years, and I never heard of George S. Conlon. I know him now. This book is nothing less than fascinating. The photos are marvelous, but every printed word is interesting, starting with the preface. I could not put it down.

This marvellous collection of the greatest baseball photographs ever taken qualify as one of the very best contributions to both baseball literature and serious photography. The consummate images of rough-hewn blue-collar stock named Wagner or McGraw or Overall silhouetted against rickety hardwood bleachers, rusty wire screens, and smoke-baptised brick houses; unmown grass and pock-marked infields beneath them; the smell of pancake mitts and hickory bats and unwashen wool uniforms in their nostrils; coal-dust and farm soil and blistering summer sun etching character into their faces. These, I say, seem to me the very breath and blood of the grand ol' game of baseball, all gloriously frozen in time in its purest splendor by the sensitive eye of Charles M. Conlon. These indelible images from the tool of a genius ARE NOT JUST BASEBALL PHOTOGRAPHS! Who can shake the documentary immediacy, mental peace, or aesthetic excitement aroused by the breath-taking images of Bob Rhoads warming-up his soupbone, shadowed by the hand-operated scoreboard at the wood-and-spit Hilltop Park? Or a flailing Tommy Leach squinting a pop-up into the merciless Brooklyn sun? Or Ty Cobb, his jaw curled into a fist, ruthlessly showering dirt and hellfire into a helpless third-sacker? Or muscular Tim Jordan gracefully balancing a heavy-weight stroke of his massive war-club? As the authors state, Conlon deserves to be ranked with Ansel Adams and Walker Evans, and compared with Eugene Atget. His undying images provide a unique look at a time and way of life gone by. P.S.: What I want to know is, WHERE IS THE SEQUEL? Conlon left 8000 negatives; and many of his most extraordinary--such as Russ Ford warming up by the Hilltop's trumpet-clutching "p.a. announcer"; or Hank Gowdy burnishing in the sunlight, warming-up on a Polo Grounds sideline in 1917--have been reproduced in a baseball card set, the discontinued "Conlon Collection," issued by the Sporting News. But the reproduction of these wonderful photographs in the set are inferior to Constance McCabe's sensitive care; and are much smaller, besides. Neal, if you're reading this, PLEASE put together another volume of Conlon's brilliant images!

Were Charles Conlon still alive, I would track him down and kiss his feet for capturing in such vivid detail the historic giants of baseball. The book features remarkable photos of the greatest baseball players of most of the first half of this century. Suitable for framing, the photos typically depict individual players and small groups, often in game action. The well preserved photographs provide an important window on a truly beautiful game and its players in an era when outfield fences were optional, and a "baseball club" was just that. My favorite of Conlon's gems shows Hall of Fame shortstop Honus Wagner gripping his bat. Under his fingernails is Pennsylvania coal dust. His chipped, oversized piece of lumber looks unwieldy by today's standards. And his sinuous forearms are testament to the power that we remember him by. Other photos are paired to show the dramatic impact of age and the outfield sun on players of yesterday. Picture Wes Chandler spunky at 25 and then battle weary at about 50 and you'll understand why so many players strive so hard for a moment in the sun: they want to enjoy it before it's all gone.

This is a beautiful and very informative book; I was very pleased with it. I really enjoyed all the behind-the-scenes pictures and the addition of the script is an added bonus.

If you're a Spider-Fan, you need this one. You will not be disappointed.

I think this book has excellent descriptive as well as graphic content which will help me with my coursework.

A comprehensive look at the making of the SPIDER-MAN legend, from comic-book to film. It's an excellent and interesting story to tell, although Behind The Mask didn't deliver in the graphics department. There just aren't enough illustrations, but there is enough to give the reader a feel of being on the set in the midst of the movie-making magic!

Mark Cotta Vaz is the best "Making Of" author in the world and Behind the Mask of Spider-Man: The Secrets of the Movie has everything a discerning film fan could ask for. Without the material entering the annoying world of overkill, this pleasing and informative book breezes along with its fascinating insights into how Spider-Man went from comic to silver screen. With enough inside info and graphic content to satisfy the most info-hungry geek, this is extremely satisfying and also is possibly one of the best film books ever written. It's that simple. Vaz has so many impressive book-writing credits under his belt already, but this is surely his best work. Containing info on the cast and crew, this never fails to interest and Vaz thankfully differs from other authors with a pre-determined un-pretentious standpoint. The early chapters focus on abandoned ideas about a team up of the Green Goblin and Doc Ock, and numerous costume changes for the first movie, where every little detail is spread out in a well-plotted format. Candid interviews with comic and film boys wraps up a nice package that keeps a very special place on my bookshelf. Highly Recommended.

