Art History Books

This book is a must have for any carousel enthusiast or anyone interested in the art of wood carving. All major carvers/manufacturers of the golden age of carousel building are covered. The photography is wonderful and there is a census of operating carousels in the back of the book. Since the book is written in 1986, many of the carousels that are listed have dissappeared. Check National Carousel Association for an updated list.

OK I gotta give the book a great review as one of the authors is a very dear friend. (Marianne Stevens) I love the photos of the carousel that she purchased from my cousins!

Seriously though this book is an absolute must have for anybody not only interested in Carousels but also in amusement park history. It's a wonderful coffe table book with to die for color photographs and fascinating information.

Even children will love this book! It's beautifully done with glossy photos. Absolutely super.

Warren Crandall

Awesome book! An absolute must for anyone interested in American Carousel Art! Loaded with close up photos of all the love of labor that went into these beautiful animals! Brings back many memories of the Great Danbury Fair in Danbury, CT which now unfortunately is a shopping mall.

This an excellent book giving a good insight into the history of carousels from their early beginnings. Crammed with beautiful photographs of the various animals and some rare photographs of the carvers and their workshops. A must reference book if you are into carousels.

A delightful book on a vanishing art form: hand carved carousel animals, sleighs, and ornaments. The color photographs are excellent. The background on merry-go-rounds and round-abouts is fun. The carvers and their companies are discussed in detail. Timelines, a directory, publications, restoration services, music, and a brief bibliography are included. I would have preferred an annotated bibliography, and citations of non-bound materials. In any event, this one is a keeper, and will give many hours of enjoyment.

Painting Pets on Rocks is a fabulous step by step instructional book. My students (1st through 7th grade) created fabulous rock paintings following these easy-to-follow instructions.

I couldn't help it, it sounded so fascinating when I was invited to a "rock party". A friend held it, and all of us got together at her place. She had a bunch of field rock, (though I've heard smooth river rock is good also) and she had cleaned them all up and they sat, waiting on her front step. We took turns choosing the rock that "spoke to us" and brought it into the house for some good old fashioned gossip and a fun project with friends. Oh, yes, we had doubts! Halfway through those rocks were UGLY, and we took a few chip and salsa breaks so we could look at them from a distance (they looked better that way- Laugh!). But- amazingly enough- when we finished the last step, perfectly outlined in the book- our rocks looked GREAT!! I actually DISPLAY mine in my little rock garden, and get so many comments on their "uniqueness". What a fun idea! And takes almost no $ to get started, if you're like me, you already have the simple materials lying around from previous projects!! Great book, simple instructions, great tips and pointers- even for the novice.

It has beautiful painted rocks in it and shows just how easy it is to paint rocks. I am not a real good painter but, I do plan to give it a try. Instructions and ideas in this book are great even for a beginner like me.

Super, these books by Ms. Wellford are illustrated so beautifully that ANYONE could paint animals and such on rocks. Her directions are not only the written word, but also demonstrated by showing the drawing from the stones to use, preparing the stones, sketching from "square one" on thru the completed reproduction. These books are a MUST for any rock painter enthusiast.

A new meaning to the words "Pet Rock":

Lin Wellford has out-done herself again! I just can't get enough of her books! For those of you who have not read any of Lin Wellford's books, let me tell you, IT'S TIME TO START! In "Painting Pets on Rocks" you learn how to paint your dog, cat, fish, and even your pet bird! The book doesn't just show you one type of dog, or only one cat. Lin gives you instructions on how to create many different rock pets. From Dalmations to bulldogs, tabby cat to siamese...this book has it all.

Even if you have never painted before, you can do these projects. The book has full color, nearly step by step photos with the step by step instructions. As with all Lin Wellford books, her instructions are written for the beginner and it is amazing how well your pet rocks come out.

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

I guess the main idea here is whether or not the soul is immortal.

Does the soul exist outside of this physical, earthly experience ?

I've only begun reading Plato after years of reading a lot of other new age type books such as the Edgar Cayce material and Dr. Brian Weiss.

Plato is often consistent with those new age ideas but he expresses his thoughts in a more poetic way.

Plato and those others believed in reincarnation and even being reborn as an animal.

A new age theory about this is that if you go back to 10,500 BC and beyond you had a lot of people running around with for example the body of a human being but the head of a horse, tree branches for arms, etc..

Most people had tails back then.

