Art History Books

Fantastic architecture and pictures.
I needed it for my new house as inspiration, and my architect has Luutner as one of his favourites.

Lauther has been able to utillize unbuildable sites to create rooms with beautiful views.

In the few months since I purchased this beautifully illustrated and impecabbly written monograph, John Lautner seems to have become Hollywood's favorite posthumous architect. This month's Vanity Fair features a screenwriter and his wife showcasing their restored Lautner masterwork while virtually every fashion spread in the same issue has one emaciated model or another posing, pouting and preening against a Lautner structure. This wonderful book travels Lautner's career arc from Wright disciple employing the tools and traits of the Master to the emergence of his own distinctive blend of wood, steel, concrete and location that, ultimately, bears little resemblance to his roots at Taliesin. As the text makes clear, Lautner shared Wright's prickly self-absorption and relentless self-philosophizing. However, as the book wanders from one beautifully executed commission to the next, you end up endorsing his sense of self. Like the best of Wright, each structure seems to organically emerge from its site to envelop the owners in a beautifully scaled and very human dwelling. A worthy tribute to John Lautner's artistry and vision.

it is amazing to see how the designs of the mid 1900's seem so contemporary even to the present day. this book captures the designs via beautiful photography and commentary.
even the layman will be amazed to find that many of the buildings have been used in the media for many years. whether in movies or magazines they have been associated with the most contemporary designs of our time.
highlights this architects mastery of a typical material palette of concrete, wood, and steel.

This book is really beautiful, the pictures are of great value. If the architecture can be said as to be a little "out of fashion" (I mean architecture of the fifties), it is anyway wonderful and inspiring to see such beautiful house. there is a lot of wonderful pictures of all the major houses build by lautner during his career. the only things that can be missed in this book is that there is no drawings but anyway, I really believe it's a good book.

Kahn offers the fragments of Heraclitus in solid translation, with an extensive and thoughtful commentary that both takes account of a great deal of secondary literature and provides the author's own valuable insights.

Kahn's approach to the interpretation of Heraclitus is orthodox but sensitive. He appreciates Heraclitus' intentional and artful prose style, including his use of ambiguity and wordplay to create a multiplicity of meanings in many of the fragments. He also gives proper attention to the resonance between fragments, often picking up an echo of a word or image from one fragment while interpreting another.

I enjoyed and learned much from Kahn's commentary, though I would rate his overall success at drawing a systematic Heraclitean worldview from the fragments a limited success at best. In this I think he is surpassed by Roman Dilcher and perhaps M.L. West as well. However, Kahn's command of the ancient material, the secondary literature (in several languages), and the history and culture of the ancient world in general, is truly impressive. His erudition serves the reader very, very well, opening up a wealth of other sources and making connections that only someone with such a mastery of classical and archaic literature can. I would also strongly advise interested folks to hunt down the hundreds of footnotes in his already weighty commentary, as they frequently provide a gem of a comment or an important bibliographical reference.

All in all, this book is essential for any serious study of Heraclitus. Its staying power is testament to Kahn's superb work. I personally feel deeply in Professor Kahn's debt for his fine volume, and I'm sure I'm not alone in this. My one and only complaint has to do with his decision to reorder the fragments and number them with Roman numerals...it's truly and deeply annoying, but if this is the only fly in the ointment, I suppose we can forgive Charles Kahn. A wonderful book.

Rather than Charles H. Kahn's 'The Art and Thought of Heraclitus: An Edition of the Fragments with Translation and Commentary' (ISBN: 052128645X), I would suggest that those who are interested in acquiring an edition of Heraclitus which gives them the Greek text with translation and commentary look for a copy of Philip Wheelwright's possibly more interesting 'Heraclitus' (ISBN 0199240221).

I would also suggest that the more scholarly inclined turn to Thomas McEvilley's 'The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies' (ISBN 1581152035) where, in Chapter Two, 'The Problem of the One and the Many,' they will find a fascinating treatment of Heraclitus which goes far beyond anything Kahn has to offer. On page 149 of this same book they will find a valuable footnote (92) which will provide them with a good idea of the quality (or lack of it) of Kahn's 'scholarship.'

As for the general reader who simply wants to read an English translation of Heraclitus, their needs will perhaps be better served by a book such as Guy Davenport's '7 Greeks' (ISBN: 0811212882) which gives an excellent translation of the complete fragments.