BEHIND THE MASK OF SPIDER-MAN by: Mark Cotta Vaz is one of the best "making of" movie books I have ever read. Fair warning though, this book is so thorough that if you have not already seen Spider-Man then DO NOT READ THIS BOOK! Upon viewing some of the great color photos and reading the indepth information, you'll be completely robbed of any true movie surprises.

With that said...

In 205 pages, Vaz manages to provide tons of background on the characters, history, and production stages of Spider-Man. You'll find everything from pictures of original comic page art to step-by-step photos on the various concept sketches of both Spider-Man and the Green Goblin (Goblin in particuar is all over the place in the various designs). Vaz clearly did his homework as there are numerous interviews and sound bytes from everyone from Stan Lee to Sam Raimi to Willem Dafoe to producers, stunt people, and FX coordinators.

Rarely do "Behind the Scenes" books read as fast and as enjoyable as this one. Now granted, I am a HUGE Spider-Man fan, but I believe that anyone who enjoyed the movie will find lots of insight to be gained from this informative and entertaining book.

What a beautiful, sacred and incredible collection of artwork. The book is absolutely stunning!

incredible stories and amazing pics...bigger than any 'coffee table' book we've ever owned!...a bargain at 1/2 the price

The near poster sized book of mandalas is truly perfect for the subject. Traditionally done in sand to mirror the transcient nature of life and beauty, this book is wonderful to behold. One can easily frame the individual plates but it's not merely a bound poster book. The text is nicely written and informative. The mandalas are really first rate, so intricate and detailed, that they transcend even beauty. It's surprisingly heavy (nice glossy paper) for a book that is the thickness of a children's book. Best displayed open to your favorite page.

I've owned this book for 7 years. I admit that I love the art --the mandalas are beautiful. Romio Shrestha is a good MANAGER of good artists (I've never seen him actually PAINT a mandala HIMSELF, and even he admits that the mandalas are painted by monks he has "commissioned.")

And Ian Baker's text to this book is extraordinary.

BUT -- and these are some BIG concerns:

INACCURACY: The mandalas contain numerous inaccuracies in them, and do not reflect deity or yogic practices as accurately, precisely or in as much detail as do the works of many others who actually PRACTICE the Dharma (which Romio does not) -- day in and day out -- see, for example, thangkas painted by His Holiness the Dalai Lama's personal thangka artist in Dharamsala, or even more Western-accessible Andy Weber.

AS IMPORTANTLY: I've met Romio Shrestha. He is a player, a wanna-be playboy, and a charlatan -- a cheap imitation of what non-discerning and gullible Westerners will believe a tantric master to be, or a self-appointed swamiji or yogi. When I met Romio the first time, he was at an international WOMEN's peace conference, lurking about, pretending to be a yogi or swami, chanting mantras and "casting spells" on sacred pendants -- all a pretext for the fact that he was stoned out of his gourd.

All he was doing (I saw this, first-hand) was smoking pot in a hotel room designated for the media production team -- trying to pick up women!!!

Romio tried to come on to me by chanting the Ganesha mantra while holding and offering to me a cheap fake silver Ganesh pendant. I recognized the pendant instantly as identical to the handfuls of pendants I had picked up on my many trips to India, dozens of years previously. The main problem for Romio was twofold: (1) I am intimately familiar with the Ganesh mantra -- Ganesh is one of my protector deities!; and (2) as a longtime practitioner of a Kriya Pranayam meditation practice, a longtime Tibetan Tantric practitioner (I keep my samaya), and with live-wire activated Kundalini, I am INTIMATELY familiar with energy player PRETENDERS.

As soon as I chanted the Ganesha mantra back to him, Heart wide-open, staring him directly in the eyes the whole time -- he scurried away, like a cockroach does when the light is turned on.