This was a result of people projecting themselves into this physical dimension and getting entangled in the animal and plant worlds. As they did this across multiple incarnations they started to develop those animal appendages in their physical bodies.

It was in ancient Egypt around 10,500 BC that the priest Ra Ta and other Atlanteans helped these "things" to rid themselves of these animal characteristics.

That "mystery of mysteries" the sphinx is a creature that is part human and part lion. Don't think this doesn't have some very deep and hidden meaning.

Another key point in the book is the death of Socrates. He dies like a true philosopher, not in fear, but calmly.

At one point Socrates actually proves that one plus one is not equal to two. That's power.

Jeff Marzano

Same Soul, Many Bodies: Discover the Healing Power of Future Lives through Progression Therapy

Lives of the Master: The Rest of the Jesus Story

The Lives of Edgar Cayce

Edgar Cayce's Egypt: Psychic Revelations on the Most Fascinating Civilization Ever Known

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What happens at death? Is the soul immortal? Why does the philosopher seek death but avoid suicide? What is so attractive about death to Socrates?

This is a masterpiece of a book. While Socrates does not prove the immortality of the soul, his arguments for such, as in the "law of opposites," the "theory of recollection" and the combination of the two, make way for a very interesting and mind enhancing read and is a hell of lot more valid, intelligible and religiously inclusive than any of the biblical literalist's security hold in fallacious illusion, or was Socrates and Plato infallibly inspired? Was Homer infallibly inspired? Of course not. In turn, Socrates is counter-argued with the "theory of attunement" and subsequently argues back for the immortality of the soul.

His thoughts which entail the body as the inhibitor of obtaining true wisdom, that philosophy aids a man to go beyond his body, so that at death he can be released from the body and use his wisdom to achieve a higher realm of true wisdom, as the body acts as a place of desires that prevents men from perceiving the world of ideas apart from the world of appearances. The death of the body is the release of the soul and the condition of the soul, either that controlled by desires or that of philosophy that has brought it to a higher realm, will determine where the soul travels to after death.

Socrates further gives us a description of the round, spherical earth. This exposes the fallacy of biblical literalists who attempt to prove biblical divinity by quoting Job 40:22 and Isaiah for the spherical earth, or does that make Socrates inspired? His further description of the earth's hollows by water and the place called Tartarus brings us to the identical words of St. Paul, who certainly was influenced by many non-Christian teachings, which permeated his entire belief system. Also Socrates gets Eastern in the reincarnation of the soul back to the world of desires, including that of animals and insects, which makes this book a fascinating read to say the least. This book is a gem and great masterpiece to contemplate on. I love Plato - and Socrates too.

I will not quote myself, but I'll evoke the words that I have written here before in the review of Krishnamurti's book. Since you're reading this I guess you're interested in Plato's philosophy and this work in particular. I'll just say few words and then will let you to dive into the book and find the meaning for yourself.
This is the book that belong to Plato's later works, and debate continues whether Socrates in this book is historical Socrates or just voice of Plato. If you take into consideration few Aristotelian lines than first option would be the true one. But, no matter which one is right, Socrates here is presented as few characters of world literature are. I can not speak about philosophy here, so I shall speak about style. Bearing the posture of romantic poets, and if you picture ancient greek dungeon as some reneiscance castle dungeon, you'll have the setting. And tht's it. No quarells, no fightning and vicious murdering, just one of the most beautifull speeches conserning human soul, and only one, diginified, death.
Books like these give me hope that there is still a chance for a world to become the better place.

If it was up to me to preserve just one of the dialogues of Plato for posterity it would be the Phaedo. That is because this is the metaphysical core of the teachings of Socrates (the main character) as told by Plato. As is emphasized in the text, death is the main topic of concern for the true philosopher- and that is what is covered here. However, there is nothing morbid about it. This is a message of hope, for Socrates establishes the divinity and immortality of the soul. The good man, he who has purified himself through the love of wisdom (Philosophy) goes to a higher, purer realm to be with like-minded souls and the gods themselves. The bad man also goes to his just reward with those of like character.

If I was to abstract the core truth here it would be that the true philosopher is always trying to free his soul from the body- for only then is the soul free of the distractions and distortions that can corrupt it and keep it from direct perception of the Ideals (Absolute Truth, Good, Beauty, and Justice.)