Davenport's translations really are superb and the 124 fragments he gives us, which are tragically all that remain of Heraclitus, take up a mere 12 pages of his book. As a bonus, the remainder of '7 Greeks' is devoted to equally fine translations of Archilocus, Sappho, Alkman, Anacreon, Diogenes, and Herondas.

Davenport's Heraclitus is pithy, pungent, and very much to the point:

16. "Awake, we see a dying world; asleep, dreams."

82. "Defend the law as you would a city wall."

97. "Life is bitter and final, yet men cherish it and beget children to suffer the same fate."

107. "Having cut, burned, and poisoned the sick, the doctor then submits his bill."

Another of Davenport's 7 Greeks, Diogenes, was for me a wonderful find and I'm still chuckling over this one:

Diogenes 109. "I've seen Plato's cups and table, but not his cupness and tableness."

The affluent student who simply must own every edition of Heraclitus should by all means acquire Kahn (and also McEvilley who translates and comments on many of the fragments). Others may find Davenport's translations adequate to their needs, somewhat more memorable than Kahn's, and his book better value for money.

One of the things that is most interesting to me about this book is the way it illustrates how we can know so much about someone whose main book is not available to us. By writing about nature in a way that emphasized the power of fire, war, and strife, Heraclitus produced a book that was so well known to ancient writers that many of them lifted ideas for their own purposes. This combination of the knowledge that we have from many sources produces a picture of the permutations that basic philosophy is prone to fall prey to in a history which never finds any particular idea useful for long. I find the application of such ideas most interesting in the field of deep politics, where the idea of "killing the killers," mentioned in connection with the riddle which Homer couldn't guess at the time of his death according to the tradition explained in this book, could be related to some modern despicabilities.

Devoid of all "Slave Morality" influences from Semitic thinking, Heraclitus is pure European thought at its finest. It's usually proclaimed, that all Western philosophies are but a footnote to Plato. I disagree. Even Plato is subjected to Heraclitus. These fragments shine through, and Charles Kahn does an excellent job of giving his opinions about each fragment without forcing them down your throat and proclaiming his opinions as 100% the ONLY way they can be understood (but, in my opinion, he makes a good case for this reasons). After reading these 123 fragments, you'll see that philosophers such as Plato through Hitler among others owe much of their thinking to this one man. An Excellent Read.

This text is not for the beginning student in philosophy or philology. As someone interested in the history of philosophy, works like this compilation/commentary by Kahn are always valuable. The aim of this text is to provide a method for organizing the fragments of Heraclitus' philosophy in a manner that differs from the original Diels-Kranz method. Kahn's translations are markedly different from the now standard translations of Kirk and Raven; the differences are intertwined with the method of organizing the order of the fragments. In assessing any particular fragment in this work, one should always consult the Kirk-Raven text on the Presocratic Philosophers, have at least a passing knowledge of Greek, have read some Heidegger, and know a good bit about the controversy surrounding the arranging of the fragments. The arrangement of Heraclitus' fragments is a project that is just as perilous as attempting to ascertain the order in which Plato wrote his dialogues. I don't particularly find this sort of lexicography to be very fruitful in terms of having definitive answers, but Kahn's arrangement here is very good at placing itself within the context of what has come before in the way of scholarship. Referring back to any particular fragment in Diels-Kranz or Kirk and Raven is easy because Kahn cross-references each of his numbered translations with their numbering systems. It is hard to challenge the authority of this work, but it is by no means the final word on Heraclitus.

I used my brother's standard art history textbook for the fall semester of my Art History survey course. I didn't like it anymore than he did. It's dry and scholarly, weighs a ton, and costs about $140--if you buy it new. For around $20 on Amazon, I purchased a new Art History for Dummies book for the spring semester, which has most of the same information (plus quite a few extra things, that in some cases, my prof didn't know). Art History for Dummies is great--easy, fun to read and very inspiring. I really enjoy reading it. There are not many textbooks I can say that about! Despite its title, Art History for Dummies puts me ahead of most of my classmates who are struggling to make sense of the required text by Stokstad. For less money, I'm learning a lot more than I would have with the textbook. The chapters on Neoclassicism and Romanticism, for example, had a lot of really useful information that my other book lacks, which helped me enormously on the essay section of the test. We had to interpret David's THE OATH OF THE HORATII and DEATH OF MARAT as Neoclassical works and Delacroix's THE TRAGEDY OF SARDANAPALUS and Caspar David Friedrich's THE WANDERER ABOVE THE MISTS as typical Romantic paintings. All these masterpieces are examined in depth in Art History for Dummies. I aced the two tests we've had this semester. Last semester, using the required text (Stokstad), I barely managed a C.