I bear Romio no ill will. Romio is, ultimately, pretty harmless to most people (except pretty young things, whom he will try to pick up by his pretense of being a "tantric master.") He's got trickster energy -- which can actually be quite fun, when it's recognized and acknowledged as such by the person who is the container for it (rather than some kind of "high teacher" egoic pretense). The bottom line is that he has NO genuine spiritual juice, NO genuine foundation in Tibetan tantric practices, and he is FAR from being a genuine spiritual master, of any kind.

The art he helps bring into the world is beautiful. But his schtick? Kindly stated, it's mundane at best.

Things are never as they seem . . . especially where spiritual materialism is concerned.

Thanks for listening -- to my humble opinion, of course! :)

I have a modest collection of new, good-quality Thangka ($150 to $400, up to 25"), but the quality of the Thangka displayed in this collection are beyond my price and size range. If you are considering buying a Thangka, get this book first to see how high the bar can go. No faded antiques here. For the most part the book's format is one page text, one page painting, but some intricate Thangka such as the "Wheel of Life" are broken down and explained in more detail.

This was a very good read, masterfully told and researched. This is the only book that tells the COMPLETE history of indie movies. Highly recommended.

This book blew me away. I love the way it covers the whole spectrum of indie film, not just "art" but "exploitation" as well. The story of how these films came to be against great odds makes for great reading. I learned something knew on every page. Highly recommended for fans of non-Hollywood films.

This was a great read. Very well-written. It covered more than any other film book. I especially liked the exploitation stuff and how it mixed with art films: the yin and yang of indie cinema.

This is the best book ever written on independent film. I wish I could give it move than 5 stars, because Celluloid Mavericks is a pure pleasure to read: witty, informative and always extremely entertaining. No other book comes close to its breadth and detail, especially in regards to the previously uncharted territory between 1896 and 1960. This is my all-time favorite film book, well deserving of its many raves reviews.

from the New York Press 3-29-2000 - copyright Matt Zoller Seitz

Merritt's book covers a century's worth of off-center cinema, including 1890s nickelodeons, 1940s chitlin-circuit black films, Sam Fuller's genre-busting work in the 50s and 60s, blaxploitation and hardcore porn in the 70s and the Sundance wave of the 80s and 90s. The central idea of free spirits bucking the system unifies waht might have been a too-broad historical text, and Merritt's tart wit enlivens the fact-packed narrative. His prose isn't merely amusing; it's lovingly polished, a real pleasure to read. He's honest enough to admit that most 70s blaxploitation films were garbabe, "rarely as much fun as their posters or soundtracks." He coins a wonderful new phrase to describe the hillbilly flicks that flooded rural drive-ins around the same time: "Whitezploitation." He describes Tom Laughlin's "Billy Jack" as a movie about pacifists who "come to worship a man of violence," and declares, "the real hoot is seeing the messiah take off his boots and kick the grins off rednecks."

This isn't one of those fuzzy, ruminative books where the author writes whatever strikes his fancy and crams it into a bulging thematic suitcase after the fact. The preface carefully defines "independent" to mean any movie "financed and produced completely autonomous of all studios," and "semi-indie" as a movie that received studio funding at some point. The definitions cast certain well-known American films in a fresh light. I didn't know, for example, that the Oscar-winning "One Flew Over the Cuckoo's Nest" didn't get a dime's worth of funding from any studio.

Chapter to chapter and page for page, "Celluloid Mavericks" is an indespensable book, as entertaining as it is informed.

David Robinson's book is the finest biography extant of this indispensable genius of movies. I first read this monumental book 22 years ago and it has remained an indelible part of my understanding of movies and of the life and work of this complex, infuriating, somewhat naive but always questing and humanistic comedian, whose movies are finally being issued on DVD in luminous copies of his own carefully preserved originals.

At the time of Robinson's book, and for a number of years after, Buster Keaton was the preferred choice in silent comics. To take nothing away from Keaton, whom I regard as sui generis ("The General" is a masterpiece, and "The Navigator" is the funniest movie I've ever seen) this may have been more a reflection of the then-current attitudes of "cool," reacting against Chaplin's perceived sentimentality, than an argument for Keaton as the greater artist. Chaplin has recently become of greater interest, and at present his star seems much more firmly fixed, due in large part I think to the recent availability of his work on DVD. Robinson himself, in tandem with the silent cinema scholar Kevin Brownlow, is partly responsible through his access to Chaplin's mint copies of his own movies, which resulted in the superb Thames documentary "The Unknown Chaplin." In any case, it's much easier now to see and to recognize Chaplin's innate (yet painstakingly arrived-at) genius for mixing uproarious physical comedy and subtle pathos; if there is a more moving finale in all of American movies than the last moments of "City Lights," I'm not aware of it.