You easily see where the Church borrowed so much of its basic theological underpinnings. In fact, reading this work abolishes forever in your mind the idea that the pre-Christian pagans were in anyway necessarily savage or barbaric in their deepest spiritual beliefs. This is spirituality more pure than anything preached by the Church- and it is supported by reasoned argument and not appeal to empty faith and authority.

The closing of the dialog is probably the finest depiction in Western literature of the death of a great and good man. You truly concur that Socrates was indeed the wisest and justest and best of all men.

Socrates is unique among philosophers, not just for his place among the early Greek philosophers, but also for the fact that he is the most famous philosopher to never write his own books. What we know of Socrates comes from contemporary accounts and students, most particularly Plato.

Set in 399 BCE, the Phaedo is a reconstruction of Socrates final conversations with friends on the day he died. We do not know when this dialogue was written, but it was probably before The Republic (Plato's most famous work, also featuring the figure of Socrates). Like The Republic, this dialogue features a well developed theory of Forms -- these are introduced gradually here, slowly filling out the details of each step. This develops the story of the caves idea from Plato's earlier work in epistemological, metaphysical, moral, and semantic terms. Plato also advances the 'imperfection argument' here -- the idea that when we sense something, it is never perfectly the thing we are thinking of, and that idea or standard to which we relate what we see, hear, feel, etc. is tying into a more perfect Form.

However, the idea of the soul is rather less developed here than in The Republic. The soul is simply mind, or intellect - all emotions are here placed as bodily aspects. This is rather Pythagorean in a fashion, that only the soul grasps the perfect Forms, and so should consist of nothing but reasoning ability, for emotions distort and cloud the perceptions and judgments.

In the end of the Phaedo, we witness Socrates drink the hemlock, without fear or trembling, as a philosopher should know the value of life and welcome death with a firm hope. The story is almost religious in nature here.

David Gallop's translation is good and true to the original (in as much as I can tell from my small Greek learning). It is somewhat tending toward the formal side. This is serious stuff, but in a small number of pages manages to capture much, and this makes it all the more relevant.

Read 4 Arguments...Jerry Mander Then this book! If you are looking for "ways" to get rid of the TV, or "ways" to occupy your families (or your) time away from the TV. This is not the book. This is the book if you would like statistics, and startling information about TV in the lives of people. Although the TV refrences are quite early 80's ALL of the information is very useful, persuasive, and passionate.

Dont believe the hype up there! It is relevant to this day in age, take yourself to account, before the TV takes you! Buy this book and dont burry it into the shelves, pass it on the neighbors, your childrens teachers, family and friends! this book is for EVERYONE!

For a long time I have been discouraged in my efforts to establish two-way communication with children. I would bring books, toys, and games to social functions and share them with children. Once one activity was over, the children would stare at me, waiting for me to start another activity. Why won't they provide any input of their own? Am I overpowering them without realizing it?

This book explained everything: the children think I'm a television!

This book is about the effects of television on children and families.The use of television starts innocently enough.Too often TV is used as a child minder so that parents can get some peace and quiet: to prepare meals, so that Mom and Dad can sleep in at week-ends, etc.But dangers lurk in this innocent scenario.Before long, the kids are hooked on watching, and parents are hooked on a device for having the kids out of the way.Marie Winn aptly calls TV a drug.Many parents are aware of the dilemma, but often they are and the kids too hooked to break the habit.Winn explores the process of this addiction and the harm done to vibrant human living.For example, excessive TV viewing hampers the personal and social development of the child, so some mothers get a job to escape from their maladjusted kids!Winn offers helpful advice to families trying to cope with TV.She gives examples of the benefits families have experienced when they went without TV, such as increased family interaction, more creative and satisfying activities,doing various things that had been put of, and so on.Marie Winn gives many examples from family life which add great interest to this thoughtful and helpful book.

Excellent. A must read for parents of kids of all ages.It is really well written and should make a responsible parent a believer. Kill the TV before it kills your kids brains or at least be very selective as to what they watch.

A wonderful book, that all parents should read in order to eliminate their TVs and *live* again.

Wow, what a book!! I wish all engines had this much technical data and pictures.

This book is incredibly detailed, with many rare illustrations.
Graham White has done a thorough and interesting history of this
fabulously complex engine. Plus, his history of Allied Aircaft
Engines of WW2 is highly recommended.

