Art History Books

This a wonderful book portraying an incredible time of Picassos life and also of the other great artists of that time period with whom he was sharing this spectacular period of creativity with.

John Richardson has outdone himself and this book is a must for all art lovers!!!

Mr. Richardson has out done himself on his Picasso opus. He displays Picasso in the light of his work and his influences without fluff and sensation. The book is a pleasant and interesting read sans the dry, academic, and often inaccurate writing of other books on Picasso. He also down plays the sensationalism producing a sensative and revealing portrait of the greatest artist of the twentieth century. As an artist myself, (www.arteespanol.us), I found this book extremely informative, useful, and entertaining. I highly recommend this, and Mr. Richardson's previous books on Picasso to art lovers and lay people alike.

John Richardson's long awaited third of four volumes of "A Life of Picasso" does not disappoint. The writing is insightful due to the author's personal relationship and knowledge of the artist. The first two works provided more than simply a lesson in art history, rather, an encompassing view of the life and times of the man and his culture. This most recent work continues the saga in the same well written manner.

I love Picasso and to read about him as a regular guy living his life is very revealing in that he is human as well as a protean god of Art. Loved this book as it continues the story along. The only real criticism I have of J. Richardson is that it seems he's in a rush. Quite a difference from the slow but sure tone of the first two books. It seems for some reason that he went in and took out a lot of stuff some stupid editor told him was too much for any one to care about. Wrong. I sure hope he finishes the proposed 7 volume series but for as long as it is taking him to write it, well, I will keep my fingers crossed because he writes in a honest way the story of one man who changed the world.

If you think you know Picasso's work, this book will convince you otherwise. John Richardson has done a tremendous service by sorting out when Picasso produced his greatest works between 1917 and 1932, what sources he "borrowed" from, what he was trying to accomplish, and how all of these works affected his career. This book was quite a revelation to me. Simply by seeing a lot of his work (as you can do at Musee Picasso, for example), you quickly realize that Picasso constantly copied himself. And, of course, it is well known that he borrowed much while trying to establish a style and while working with Braque to develop cubism. But Picasso borrowed early and often in ways I didn't realize. In that sense, he was a supreme stylist who could execute someone else's idea in a more profound way. I came away with a new appreciation for that aspect of his talent.

While Picasso was alive, very little was said in books about his mistreatment of women and the motives behind his paintings of his wives and lovers. While his second life was alive, people were still pretty circumspect on this point. But now we know that Picasso was louse when it came to women and his family. This book gives you the full story of his first marriage, relationship with his young mistress who inspired so many joyous works, Marie-Therese Walter, and his constant attraction to prostitutes.

There are some other surprises in this book including how central his work with ballet was in creating interest in his paintings and sculptures. It was through Diaghilev that Picasso met his first wife, Olga Khokhlova, a ballerina in the Ballets Russes. Picasso decided it was time to settle down and marry. Despite having had long relationships with women before, he now was looking for someone who would help make him respectable. In the process, Picasso adopted the lifestyle of one of the first wealthy artists (famously being driven around in one of the world's most expensive cars by a chauffeur in the middle of the world-wide economic depression).

As good as John Richardson is on those subjects, he can be most annoying in other ways. For example, Mr. Richardson seems to have an obsession with Jean Cocteau and writes a lot about him even though Picasso didn't like Cocteau very much and Cocteau didn't influence Picasso very much either. Mr. Richardson also has a writing style that can be enormously elusive, describing what happened without saying anything. Picasso's wife seems to have had a lot of physical and mental problems but these are mentioned without providing much real information other than when they occurred. A greater problem comes in that Mr. Richardson likes to drop in lots of French phrases (I read French so I had no problem), but if you don't read French it makes the text harder to follow. Some will also find some of Mr. Richardson's put downs of those who disagree with as being rude and high handed. Perhaps the most annoying problem comes in using academic words to describe distasteful aspects of Picasso's personality and behavior. It's like putting lipstick on a pig.

But I advise you to read the book while being prepared for its weaknesses. I'm afraid there is no substitute. The generously represented art makes up for the weaknesses.