I even took the dummies book with me to the two art museums we were required to visit. It really opened up the paintings and sculpture for me. I understood art like I never have before and had the best art-museum experience I've ever had.

The color art reproductions in the book are fantastic. (Some of the b&w are very good, other's are too dark or too small.) At first I wished there were more pics. Then I discovered that the book has an appendix with Websites of all the art that's discussed but not shown. I just type in the Web address on my laptop, and voila, there's the painting. These are really super Web sites, and I can make the pics as big as I need to (much larger than you find in any book) and zoom in on details. Plus, with most of the Web sites, you don't just get one or two works by the artist like you do in a textbook; they give you a whole chronology of paintings or sculptures. You can see ten or twenty (and in some cases over a hundred) paintings by each artist! You gain a much better feel for the artist's style and how it progressed throughout his or her career. If you're writing an essay on a painter, that's the way to do it. It helped me anyway. Once I started using the appendix, I really came to like it. (Make sure your browser saves the addresses you type in; because you use a lot of them more than once.)

What i really liked about Art History For Dummies is the fact that you do not have to start at page one and read it in order. You can skip around and read it. It is a very informative book that is a real joy to read. The art work alone in the book is beautiful. You can look at beautiful art and have fun learning about it. HIGHLY RECOMMENED! Hats off to the author.

This books helps one learn about Art History in a compact, easy reading, fun way. I gave a copy to one of my friends who read the entire book to her children while they moved. The children loved it! As with other Dummies books all the information you need is at hand!

I'm not an art major but I recently signed up for an art history class ("Modernism"), which I thought would be an easy elective. Unfortunately, the professor expects us to memorize a lot of facts and I found that the overpriced textbook for the class (Gardner's Art Through the Ages) was not very helpful in sorting out all the different artists, works, and styles that I had to learn about. I didn't want to drop the class and mess up my GPA, so I decided to see if there was a "dummies" book on the topic. I've used other "dummies" books before, and I've always found them to be well organized, informative, and entertaining. I was pleased to discover that this is also the case with Art History for Dummies, by Jesse Bryant Wilder. Wilder brings the subject to life with descriptions that are both thorough and easy to understand. In addition, he explains the motives of the artists in creating their most famous works, which is something my professor thinks is really important. One thing that I found particularly helpful is Wilder's way of explaining the various "isms" that we are studying. For example, he compares Cubism to cracking an egg and then reassembling its fragments on a flat surface: "you can see all sides of the egg at once, and yet it's hard to recognize the egg" (p. 303). Expressionism is compared to bashing in a classical "gilded box" (like a Gainsborough portrait of a placid aristocrat) so we can see the emotional struggles going on inside the box (inside the person) (p. 296). These kinds of analogies make the different movements of the Modernist period more understandable and memorable than the descriptions in Gardner's. Of course, Art History for Dummies covers much more than just the Modernist period and I've already started reading through other sections of the book, not for class but because the topics are so interesting to read about. The book includes clearly labeled headings as well as lots of photos, illustrations, anecdotes, and definitions of technical terms. I highly recommend it to anyone who wants to learn about art history and have an enjoyable reading experience at the same time.

I learned more about Art History just reading the Introduction than I have ever known before! I have a big Art History book from my daughter's college class and it was way too complicated and thorough for someone trying to learn without a professor on hand. I would highly recommend this book.

Beautifully illustrated, delightful and extremely informative. This book is a marvelous supplement to the typical art history text books.

This is a challenging work.

He realizes 5 standpoints. He writes "What is historically called art in China, by whom and when?". Really, I feel it rather reflect unconscious attitude of 20th century collectors and scholars.

Art in the Tomb /Art at Court/Art in the Temple/Art in the life of the Elite /Art in the Market-Place

Following recent searching environment of artifacts; lifetime of painters, art-market, patrons, etc., as "Painter's Practice" by J.cahill, Mr. Clunas searched relations of arts-makers and the society. This approach is interesting and very suggestive. It may be the first try among such cheap and popular books about "Arts in China". For such character, I feel it should not be an elementary textbook.