I would recommend this book unreservedly. If you are at all interested in the history, development, production and usage of these amazing engines and the aircraft they powered, this is an investment you won't regret. I'm on my second read through and still being amazed at the info.

Graham White's book on P&W's R-4360 is a fine and thorough study of one of the greatest aeronautical piston engines ever produced. If you are at all interested in the general subject of aircraft engines, or even engines generally, you should obtain a copy to read and enjoy studying and savoring it slowly over the months after you first go through it. The text is clear and it is well illustrated, all that a book on an aircraft engine should be. My only quibble, and it is a quibble, is that the down-draught inlet ports, a distinct feature of the R-4360, have a much longer history than Mr. White seems to indicate, having been used by BMW in sportscar engines in the 1930s and by Miller in racing engines even earlier; however, since these examples are drawn from outside his field of study, Mr White may be excused, and even were this not the case, the general quality of this work would win him praise not criticism.

Graham White's monumental "R-4360: Pratt & Whitney's Major Miracle" is a comprehensive history of the largest, most powerful, most complex and most sophisticated aircraft piston engine ever built. The 28-cylinder, 3,500-horsepower-plus "Wasp Major" was truly the epitome of aircraft piston engine development. The big four-row radial pushed the engineering state-of-the-art in materials, cooling systems, ignition technology, manufacturing processes and many other areas. But, to the dismay of round-engine fans everywhere, it was also a dead-end. By the time P&W's famous "corncob" engine reached its full potential in the early 1950s, the new jet engines had taken both military and civilian aircraft markets by storm. There was no longer a need for big, heavy, noisy, temperamental piston engines.

This book is definitely not for everyone. If you are not of a technical persuasion, and if you don't enjoy poring over engineering drawings with literally nuts-and-bolts details of complicated pieces of machinery, then you should probably pass on this volume. If you're not interested in learning about the intricacies of intake and exhaust valve timing, turbosupercharger plumbing and carburetor design for this big radial engine, then you should probably look elsewhere for reading material. But if you are a confirmed technophile, and if incredibly detailed cutaway and exploded-view drawings make you salivate, then look no further--"R-4360: Pratt & Whitney's Major Miracle" is the book for you.

In addition to the R-4360's development history, Mr. White includes exhaustive descriptions of all the aircraft that used the engine--aircraft such as the Martin AM-1 "Mauler," the Convair B-36 "Peacemaker," the Northrop XB-35 "Flying Wing" and Howard Hughes' infamous "Hercules" seaplane, better known as the "Spruce Goose." The information is all here, sometimes in overwhelming detail. For example, there are 80 pages of specification sheets covering each and every version of the R-4360 ever designed or produced. With its hundreds of clear, sharp photographs and drawings, this book is a veritable gold mine of esoteric but interesting information.

It's big, it's thick, it's heavy, it's a little intimidating and it's not to be absorbed in a single sitting, but "R-4360: Pratt & Whitney's Major Miracle" is a valuable work of great significance and unique depth. I recommend it without reservation as the definitive chronicle of American aviation's largest, most powerful piston engine.

My mother just loves Egypt stuff and this was bought as a mother's day gift. I previewed it (just to see) and it is beautiful. I even caught myself reading it, as it was full of information and details. I've never seen an Egyption book like this before, and don't think I will ever come across one again.

If you want a succint and fascinating guide to understanding Egyptian art then this is for you. Arranged in a most unique style, Wilkinson's book captivates the reader and moves him into a richer understanding of Egypt's language and art. Richly illustrated, this masterpiece for the layman traces the impact that the Egyptian language had upon the ancient forms of art. It provides the reader with some basic information as well as specifics which will assist the layman in understanding and appreciating this great civilization. It moved me to purchase the companion volume which I cannot wait to read. Having been to Egypt twice, I can only say that this book is a MUST for anyone who is planning to travel there. I only wish that I had discovered this book before I went there! The only thing better would be if the author himself led you on a tour to this enchanting land!

Art language, the signs by which we interpret the meaning of art, is a specialized study. I would recommend this book to anyone who would like to approach Egyptian art on a deeper level than a simple visual feast. Prof. Wilkinson has explained many of the common themes used by ancient Egyptian artists in simple terms, so that anyone who cares to read will be able to understand and appreciate the work in depth. I have found this book invaluable. The book is richly illustrated and the line drawings by Troy Sagillo are exquisite. Wilkinson has opened a path for me that I knew was there, but could not find.