A Living Lens is a wonderful collection of photographs that not only demonstrate everyday life of Jews throughout the United States but it is accompanied by a rich text authored by witnesses to this history. Of all the photography books about the Jews of the 19th and 20th centuries thids one ranks at the top. A must see and read.

This collection and commentary was great....and more than met our expectations. It sits now on our coffee table for all to review and reminisce.

Beautiful book, well written. A book for anyone to share with their children to teach them an important part of our US history.

As the grandchild of Polish / Ukraine immigrants who read the Forvitz, this book lovingly captures the memories of a time long gone.

Earlier this year, I had participated in a tour, including the old Forward Building in Lower Manhattan, with our guide being one of the photographers for this beuatiful book. I was so happy with the book which arrived in exellent condition.

Thank you.

Renate Stone

"A kaleidocycle is a closed chain of tetrahedra that can cycle endlessly through a center hole. ? Best known for his strangely realistic depictions of things that defy the laws of physics, Maurits Cornelis Escher became interested in problems of repetition and symmetry after traveling to the Alhambra, a 14th century Moorish castle in Granada, Spain. Fascinated by the periodic (i.e. regularly recurrent) designs of the castle's mosaics, he began to pursue the idea that a plane can be divided into uniform, interlocking figures, forming a pattern that repeats itself at set intervals, theoretically to infinity. Instead of simply combining abstract shapes to produce a pattern, however, Escher decided to use more meaningful figures--shells and starfish, angels and devils, for example--images that could be connected not just graphically but also conceptually. Kaleidocycles, created by mathematician Doris Schattschneider and graphic designer Wallace Walker, explores the three-dimensional implications of Escher's two-dimensional periodic designs. With a little glue, you can easily assemble the enclosed models--all printed with repeating patterns derived from the artist's original drawings--into various kaleidocycles and geometric solids. In doing so, you will transform Escher's beautiful designs into true examples of infinite repetition: the interlocking images will wrap endlessly over the surfaces of the three-dimensional objects. ? Kaleidocycles contains a 48-page book with over 80 reproductions and diagrams, assembly instructions, and a fascinating discussion of the geometric principles and artistic challenges underlying Escher's designs and their transformation to three-dimensional models; and seventeen die-cut, scored, three-dimensional models (11 kaleidocycles and 6 geometric solids) Cigar box-style packaging, size: 9-1/2 x 12-1/4 x 1-1/2". [Refers to revised edition:] ISBN: 0-7649-3110-5

KALEIDOCYCLES 3-D MODELS ONLY
"Purchase an extra set of the 17 models for each additional participant. Assembly instructions are not included. ISBN: 0-7649-3207-1."--? Pomegranate

Want to get your kids or students interested in math? Let them put together a geometric solid covered with interlocking trolls or other tesselated designs, then hang them from the playroom ceiling! Your kids will never get over it!

Beautifully colored, easily put together. and very, very neat...

This is the bet presentation and best manufactured kaleidocycles that I had bought. Sent in a very good and fast way.

If you are as fascinated with the graphics of Escher as I am; you'll be entertained,amazed and engrossed with this 'kit' which allows you to assemble and hold these wonderful models of intrigueing mathematics , coupled with the graphic art and figures of the master himself; M.C.Escher.
It is one thing to look at Escher's magnificient work in 2-dimension; but it is another experience entirely, to hold these 3-dimensional models and view the figures and patterns as you turn as fold these models on themselves,
One of the other reviewers talked about creating additional models; and that is obviously possible ,because there is all the information needed to do that; right here in the book.
I have had this kit for some time ; but hadn't actually constructed any of the models. I recently was told about a man who constructed ball and stick models. I contacted him,and visited him to see his models. I brought along with me a book ,
"Polyhedron Models" by Magnus Wenninger .This is an outstanding book covering the subject as well as 119 models. The man I was visiting ,had the book and even knew its author. This book deals with models whose surfaces are flat and made of cardboard or if desired ,other materials. To see what these fascinating models look like, look them up on the net under "Magnus Wenninger".
The man I visited constructs similar models;but uses only wooden balls and sticks. Think of those chemistry models of compounds,and you can imagine how beautiful and interesting they can be. All models begin with one of the known uniform polyhedra and from them the stellated models are formed. The variations are in the many millions.
Anyone who has much interest in this sort of stuff will find an excellent chapter ,Polyhedra,in "Mathematical Recreations and Essays" by W.W. Rouse Ball,a real classic in the subject of Mathematical Recreations.
The man I went to visit has been working on these models for many,many years. He has created his own techniques and even an intrigueing appratus to make the holes in the balls. The exactness is so critical,that making them by hand would be terribly difficult. To date he has made about 500 0f these ball and stick models.
So, after my visit,it was a real joy to cit down and construct some models.