Robinson's approach is both scholarly and eminently accessible. And he dispels a great many erroneous "facts" that have accrued to Chaplin over the decades, many of them directly attributable to Charlie's own myth-making. The author also refutes some aspects Chaplin's late (and appallingly egocentric) memoir "My Autobiography," whose appearance in the 1960s shocked and saddened many of his former creative collaborators, who found themselves conspicuously absent from Chaplin's over-stuffed tome. If this book is not definitive -- and who can say what future writers may produce in the fullness of time? -- it is at the very least the one fixed starting point for all serious Chaplin research.

David Robinson has written the definitive biography of Charlie Chaplin. It is largely the basis for the movie "Chaplin" because it was authorized by the legend himself and thoroughly explores his life to a greater extent than his autobiography. It is truly a moving and informative work.

Robinson begins his chronology of Chaplin's life in his childhood. He was largely orphaned by his alcoholic father and was only allowed to spend time with his mother while she was mentally healthy. It was through a failed performance of his mother than he got his first taste of acting as a child. From this point, he would devote almost all of the rest of his 87 years to entertainment. In his youth, he specialized in the stage productions which entertained England. He got his first taste of America on one of these traveling tours. On a later tour, he was offered a contract by an American film company. Chaplin agreed to honor his stage contract before beginning his film career.

The book documents with reasonably precise details the process of each film he released in addition to one the public never saw and the final project he never started. Through this filmography, we see the development of "the tramp" character. With each film, the character moves closer to the final product we know.

Chaplin's personal life is well documented. Unlike the autobiography all four wives are addressed, even the one Chaplin was not very fond of discussing. The fact that his first two wives were young is not avoided. However, it must be put in perspective that people did marry and have babies a lot sooner in those days. It is only unique in Chaplin's case because the husband/father is famous and much older. Despite his work for America during war time and a professed love for the country, the slanderous allegations of McCarthyism, also known as the 1950's witch hunt for communists, forced him to finish his life away from the country he loved. Truly the red scare is made to be a more terrible embarrassment to America by this result.

Today's cinematic audience has little appreciation for the roots of the art form. Charlie Chaplin was a revolutionary and founding father in the film industry. Reading about his life is only a step in appreciating his brilliant work.

Robinson is the premier researcher on the life of Charles Chaplin, and this book is the result - a fact filled, balanced book that allows equal focus on Chaplins films and personal life. Most books tend to focus on WAY too much personal life and innuendo, but Robinson avoids this problem, and makes a good book that truly encompasses the entire life of Chaplin.

Robinson's book includes a well detailed filmography, scripts from several early Keystone films, excellent appendices, and many rare pictures. My only complaint is that many of the pictures could be printed much better, and larger too.

Superb reading!

There are only two books necessary for the true Chaplin fan; "My Autobiograpy", by Chaplin himself, and this book by Robinson. While there are scores of other books on the market concerning Chaplin's life, Robinson's is THE definitive work.

If Charlie had been around to read this work, he might have amended his famous phrase from "If you want to know me, see my movies," to "If you want to know me, see my movies and read this book".

This book, though thicker than brick, is a swift and fascinating read. You'll wish you'd known old Charlie, you really will. Robinson doesn't care for those who don't care for Chaplin, and that's a little too evident. It's hard to blame him. Overall, a stupendous piece of work.

It's a toss-up as to which of Mick LaSalle's great pre-Code books (his previous is COMPLICATED WOMEN) is superior. COMPLICATED WOMEN is a work of advocacy, in a sense -- he wants to rescue the women of pre-Code from obscurity and critical neglect, and he does so ably. This book is more cool-headed amd critical. It's also funnier. It feels more grounded in the real politics and culture of the early 1930s. The research goes deeper. The book is longer. I think they're both essential reading, demonstrating a passion for film and an understanding of history that's impressive, rare and indispensable.