Wilkinson is a professor at the University of Arizona (or was) and I believe may still be directing that institution's work in the Valley of the Kings. As he points out in this volume, one of the things often missed in regards to Egyptian art is that it is intended to be "read". Even paintings and objects in the round are often constructed using hieroglyphs. The author gives a well written, organized overview of the rudiments of learning to see into Egyptian art more of what the artist intended the viewer to see. Very nicely illustrated with an excellent selection of examples.

What a wonderful book!

The author takes 100 of the hieroglyphs used in writing Egyptian, and used in Egyptian art. (Symbols are identified by the Gardiner code number.) He dedicates 2 pages to each symbol - the right-hand page gives an analysis of the meaning and uses of the symbol, and the left-hand page, through line drawings and photographs, illustrates how the symbol is used.

Whether you study it page by page, or just dip in and browse, this book can be used, with profit, by anyone interested in the language or art of ancient Egypt.

Beneath the blanket of cultural arrogance that - even today - refuses to acknowledge the contributions made by its own citizens, is a truth that has been beautifully presented here by Ms. Willis. The images and text fully support what writer Richard Wright wrote, that, "OUR HISTORY IS FAR STRANGER THAN YOU SUSPECT, AND WE ARE NOT WHAT WE SEEM." Brava, Ms. Willis, and thank you.

This fabulous book deserves all of the praise it has earned. In addition the final chapter, "Photography of the 1980s and 1990s," includes an amazing section of modern art photgraphy, unmatched in any other photography collection in print today. Astonishing and utterly original works of young African American photographers Albert Chong, Pat Ward Williams, Chris Johnson, Terry Boddie, and Calvin Hicks are just a few highlights. In addition, Ms. Willis, a MacArthur Fellow, brings a clear, assured, and scholarly voice to her narration of this wonderful collection. No public or school library can afford to be without this book. The notes and the index are terrific. Also worth mentioning is that the prints are big enough, the paper is top quality, and the color reproduction is excellent. Deserves more than five Amazon stars.

This history of black photographers covers 1840 to modern times, presenting a wide-ranging set of images and social and artistic observations which should intrigue a diverse audience, from artists to those interested in black history. Black and white images accompany in-depth text coverage of the artists and their times in this first comprehensive history of black photographers.

... For more than a century, according to Deborah Willis, curator of photography at the Smithsonian, black photographers deliberately used their work to counter prevailing racial stereotypes and enhance racial pride. Her monumental portfolio of photographs by these artists, studio owners, and itinerant "painters with light" does more than counter stereotypes; it defies attempts to generalize about its subject.

People in this arresting collection of pictures are caught up in all kinds of ordinary pursuits--reading, working, dining, marrying, praying, talking, playing games, posing in lovely clothes, getting haircuts, making music or speeches or dinner--in a spirited, generally trustful relationship with the camera. Clearly Willis's criterion as she selected photographs was, as she says in the text, "expressive power."

Still, white Americans viewing these pictures are likely to bring to the experience the same old images of slavery, Civil Rights marches, and past or present media caricatures of black life that they've drawn from school and popular culture all their lives. Perhaps the delightful photographs of children in the book will take on ominous overtones because we know of future trials the childish mind can't predict. But such a reaction can keep us from realizing that what's on the child's mind may be partly the point.

For example, two Boston children have been posed in front of ornate ironwork, wearing starched lace dresses (it's 1910) and starched bows in their hair. They look beautiful--and stiff, and miserable! Good little girls, they've let Mother dress them up today, but they seem to want to tear off those enormous bows, jump the iron fence, and tumble around on the grass like anyone else their age.

Another example: Malcolm X crouches to hold his two daughters in his arms. He's talking to little Attallah, his eyes warmly upon her. But she turns away from her father's handsome face to stare unhappily at the audience, as if asking us just to go away for a change and give her some private time with Dad.

If the original vitality in these photographs can't keep us from calling up the preconceptions we carry around with us, this may actually be useful. The book's very freshness about what seems familiar makes us realize how old and worn-out our assumptions can be. Thus the photographs can (as Willis says in her introduction) "create a new ý historical consciousness that has the power to rewrite history itself."