My 9-year-old son and I had tremendous fun assembling the models in this kit. Each of the models in the kit contains an adaptation of Escher's periodic design in a way that the geometric solid is continously covered with it. Though a unique personal experience, my son learned what tetrahedron, octahedron, dodecahedron, cuboctahedron and kaleidocycle look like. This is the best project we ever worked on.

I have been accumulating ceramic tile books for some time, and this one is very good as a beginner volume showing several differing techniques on how to make your own tiles, as well as paint and fire existing tiles. It shows how to make differing shapes, how to glaze & carve, as well as how to properly install what you've created. There is a little bit of everything in this volume, as well as very clear instructions and photographs. I enjoyed reading this very much, and will refer to it more in the future as I work in tiles.

Anyone wanting to learn about making clay tiles and tile moulds would enjoy this book. A wealth of information. It gets the big tick.

Very good info, and enough of it was unique enough to make it well worth purchasing over some of the other Tile How-to books. Good source for anyone, such as myself, who is interested in delving into a new avocation.

This is a well written book full of good advice and sound techniques. It provides good step by step photographs of each technique that shows each process clearly. The book also provides a great range of images for inspiration and ideas. An excellent book for beginners through to the experienced.

I have been an collector of pottery and tiles for many years. After signing up for a class to make tiles, I purchased this book. It has wonderful detailed explanations and illustrations of many tile making and decorating techniques. I refer to it often and enjoy looking at the many beautiful handmade tiles in this book. If you love working with and collecting pottery like I do . . . GET THIS BOOK!!

This is the first publication with his entire collection. Even lost paintings are represented by old black and white photographs. The images are not large, but the quality of this book is wonderful. By far the best buy for any Rothko fan (besides an original...)

Opening the package as it arrived from Amazon, easing this massive catalogue from its slipcase triggered a memory: walking to the edge of the Grand Canyon. With similar impact: awe. David Anfam brings the reader with him to encounter, view, & experience Rothko's work. His ten-year dedication paid off with the discovery of "lost" titles, setting the chronology of 836 works on canvas, (he couldn't have been afraid to get his hands dirty) & analyzing the slow struggle, sporadic leaps engendered by the painter in the evolution of the oeuvre. As scholar, teacher, critic, curator, & especially writer, Anfam proves the perfect choice to perform the daunting, almost impossible task of bringing Rothko into focus.

The author insightfully tracks the early representational beginnings, (his foray into narrative linked with crossing boundaries is totally appropriate for the artist from Dvinsk, Portland, New York) through the mythological (application of Kermode's distinction between "Chronos" & "Kairos" is utterly intriguing), & makes a case for Rembrandt as the source for Rothko's obsessions with tragedy & darkness, Vermeer his source for color's sensuality. Anfam traces in detail, using numerous examples of the brilliant reproductions, how the multiforms foreshadowed the work of the classic period. The architectural contexts for the Chapel are pure genius: Vincent Scully's, "The Earth, the Temple, & the Gods"; Joseph Rykwert's, "The Dancing Column"; & Leo Bersani's, Ulysse Dutoit's, "Arts of Impoverishment."

Anfam's breadth of vocabulary is English, yet he has benfitted from years in the States with a rapid, laconic language that impels the reader forward, informs succinctly. Purposely parrying time-worn quarrels, he unearths the more "thorny," "shady" aspects of dilemmas presented by such a complex art.