Calligraphy was more focused than M. Sullivan's book"The Arts of China" in the chapter "Art in the life of the Elite". Short columns explain words and technical terms vividly. It is worth to buy it only for them. Bibliographical essays(231-237 p.) are very useful. Plates and figures are all fine. There is few inadequate item. Fig 83 and 87 shows as we appreciate in museums, i.e. shows its handscroll format. I think the author make effort to show surrounding textile of paintings and the format in some figs.

As an avocat d'diable, I notice some. The gong of Fig. 49 is not 8th century. Dragons and a beast should be genuine 8th century items. The gong is regarded 12-13th century Japanese artifact. The item of Fig. 82 may not be a representative work by Tang-Yin.

Both C. Clunas and Michael Sullivan edited catalogues of Sir Alain Barlow Collection(now in Sussex College). (ref. The Barlow Collection of Chinese Ceramics, Bronzes and Jades: an Introduction, The University of Sussex, 1997/Nov.) Sullivan did in 1963 and 1974. Clunas did in 1997. They might have share common intellectual environment according Oriental Ceramic Society, England.

While not the easiest to read, Clunas's book is currently the best short modest-sized introduction to art in China. The title "Art in China" (not "Chinese Art") is intentional, for Clunas is one of the rare Occidental authors on this subject who transcend the limitations of their background and succeed in communicating some of the subtlety and complexity of the subject, so remote from Western tastes, but no less beautiful and profound.

For example, he points out that while Western art has concentrated on painting, calligraphy is the most esteemed art form in China. Furthermore, from its earliest beginnings, Chinese aesthetics has placed little emphasis on illusionism and perspective, even regarding these as juvenile and distracting from artistic self-expression. (In this respect, the Chinese anticipated "modern art theory" by centuries.) The very term "Chinese Art", he maintains, is a Western invention, since the art work in China was, until recently, never divorced from its political, religious or decorative functions. (That is to say, it was not "museum art" isolated from its context and consciously regarded as art.) Because of these characteristics, art in China has been little appreciated in the West.

Clunas's probing book should be read slowly-- and re-read. The illuminating text gives a relatively sophisticated and sympathetic account of art in China, unlike many books, which are simply naive, provincial and as full of trivial dates and abstractions as they are lacking in insight. The representative works, drawn from all periods of Chinese history--including modern times--are superb and well chosen, and the pictures are excellent, considering the book's modest size. I especially enjoy the full-page color reproduction of Guo Xi's masterpiece "Early Spring" which equals, if not surpasses, the finest landscape paintings of the Dutch golden age (of course, not in illusionist technique, but in sheer expressive and evocative power as it unveils a mysterious fantastic landscape reflecting an interior, as much as an exterior, reality).

My only complaint is that there is only one book on "Art in China" in the Oxford History of Art series, while there are at least 30 on Western art in the same series. One book covers Western art for a 25-year span (1920-45), but 5,000 years of high art in China--in painting, jade, ceramics, lacquer, porcelain, calligraphy and sculpture--gets only a single volume! Talk about provincialism! Certainly, this is no fault of Dr. Clunas, whose work seems all the more commendable in the midst of the naive insularity and ethnocentrism with which it has unfortunately been grouped.

I like the author's approach to writing an introduction to the arts of China. Instead of trying to touch at least all of the major artists/works from all of the major periods (which in the case of China would mean touching very many things in a very cursory way), the author focuses on the context for which works were produced. Some of them were meant to be "art" from the start, some were not. This offers ample opportunities to examine how some works influenced other later in history. Overall, I think the ideas presented are some of the most gripping I have found in Chinese art history books. The book includes recent discoveries and scholarship and uses Pinyin romanization (two great features - not all recently-published books do).

In researching information regarding Sung Dynasty scrolls and artists, I found this book to be a most generous indeed. The author provides clear, precise information without the clutter of person guesses. He provides a wonderful assortment of pictures and resources. Clear, clean photographs of artifacts providing the reader with primary documentation .This is a MUST for anyone studying the Arts and Artists of early China. Thank you Craig Clunas!

Has your school district cut back on the arts. This book will help you intergrate art into social studies and Langauge Arts. In addition to the excelent lessons, the format is easily adaptable to author/illustrators.