The Golden Age of movies is sometimes taken as the glorious silent era. However, it can be argued that the films made right after the advent of sound provided more realism and more to think about than movies before or since. In a vital and entertaining study, _Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man_ (Thomas Dunne), Mick LaSalle lovingly analyzes the films and movie heroes from around 1929 until 1934 when censorship took over. Those interested in the history of film, and in learning more about giants like Cagney and Gable, as well as about important but forgotten former stars like Richard Barthelmess and Warren William, will find this book irresistible. After 1934, it was a long while before American films were made without a censor able to clip scenes, and LaSalle demonstrates that the pre-censorship (or "pre-Code") era was a time for realism as well as idealism in the movies.

LaSalle demonstrates that silent films were really productions of the Victorian era; men were expected to have sobriety and character. World War I, Prohibition, and the Great Depression changed all that. There was a deluge of pre-Code gangster movies, and every major actor played a gangster, even Spencer Tracy and Boris Karloff. The gangster movies, and the war movies, provided a new look at how a person might live in the world and live with himself; there was a good deal of introspection within the characters displayed on screen that would vanish when the Code came into force. Along with serious evaluation of such moral matters, pre-Code movies were full of pacifism. Repeatedly the young idealistic heroes go into battle only to be shocked at the destruction they themselves have wrought. These movies exalted individuality and distrust of governments that led citizens into pointless wars. Pre-Code films emphasized the heroism of getting wise and taking care of oneself, not the heroism of battles and bugles. There is a good brief history of Code censorship here, showing the role of the Catholic Legion of Decency and its regrettable effects. Not only did the Code enforcers impose wholesomeness on future movies, they insisted that when the pre-Code films were re-released they be re-cut into more acceptable form. Sadly, sometimes the censored version of a pre-Code film is all that remains. It was not until the ratings system came in 1968 that the Code was dismantled.

Partly LaSalle's book is a warning, and one especially pointed now that certain forces within the government find censorship in various forms appealing. LaSalle has enormous admiration for the films described here, but says, "Even vitality such as this can be squelched if a close-minded faction is obsessed, pernicious, and willing to organize." He has seen a lot more of these pre-Code pictures than his readers have, but anyone who enjoys the movies will be eager to take a look at these films after reading this book. Pre-Code films showed war brutality, governmental corruption, and harnessing courage to subvert the system. LaSalle writes, "These may be healthy things for individuals to know, but they aren't what governments like to see pumped into the public consciousness."

I wish I could have given this book 5 stars, but Mr. LaSalle had made a minor mistake. In the book's first chapter, he made the mistake of comparing most of the major actors of this era - especially Clark Gable - to the recent film star, Tom Cruise. In some attempt to put Cruise at a disadvantage, he described the actor as being "amiable" and youthful in compare to Gable. One, Cruis is more than an "amiable" actor. He has made a career of portraying some rather ambiguous and/or dark characters during the past twenty-five years. And two, he stopped being youthful a long time ago. I think that Mr. LaSalle may have been blinded by Cruise's famous smile and failed to give a more accurate portrayal of the actor's career.

Mick LaSalle has done a fine job in recording the accomplishments of actresses before the pre code "censorship" era (1929-1934 or thereabouts!) . If you are at all interested
in films of the thirties this is a MUST! And if you are just interested in films in general this will surely be "of interest". And if you are a Norma Shearer fan it is a MUST!

I guess it's too early to have a favorite book of the year, but I can say with certainty that, had I completed it in 2002, Dangerous Men would qualify as one of my top two or three -- and probably the best non-fiction book I've read: So smart, so authoritative and, as some other readers have pointed out, so funny -- funny, even as you're learning something fascinating on every page.
It is hardly the usual sort of film book. Rather it's a brilliant investigation into the nature of manhood in the twentieth century, using these films as markers along the way. At the same time, it is a movie book in the sense that you come away dying to see the movies. I'm going to be using the list that the book provides to help make my video choices in the coming months.
What a wonderful Christmas gift. I already ordered Complicated Women, because now I can't get enough of the subject. You'll probably feel the same way, too. By all means, this is a book to get.

This is such a great book. I really enjoyed reading it. It tells Buddy, Ritchie and J.P.'s story in a very interesting and easy to follow book. I would recommend this book to any Buddy fan. Five stars!