Two things happened as a result of reading MARK ROTHKO / THE WORKS on CANVAS / CATALOGUE RAISONNE. During a recent visit to C&M Gallery in NY for a show of eight Rothko's, alone in the second room, I heard them. A few nights ago I had a dream of a handwritten note on a table in the front room of an auction house that said, "The Last Painting." Rereading Helene Cixous's essay by that name (subtitled, "Or the Portrait of God"), she writes, "I think of the last Rembrandt. A man? Or a painting?" [in Cixous', "Coming to Writing and other Essays."] Anfam has presented us with the triumphant Rothko.

A work of major importance in the history of modernism, David Anfam's catalogue raisonne is brilliant, lively, entertaining, and handsome. Combining vigorous scholarship with creative imagination, it offers the best ever understanding of Rothko and must be considered a prerequisite to any and all encounters with Rothko. Anfam's eloquent text takes the reader through the paintings in a most delightful way while the paintings themselves are a joy to see thanks to what surely were monumental efforts on the part of all those involved with design and production. This book is the best of its kind in every way and a bargain at the price!

David Anfam has given students of twentieth-century art the much needed and previously missing in-depth study of Mark Rothko, a key figure in understanding the esoteric art of this century. Lesser studies by lesser minds have failed where Anfam has not -- scholarly attention to detail; carefully informed visual analysis of ALL the works on canvas; subtle conclusions; historical context. Anfam's rasionne is a must read!

Anfam's study is a great deal more than a much-needed reference book. Anyone interested in the history of modern art would find this study illuminating and exciting. Not only does it provide the first complete catalogue of Rothko's paintings on canvas (almost all in gorgeous color reproduction), it also includes numerous fresh and original insights concerning Rothko's intellectual and artistic sources. A monumental scholarly achievement, this volume will long remain a model for the field.

Having a pretty large collection of drawing and colored pencil books I figured there wasn't much I would get out of this one. I was wrong. This book really took my colored pencil paintings to a new level. Like a lot of other colored pencil books, you really need to have drawing skills as this book won't teach you how to draw. What you will learn is how to make your colored pencil paintings look like paintings and not bland one dimensional drawings. This book will teach you how to bring life to your drawings with vibrant, bold color. Get this book and try one of the drawings (I did the marbles) and if you follow the directions and take your time you will be amazed at what you can create. I find myself going to this book to help guide me each time I start a new project and it hasn't let me down yet.

"masterful COLOR" is well written in a clear concise format. Explanations from concept of idea to composition using the latest digital equipment as well as basic equipment needed is well taught. This is more of a "how I do it" book, rather than a broad spectrum book detailing supplies, equipment, techniques and other basics. With this in mind, Arlene Steinberg eliminates the need for lengthly explanations so you can focus on how to expediently execute a well conceived painting. A detailed summary of color theory and underpainting styles used by the Old Masters was exceptionally insightful and unique to this fine art medium. I consider this purchase a part of my foundation in learning the art of the colored pencil.

I found this to be an excellent book on colored pencil. The lessons have a lot of detail and many step-by-step photos which make it a lot easier to complete the projects than in some books. I am using the book as if I were taking a course in color pencils, completing the paintings in the order in which they appear in the book. Most of my drawings are actually turning out to look like the ones in the book. When they don't I do them again paying closer attention to the instructions. I am learning a lot about layering color to get rich tones. I don't think all colored pencil artists build up that many layers to achieve the colors in their paintings but I think that it is worth it to learn this way. Now, when I do a leaf I won't immediately reach for the greens or when i do a red flower, immediately reach for the reds. I have been trying color pencil and knew I needed more instruction but wasn't sure where to start. I was so excited when I got this book because the book gave me the answer.
I did find that my paintings came out more true to hers when i traced the finished painting in the book to make my pattern instead of using the line drawings in the back of the book but all-in-all it is a wonderful book.

Other reviewers have thoroughly covered the author's inclusion of every aspect of colored pencil in this book. They are right on the money. The reason I bought this book, however, and the reason I like it, is stated in the title. 'Masterful Color.' That truly says it all.

This book is filled with color, glorious color! Color and value, the color wheel, training your eyes to see color, and even some history behind the use of color. The demos sparkle with tints and shades, and the references to the Old Masters, and their use of color and technique, are particularly interesting and useful, especially if one wants to paint like an Old Master someday. And that antique look appears to be coming back into fashion.