But "Reflections in Black" is more than a documentary that can provoke useful debates within ourselves and between groups interpreting past or present culture. It shows that despite their commonalities black photographers have a long history of debating with each other. Is their medium an art or an engine of social progress? Should photography make mementos for its subjects or involve and change its viewers? The competing purposes and conflicting angles of vision represented in the book are part of what makes it fascinating.

Best of all, the book is marvelous for simply wandering and wondering through:

A remarkable series by a photographer who eventually lived in Seattle presents a man in three poses- - seated for his formal portrait, then hanged for murder, and finally laid out in his coffin.

Women in the book are gloriously unpredictable. Billie Holliday rehearsing with Count Basie looks like a Fifties coed in sweater, plaid skirt, and ponytail. Zora Neale Hurston smiles like an angel instead of with her usual impish brass.

Men? None are alike. A nattily dressed man waits at a bright window, fedora tipped up to let in the view, papers gleaming mysteriously in the background. A lined, leathery cowboy smokes a cigarette, his arms roped with tendons. Seattle's own Jacob Lawrence looks like a serious man at twenty and equally serious midway through his life, midway up a stepladder, in reverie.

Elsewhere, a lonely stony beach caresses the eye with dark grays and liquid silver. And beside a brick building draped with a gigantic sky-blue banner painted with the face of Malcolm X, a black cowboy rides through a golden field.

"Reflections in Black: A History of Black Photographers, from 1840 to the Present" comes awfully close. The photos vividly chronicle the Black experience in America. From the famous to the not so famous, all the joys and sorrows of a people are marvelously presented in this exquisite document. The accompanying text is entertainingly informative. The authors have truly outdone themselves.

I will be purchasing a few copies for friends. Others, I will tell to get their own.

It's THAT GOOD!

I highly recommend this book for your library. As a graphic design student, it helps me prepare myself for what my competition will be. I love how it shows the original piece and re:designs from other designers. The interviews are so captivating it is hard for me to look at just the piece alone without reading the interview. It will help you become a stronger designer, and as a student, it will help you become less intimidated. Great book!!!

This collection of original ads and the subsequent exercise done by at least 4 different design firms is a very interesting approach to an art book. I enjoyed the accompanying "interview" with each designer so you could align the feeling you got from the rework with their explanation of the approach.

I work as a designer myself in an advertising agency and have only had this book for a short time, but really enjoy looking and reading through it. It has givien me inspiration and motivation in my own work. Also it has been a good way of seeing how other designers and artist percieve the same idea or concept. This book is great for anyone who wants to see or learn how other designers work, it's a good motivational tool.

Right when I opened this book I already knew that I would be hooked. The idea that certain design work would be redesigned by other designers helps me to see that there is never one way to solving a problem. If you want a new perspective on a project you are on, perhaps this book will help!

Quizás lo que aprendí en este libro es que cuando estamos trancados en un diseño, es mejor empezar desde cero, como si nunca hubieramos trabajado alguna idea sobre el mismo desde el comienzo.

It's a long title, to be sure, it is so terribly important that more people know who the great Hecky Krasnow is, and what he has made possible, that even those who read the title can get the idea.

He should be a household name, considering that, if not for him, we would never have heard the songs "Rudolph, the Red-Nosed Reindeer," "I Saw Mommy Kissing Santa Claus," Frosty the Snowman," "Here Comes Peter Cottontail" or one of my favorites, "Suzy Snowflake." He believed in these songs when others did not. He bucked the Columbia brass when they and every other label had no use for Johnny Marks' "Rudolph" song. Even Gene Autry was reluctant. The song made added millions to Autry's bank account, as well as those at Columbia who first rejected it. The only one who did not become rich was Krasnow, who was, like many of us, a corporate worker bee with a wife and children to support.

But as this book makes abundantly clear, Hecky Krasnow was rich in the ways that really count. In an exhaustively detailed account of growing up in a suburban household where Dad often took the kids to work, where the likes of Gene Kelly, Rosemary Clooney, Art Carney, Bob Keeshan, Paul Tripp or Jackie Robinson was doing a children's recording, Judy Gail Krasnow deftly shares her storytelling gifts by providing as many sensory details as possible. You really feel like you're having dinner at the Krasnow's, right down to the tasty roast beef with pan drippings.

The anecdotes run the gamut to the absurdly funny (a party at "Tubby the Tuba" composer George Kleinsinger's Manhattan penthouse, which is a living jungle of wild animals, bugs and shrubberies) to the frightening (personal accounts of racism and a kid's-eye-view of McCarthyism). Either Judy has one astonishing memory or she kept a very copious diary.