This is a great book. I have always been interested in "The day the music died" I had read several books and magazine articles about Buddy Holly's life but there was little in the way of the actual Winter Dance Party or the other musicians. I purchased this book and was shocked at how well and detailed the accounts of the musicians lives and the aftermath of the plane crash was. Larry Lehmer did an excelent job and should be commended on telling the truth not just what Buddy Holly's widow wanted or others who are wanting to cover the truth about what life was really like for all those involved. I recommend this to anyone who is interested in rock and roll, Buddy Holly or just 50's style music.

This book is great because it not only tells of the careers of those involved in the Winter Party Tour, but also tells details leading up the crash (including stops in many small towns along the way). It was quite informative.
Buddy Holly is the best known,yet most elusive and enigmatic of all Rock 'n' Roll legends.This man was a genius.The way he constructed his songs was sensational.

The initial first run of this great book was not around very long and people have been begging since for a reprint and here it is! This one is hard to put down, it is intriguing, informative and FACTUAL, which most Buddy book are not (avoid the Amburn book at all costs). What is particularily nice is that it features a great deal of updated info about the last tour & crash, info about Roger Peterson, and a good deal about Ritchie & The Bopper that usually doesn't get included. Lehmer talks to people that were at the shows, helped with the Tour, etc. No wild theories here, just the facts. Top notch in every regard. You see any bad reviews here? 'Nuff said!

Larry Lehmer has crafted one of the better journalistic books about a historical rock 'n' roll event. He brings a newspaperman's observations and senses to the project, which connects all the dots in the tragic last tour for Buddy Holly, Ritchie Valens and the Big Bopper. "The Day the Music Died" is not only entertaining -- somber and occasionally macabre in appropriate moments, and humorous elsewhere -- but it describes the days and weeks leading up to the tragic crash in Clear Lake through the eyes of people who were there. In each case, he paints a vivid portrait of a fallen star, making their stories all the more tragic. To read this book is to understand how American rock 'n' roll evolved from its early, innocent roots toward the fragmented, even chaotic market it encompasses today. I highyl recommend this book.

It is amazing to see the scope of the body of work he produced during this time period, LIFE was pissed at him Magnum fed up! All the world didn't understand his need to see! This book shows the work in full! wonderful buy.

I purchased Dream Street after reading about the Pittsburgh Project and what it ment to Eugene Smith. I think it's an important book for anyone interested in Photography, Photojournalism or Eugene Smith. The size and quality of the prints is quite allright for the price paid. And the photos are the best part. Great book!

This book was bought for Christmas for my husband who just loves photography. He has had this on his must have list for some time so he was delighted with it.

This book does a great job in documenting not only W. Eugene Smith's four years of extensive research and photographing Pittsburgh, PA but it also reveals a torment man's struggle in trying to capture something that we will never understand since his 6000 photographs of Pittsburgh set a standard for not only documenting a city but he also raise the bar in the artistic expression of black & white photography. The prints of Smith's work in this book are very good and edited quite nicely, included are some of the photograper's letters to his friend and relatives revealing the thoughts of a troubled genius in words that show he could have been a great writer, too.

I'm a Pittsburgh native, though I was born after the pictures were made. Still, I found Dream Street to be an interesting perspective on my hometown. Smith's special gift is looking beyond the typical "beauty shots"- the Pittsburgh skyline, the parks, etc., and capturing images that create a strong feeling of the local neighborhoods and their residents. While the topology of Pittsburgh creates strong local neighborhoods, it's the mix of residents that really gives it character. Local restaurants, the alleys and streets of some of the less glamourous sections of the city, and the sense of history and grandeur of Mellon Bank downtown. This book is a great opportunity to step into the past and feel the grit of a true industrial city. Smith's personal genius - and his demons- heavily influnce the project. We're fortunate to be able to benefit from his views after the fact. Special credit has to go to the editors for wading through the 17,000 images Smith shot to get down to the highlights for this book.

I got this gift for someone else, and they LOVE IT. All the information they were seeking was there, plus it helped price and identify the Fenton items they had.

The pictures in the book are beautiful, you can see every detail.

im a newer collector so i needed some reference guides.this book has tons of pictures, pricing and information from cover to cover..id recommend it to any fenton collector new or old

Book is very helpful in identifying pieces. New Fenton lovers should buy this!