The usage and properties of color build, in this book, from the ground up. I love to underpaint, but I am never sure which color to use under what hue. On page 47, there is an extremely handy tool...a chart illustrating color combinations that will make your paintings shine! This color chart must have taken days of work and years of experience to develop. Possession of this chart alone is worth the price of the book.

I buy many colored pencil books, but today's market is becoming so saturated, it is difficult to find something new in every book that comes out. This book contains new and different material, and it is a must for the colored pencil lover's library.

As a gallery director and host to one of Arlene's three-day workshops, I am happy to say that she has managed to condense an entire workshop into an excellent instructional book full of step-by-step demonstrations, color information and basic templates. Beginners, intermediate students and artists at all levels will find this book to be a very useful tool. Masterful Color: Vibrant Colored Pencil Paintings Layer by Layer is the next best thing to taking a workshop from Arlene. It is a must have for all colored pencil artists and for anyone who wants to learn about colored pencil.

As a weaver, this text is helping me understand both the "what" & "why" of such things as warping & designing, as well as the total weaving process.What were before a series of steps to be mechanically followed,as in warping, now make sense in a grand way. This text has allowed me to begin "taking control" of the overall weaving process. It is giveing me the confidence to venture beyond previous limits & repititions of "The Known". The knowledge within the covers of this book is converting "MYSTERIES" into "Aha! So THAT is how it's done!" This new KNOWLEDGE has opened the door to NEW ADVENTURES in weaving for me!
And finally,Amazon's bargain price & free shipping made my purcahase possible.

Outstanding study & discussion of weave structure and it's affect such as drape, rigidity, uses. Not only includes study of weave structure but also includes her extensive study of color & fiber and their affects. Highly recommended for even the advanced weaver who weaves complex patterns. Nice reminder of some concepts I've forgotten. Not a pattern book. Sharon has stimulated me to reach beyond the known to the unknown.

I was very impressed by this book. I just picked it up a few days ago, and already have a much better understanding of what in a weave structure makes stable cloth, what to expect from different weaves in terms of draping and breathe-ability, working with Z and S-spun yarns, and even a bit about what to expect from different fibers (although this is not the focus of the book.) The construction of this book is also excellent--it's a heavy, hardbound book with coated paper and clear, well-shot photography. I'm excited to have this in my weaving library and highly recommend it.

Alderman is one of those rare combinations of artist AND teacher. The photographs grab you first. The charts are clear. The explanations are detailed enough for beginners. The various weave structures are charted for 2-, 3-, 4- 6-, 8-, and more-harnesses, as each structure may allow. Those new to weaving might find the directions less intimidating if they read the first two chapters before skimming the later chapters; the explanations will make more sense. This is a good boost to your creativity as well as a source to better understand weave structures.

I bought this book at the same time I purchased Twill Thrills, and couldn't tell you which one I like better. Mastering Weave Structures is a must have for every weaver, especially new weavers, or anyone wanting a better understanding of why things look the way they do, and how to make something look the way you want it to. Loads of beautiful pictures are inspiring. A great book for weavers of all levels.

Matisse is considered by many to be one of the most prominent artists of the 20th century, with Picasso being the other. Cezanne, of course, was the spiritual father of them both. The problem with Matisse was that he was so devoted to his art that it was almost as a mistress to him, to the detriment of his marriage and family and nearly all other relationships.

Matisse went his own artistic way and did exactly what he wanted regardless of what his family or the public thought. He was sometimes considered a Fauvist (colors reigning supreme) and sometimes an abstractionist, but never realistic and traditional. His art was seen during his lifetime as shameless, unrealistic, existentialistic, and simple in a child-like way, erotic, lewd, and many other things. People are less shocked by it today since it is seen in the context of late 20th century and early 21st century work; his so-called sexy odalisques, for example, are mild by today's standards. He was seen as a decorative light-weight in comparison to Picasso, who did more energetic and masculine work. Helen Spurling thinks the disappearance of so much of Matisse's work diminishes his true status as a great artist; some of his work went to Russia and was retained there because of the Cold War. Picasso and Matisse, by the way, became close friends towards the end of his life. He was almost like an elder brother to Picasso and in a certain sense they had an exclusive club based on their art which no one else could understand.