When rock & roll and the youth market began to change the face of mass entertainment, the "golden age" of children's records as Krasnow experienced it (with kid discs like "Little Red Monkey" hitting the charts and crossing over into mainstream pop) were fading. (And yes, the success of Disney's venture into recording also crowded out most of the competition -- what can I say?)

Fortunately, Judy Gail Krasnow has created this loving tribute to her father so we can all appreciate his contributions to our lives. It's also reassuring to learn that this man was such a kind and decent human being. It would have been so disillusioning to find out that the person behind these records really cared about what he was doing and who was listening.

His work may not have made him rich, but we are all the richer for it.

This book was a wonderfully written biography of a father, extremely talented, and a period of time - the 40's and 50's - and its music - how it came to be acknowledged and published. Hecky Krasnow, father, husband and friend was a remarkably talented man. I am so glad to have been able to share in his life and the music business at that time, through the excellent storytelling of his daughter Judy. It was a joy to read!!!

I have just finished reading "Rudolph, Frosty, and Captain Kangaroo", Judy Krasnow's loving memoir of her father, Hecky Krasnow. His career in the children's music recording industry of the 1940s and 50s as a writer, producer, and all-around cheer-leader is described in such colorful and interesting detail, that I came away from the book wishing that I could have been Judy's best friend, or even better, a brother or cousin, growing up with her and sharing all of the wonderful adventures that she had being involved with her Dad as a pre-teen in the recording sessions, parties, etc. This book brought to life the very large collection of vintage kiddie records which I own, including just about all of the records produced by Hecky. Prior to reading this superb book, the records on my shelves had an inanimate quality to them. That reality has been radically altered as a result of Judy's sharing of her personal account of the stories behind the records that Hecky produced for Columbia records. But the book goes way beyond just the discussions of the records themselves. It is a great look into an era of "innocence" in our nation's history as seen through the eyes of a kid growing up after World War II in the New York City area. It has been my distinct pleasure to know you, Judy. Thanks!

I met Judy Gail Krasnow as a fellow author in the South Florida Writer's Association. When she began to describe the book she was planning to write about her father, I knew the story would speak to me and I couldn't wait for her to complete the project. This book was worth waiting for. As others have noted, it brings back an era in vivid detail. I found that I was enjoying the book so much that I forestalled finishing it as long as I could because I didn't want it to end. The book gives us an inside peak at a very important time in children's music and it also permits us to appreciate the stories behind the stories of Hecky Krasnow's personal and public worlds and Judy's experiences being a part of it all. Judy is, of course, a master storyteller and she brings us into her story most magnificently. I told my seven year old grandson that I knew the daughter of the man who discovered Rudolph the Red-Nosed Reindeer. His eyes widened in awe and the two of us strode up Broadway singing the song. You will sing when you read this book. At times you will laugh out loud; at others you will cry. It is a terrific read. I bought it for everyone on my holiday list.

Here is a unique contribution to the bookshelf of behind-the-scenes memoirs
about the recording industry. Though millions of children grew up listening
to "kidisks" in the decade following World War II, Judy Krasnow is one of
the few kids who actually witnessed them being recorded, and the only one to
write about it. Her narrative is told with childlike enthusiasm, and her
memories are enhanced by several scrapbooks-worth of primary documents.

Judy relates many anecdotes of growing up in the recording studio alongside
her father Hecky Krasnow, a Juilliard-trained musician who headed the
children's record division of Columbia Records from 1949 to 1956, and whose
biggest claim to fame is having produced Gene Autry's megahit recording of
"Rudolph the Red-Nosed Reindeer." He was also the music man behind Captain
Kangaroo, and dozens of popular children's records in between.

There is something in these pages to satisfy almost anyone with an interest
in American popular culture. In addition to the great singing cowboy, we get
a few famous crooners, a very important baseball player, the haunting
specter of McCarthyism, a psychologist and his healing machine, a gig on a
really really big TV variety show, bookburning, payola, Chef Ed Norton, a
totally bizarre party at a composer's penthouse atop the Chelsea Hotel, a
guitar lesson from a Frosty folksinger, and quite a lot more.

We come away with a loving portrait of a very decent, talented man, who,
unlike many of his peers in the record biz, didn't get filthy rich. He did
better than that.