The lack of an index makes this book difficult to use efficiently. The only guide is the table of contents which divides the book by pattern, then color. If you want to look up a particular piece and you don't know the name of the pattern, you will have to look through the entire book to figure it out and hope the piece you have happens to be in this book. Likewise if you don't know the color name of the piece. With Fenton, what you think is pink might actually be called peach. Is what you have light blue, aqua or turquoise? You won't be able to figure it out unless you look at every possibility. If you happen to collect Fenton "Amberina" don't buy this book, there isn't any reference at all to that color.
I find the layout too busy and hard to look out. The black type on green background for the price guide adds to the busy look.
Yes, there are a lot of photos and info but in my opinion, the book really needs to be more well organized for me to call it a good book.

This execellent book makes identifying and pricing Fenton glassware a snap. As well as the major patterns, supplemental patterns are also included. Each piece is pictured and identified so you don't have to quess what Fenton called a particular piece. The color is execellent.

It has become one of my favorite books.

A fascinating look at the birth and eventual fall of the Group Theatre through the eyes of Harold Clurman, who was the heart and soul of this theatre troupe. The Group Theatre would eventually change the course of American acting through their embrace of the Stanislavsky method of acting. Anyone with a love of theatre and it's rich history would love this book. Any actor should read it. The names that came out of the Group Theatre are like the 'Gods' of American acting and teaching "the Method". Stella Adler, Bobby Lewis, Stanford Meisner, Lee Strasberg, Clifford Odets.

As an actor this book filled me with a rediscovery of why my work matters and it inspired me to continue in an industry where success is so dificult. Though I am not a method actor i respect the accomplishments of the group theatre immensely and to hear harold clurman tell it is to hear it thorugh the glue of it all. Read this if you love theatre.

What a wonderful book. I've always loved reading history and books of all topics and times of history dominate my shelf. However there is a void that is now apparent of books of the theatre and of the artists working within it. This has been a wonderful introduction to how much can really be said about the formation of a theatre and the ups and downs of its life.

Certainly anyone aspiring to be an actor or anyone in the business looking to see what finding the art in your work is all about, this is a must read. Clurman has an amazing memory, vividly retells all that took place during those turbulent years, and does so with a powerful, strong refreshingly opinionated point of view.

All in all, really a wonderful book in both story telling and lessons that I would love to revisit soon.

The Group Theatre, modeled off of the equally influencial Moscow Art Theatre, was an artistic organization that completely and drastically revolutionized not only American Theatre, but World Theatre as well.

Formed in the 1930's and comprised of what has become a literal who's who of Theatre: Clifford Odets, Elia Kazan, Harold Clurman, Robert Lewis, Stella Adler, Lee Strasberg, Cheryl Crawford, John Garfield, Sanford Meisner and many others, The Group Theatre sought to create a vibrant and organic native theatre that sought to not only mirror the times but also instigate radical social change.

At no other time in American history has an artistic group been comprised of so many talented individuals focused on one aesthetic and political goal. Despite one's political leanings (make no mistake, The Group Theatre were extreme leftest liberals), The Fervent Years provides and endless and bountiful amount of inspiration and stimulation for any theatre artist.

Clurman writes in a fine dramatic style that boils with passion, wit and insight. The Fervent Years is required reading for all devotees of The Theatre. But don't let that scare you, it is a most entertaining read at the same time.

This book is a beautiful account of the struggles and events surrounding Harold Clurman during his time with the Group Theater. Harold starts off by revealing how his life brought him to establish the Group along with Lee Strasberg and Cheryl Crawford. It then continues and describes the significant struggles and events encountered by the Group and its members along with some beautiful and extremely important observations Harold made, not only regarding the theater community and its participants, but also about our society in general and its effect on art in general.

This book is an absolute must for any serious actor or director. For that matter, anyone serious about life would gain from reading this book. The Group Theater was a wonderful "experiment" fostered by some very passionate people who not only helped to shape theater in America, but they also played a significant role in laying the groundwork from which some of the best acting and directing has emerged as seen in films and theater since that time.

I stand in disbelief when folks in the "business" don't know about Harold Clurman or the Group Theater and it members.