I've always liked Matisse and have seen the great Cone Collection of his works at the Baltimore Museum many times. I confess not totally understanding what he was trying to do in simplifying the shapes and colors in so many of his works. I'm starting to see that he was an artist's artist, unconcerned whether the public understands him or not. I guess that's OK, but he suffered severe criticism most of his life because of it. He was almost admirable, like a monk totally disciplined for his god, Art. The women in his life, by the way, made his life as an artist possible. His wife Amelie and daughter Margo took care of all the details and a Russian model named Lydia did so towards the end of his life. Unfortunately, Amelie thought (incorrectly per the book) that Margo and Henri were lovers and that broke up the marriage after WWII.

Hilary Spurling does a good job of condensing and making sense of the massive correspondence of Matisse and his family. My only complaint is that it could have been more condensed. It felt a little like a daily log in certain places. I'm sure she was trying to finally give the master his due.

Those of us who live today are spoiled in one sense that we don't realize: We can see Matisse's work on display and appreciate its evolution. That wasn't possible until just the last few decades. Until then, many of his most powerful works were locked up in the Soviet system and not on display or were in the hands of reclusive collectors.

That's an important point to remember when you wonder why Picasso has gotten so much more attention than Matisse, you could always see Picasso's work and Picasso courted attention.

Matisse, by comparison, found that it took all of his energies just to create art. There was very little time left over for his family and the rest of the world. He also wasn't inclined to seek out those who could explain and defend his work. As a result, he was widely misunderstood and underappreciated during his lifetime. This book corrects many of those problems.

Of particularly interest is the finding that although Matisse spent his life painting voluptuous nudes, he didn't indulge in having sexual relations with his models. Rather he used the sexual tension the models created in him to help inspire a better work. The models did become, ultimately, the undoing of his marriage . . . but not for the reasons you expect.

As fascinating as he is as an artist, he even more interesting as a creative person and head of a family. Matisse saw his family's role as being there to serve art. Although in a crisis, he would show up to encourage and aid family members and friends . . . usually he was off painting or sculpting by himself in sunnier climes. The rest of the time, they were doing administrative tasks, critiquing the works, staying out of his way and helping him enjoy a tranquil existence.

Anyone who wants a deeper appreciation of Matisse's work will learn from this volume. Although the book would have been better with more color plates, the pages are generously illustrated with black and white reproductions to give you a sense of his focus and development.

For artists, the book's many insights into the pros and cons of relationships with collectors and dealers will make the volume a "must have" item.

I didn't know the background of many of his best works, such as Jazz. It was a pleasure to better understand why he did them.

In particular, you will come away with a new appreciation for Matisse's use of color to capture emotion. Think of The Red Studio and the Conversation.

I seldom savor biographies as much as I did this one. I plan to go back now and read the first volume in the series, The Unknown Matisse.

Ms. Spurling's extensive use of Matisse's letters (and especially reproducing the funny little cartoons he liked to put in them) made the book a special joy.

Nice work, Ms. Spurling!

Superb! Not only one of the best biographies I've read, it get's into the mind of the artist. This is not an easy thing to do. I read it as I would a novel, it was very hard to put down.

Such a wonderful book to read! After seeing his works of art at the museums in New York (MET - MOMA); in Maryland (BMA); and in California (San Francisco), it is a joy to the human spirit to read this biography. This book offers the reader all the underlying events contributing to each of his major works of art. It allows us to better appreciate his extreme and intense efforts to create; it allows us to recognize his unquestionable courage to be himself while many of the art world turned away from him; and one will learn of his life long love of the natural world (birds and plants) and his view of the importance of the spirit of man. Further, this book allows the reader to see his social frustration; one can learn of his powerful drive (so red hot) to create, and one will see in words how he commanded everyone around him to assist him in his zeal to achieve his personal best in art. As the book denotes towards the end even Picasso, the great competitor, stated in a discussion of one of Matisse's later works (the Chapel in Nice): 'Only Matisse could do this!' Read to learn, read to know, and read to be more deeply passionate in love with Matisse as I am!

"Artists are like plants whose growth in the thickets of the jungle depends on the air they breathe, and the mud or stones among which they grow by chance and without choice." Matisse's words coupled with his life as proof of what van Gogh said about the love of art making one lose real love make the reader feel the pain, the joy and the rich colours of his life all that much more. He made us understand.

Hilary Spurling's masterpiece (savoured by me for endless months, days and hours) has been an extraordinary experience I never wanted to end - both volumes. And now her biography is all locked in my mind - hopefully, to be recalled again and again in painting after painting and life experience after love experience - thanks to all the years of her hard work and research.

I am now filled with the colours of the Master - just as he'd installed 'The Tree of Life' in "a change of key that brought an extraordinary clarity, serenity and stillness to the music of the chapel." If the student of art, the student of life might only read pp. 455-456, he/she would be amazed at one whose talents were mocked ("any child could paint better than Matisse." ... "...his inventions seemed not simply monstrous but blasphemous as well.") and would ache to have had the chance to be a simple fly on the wall in those last years of his life when the many energies swirled about his taxi beds and many wond'rous studios ever-changing, metamorphosing, revealing and displaying, nurturing, teaching... revolutionary!

Let us not forgot his bedrocks - the women who made all his successes possible are miraculous and astonishing... Lydia, Matisse's remarkable genius manager (we should all be so lucky to know such a dynamo); Amelie, his extraordinary wife and her 'nine lives'; of course, Marguerite, his daughter, whose amazing vitality and strength of character resounds on almost every page of his life story; she was one (by her great courage) who humbled him more than anyone else could; and the countless models and interns...

As a side note... I remember in January 2006 when Hilary Spurling "scooped one of Britain's most prestigious literary awards," Whitbread Book of the Year prize, just as the big scandal exploded about Oprah's book club "author" protégé/scam artist James Frey was exposed. I thought to myself, "There is still a god!" What kind of mindless person would turn to Oprah for advice on what to read in the first place?! What does she know about literature?

I am humbled at Hilary Spurling's great accomplishment and would love to meet her one day so I could sing her the song I wrote about Matisse and the story of his blue butterfly. [...]

"The blue of that butterfly and Cezanne
made you more of a spiritual man."

Lots of good pictures and stories behind the filming of the show. If you are a fan of Andy Griffith, you can't go wrong with this book.

I've never seen such a great Mayberry book before!! It has many wonderful pictures, and tons of great history. I read this straight for around 3-4 hours, and it has great memories or the actors reminiscing... Ah, well, it's worth buying for the price, this book is worth it!! Very high quality.

I recently bought this book for my grandparents. It was such a joy to sit and watch them remember back on all the episodes they had watched. If you were a fan of the Andy Grifith show this is a must buy for you

This a very unique book on a unique show. It is not the usual Ken Beck and Jim Clark quote book with quotes taken directly from the show or text describing the characters or episodes. The text briefly describes each season and the rest of the book is filled with photos and quotes from the actors (many bit players), writers, producers, etc. The quotes range from talking about certain actors or scenes to behind-the-scenes tidbits and general feelings about The Andy Griffith Show. It reads like a scrapbook. Many of the photos I have not seen in any other TAGS book. There are a lot of behind-the-scenes photos. Some of my favorites show the cameramen, lights, and equipment as scenes were being filmed. There is also a cool aerial shot of the set of the Forty Acres lot in Culver City that was used for downtown Mayberry (p. 44). I also like the photos of TAGS memorabilia (TV Guide and comic book covers). The photos start with early publicity and scene shots from the pilot episode on The Danny Thomas Show and go on through all 8 seasons of TAGS, ending with photos and quotes on the spin-offs Gomer Pyle USMC, Mayberry RFD, and the 1986 reunion Return to Mayberry. Many people are quoted, but some of them include producer Sheldon Leonard, assistant producer Ronald Jacobs, music director Earl Hagen, Rance Howard, writer Jack Elinson, producer Aaron Ruben, Elinor Donahue, Margaret Kerry-Wilcox (played Bess Muggins and Helen Scobey), Joy Ellison (played Mary Wiggins, Opie's choice for Miss Mayberry), members of The Country Boys, Kit McNear (Howard McNear's son), James Best, Renee Aubry (choir member), Don Knotts, Julie Adams and Sue Ane Langdon (both nurse Mary Simpson), writer Harvey Bullock, Keith Thibodeaux (Johnny Paul), Jim Nabors, Jack Prince (Rafe Hollister), members of The Dillards (The Darlings) Mitch Jayne, Dean Webb, Rodney Dillard, Doug Dillard, their on-screen sister Maggie Peterson (Charlene), Bernard Fox (Malcolm Merriweather), Howard Morris (director as well as Ernest T Bass), director Earl Bellamy, Ron Howard, Clint Howard (Leon), Mary Grace Canfield (Mary Grace Gossage), George Lindsey, Betty Lynn, Hal Smith (on riding a cow), George Spence who was Frank the boyfriend in "Guest in the House" (there is an entire page on his memories of the show), Dennis Rush (played one of Opies pals, Howie Pruitt/Williams), Ruta Lee, Jack Dodson, Ken Berry, Paul Hartman's grandson Bill (one of my favorite quotes. He talks about how fans sent his grandfather Emmett radios and toasters to fix), Jack Dodson's widow Mary, associate producer Richard O. Linke, Arlene Gonlonka (Millie). Not an exhaustive list, but you get the idea. The quotes are all very positive. No bitterness in Mayberry.

My only qualm about the book is the lack of coverage of one of my favorite, and greatly unappreciated, characters Warren Ferguson. No Jack Burns quotes, I guess that is understandable. But beneath one of only three photos of him is the sarcastic caption: "Andy hires Floyd's nephew Warren Ferguson as Mayberry's new deputy, `know what I mean, huh-huh-huh?' (Please don't get him or us started)." Not keeping with the Mayberry spirit, in my opinion. Oh well, you can't have it all, I guess. The book ends with a very useful episode guide that includes a synopsis of each episode (some even include some extra tidbits or trivia) and guest characters with cast credits. It is an excellent addition to any TAGS fan's collection.

An excellent book and well put together. You will find amazing photographs of all the characters in the cast...and then some. One of the most interesting photos, in this book, is one of an ariel view of the Mayberry Town near Culver City, California. An actual town within a town.

I have read other books and also found them interesting with regard to the Andy Griffith show, but it was great to see all the pictures and read the personal comments of the stars and the people behind the scenes.

I believe that anyone , like myself, who really loved the show will enjoy this a great deal. Well done. This was one of my all time favorites shows and this book shows a lot of the people who made it such a great series.

This has many unique images not found in a host of books available and reviewed on Amazon. One of my favorite paintings, one I haven't seen anywhere is of several Mermaids knitting! They're knitting their fishtales! It's a cleverly, sweet image. A fun book full of whimsy for those who thirst for Mermaidenry.

This book was worth the wait! Great pictures and captivating writing. My coffee table was waiting for this work of art. You will not be disappointed in this book.

I bought this book because of all the great reviews and because I desperately wanted good mermaid art. While the book itself is very creative and cool, a lot of the art disappointed me. I was led to believe that the art in this book was beautiful and rare, so you can imagine how infuriated I was to discover that most of the art was either ugly old sculptures or beautiful paintings that I already had in other books! I spent sixty-two dollars on this sucker, and I personally don't think it was worth half that amount. Don't get me wrong; it's not a bad book perse, it's just not the extraordinary work of art I thought it would be. And don't be fooled: most of the paintings in this book are NOT rare. You can find most of them in "Mermaids: Sirens of the Sea", or "Mermaids: Magical Beings" for much better prices. If you can find this particular book for a REASONABLE price, than I definitely recommend it. Just don't make the same mistake I did and spend a ridiculously HUGE amount of money on it.

I ordered this book sight unseen because of the 5 star reviews. They were right, it's a great book.

I COLLECT MERMAIDS AND THIS BOOK IS MY FAVORITE OF ALL THE MERMAID BOOKS I OWN. WHEN I FOUND IT ONLINE IT WAS SO AFFORDABLE I BOUGHT 2. GREAT GIFT IDEA!!