We are a homeschooling family and this book has been an absolute treasure for our learning adventures. Saccardi's book shares information on the history of art during each time period, stories about the artists, suggestions for famous works of that artist to show, journaling exercises and recommended art projects done in the method or similar style of the artist you are studying.

We've used this book along with our history. When we started with ancient history and nomads we studied cave paintings and drew chalk pictures on brown grocery sacks. When we reached the Middle Ages we found a kit to help us do illumination. When we reached American history we painted historical scenes on large sheets of tagboard in effort to paint like Benjamin West. I'm very careful about money spent on materials and this book is one I've never regretted buying. I'm so glad to see it in print again so others can discover it!

-Jeanne

This book has been a lifesaver for my art classes. The students love for me to read the stories as they are working on their art project! Which keeps them very quiet!! Never before have I seen so many great stories of so many great artist all in one book! Any art teacher will love it!!

This book is a marvelous resource for all teachers, but especially art teachers. The author has researched art from all times and places and then written stories that will delight children as they draw them into other worlds through art. The bibliographies alone are worth the price of the book.

This is one of the only books I've seen that approaches teaching art in a holistic, content-rich manner. The author has compiled a wonderful set of resources. Each section begins with a brief overview of the period or style being discussed....very helpful refresher. This is followed by a story about the artist that really captures the kids' attention. There is no need for extensive research on your own, the author has done it for you. She provided extensive lists of resources for each topic, along with a brief comment about each. I am a National Board Certified Teacher, with experience and think this book is one of the best finds ever, a must-have resource for art teachers!

This book is excellent! I teach AP Art History and bought this book as a companion to the text used in my classroom. The textbook mentions topics breifly and gives little information. This book allowed me to explain the weighing of the heart.
The Art of Ancient Egypt is not an over complicated book. It is written so that everyone can enjoy Egyptian art, not just the scholarly few. I treasure this book and have recommended it to my students.

I have nothing substantial to add to the preceding laudatory reviews, but I was so impressed and pleased with my purchase that I felt obliged to say so. The book is beautifully produced with superb color pictures, added to which the illustrations are not the same old/same old that have appeared over and over again. The text is intelligently written and interesting, steering a steady course well between the levels of pop introduction and scholarly tome.

It would be among the best purchases for anyone with more than a passing interest in the subject.

The service was excellent. The book was despatched the day I placed my order and arrived the next day. The price was right and the condition of the book was as described or better and the feedback from the supplier was friendly and useful.
I shall certainly buy here again.

Jim Ashton

I bought this book as a text book for a college class. Not only did I learn so much about the art of this amazing ancient society, I learned about their culture that spanned for thousands of years. This book will definitely give you a deep understanding on Egyptian art.

Clearly and thoroughly explained, this book provides an accurate description of Egyptian art from the Early Dynastic Period to the Ptolemaic Period. The author demonstrates the importance and place of art in Ancient Egypt. Beautiful illustrations from tomb paintings, sculptures, coffins, and many objects accompany the text. A definite must for both students and professionals.

Jeff Smith is one of the greatest comic artists of our times, and it is inevitable that with the end of his epic series Bone, that we would have a one volume art collection of that series. If you're a fan of Bone, you won't be disappointed. Seeing the Bone covers and other color work in a larger size brings them to life. The artwork is amazing. The only reason that I give this four stars instead of five is that a lot of the work in this volume has been printed before, so if you've been following the series from the beginning, you probably already have 90% of the art that is included. This is not necessarily a bad thing since the images are printed in a larger format in this volume, but it would have been nice to see more sketchbook material. Another thing that dropped the rating is that there is hardly any text included other than a few captions. I appreciate that as much space as possible was kept for art, but it would have been nice to read about about the creation process, the origin and development of the Bone story, or Jeff Smith's philosophy on comics. Regardless of these minor quibbles, this is an excellent collection, and would make a wonderful gift to fans of Bone.

Bone was a real surprise, many years ago. B&W art was uncommon and the story was magnetic, pulling you into a world where cartoon characters wondered about with humans. From the very first issues thev reader was presented with plots and beasts that seemed like many other universes we know, but with a charm that was totally magic.
This book presents us with some marvelous art, sketches and behind the scenes info on how these stories came to be, form and style wise.
If you like to know a bit how Jeff works and structures ideas and styles and how the wonderful mix of Bone was born just don't miss this book.
There's a few extras as well... but I won't spoil you the surprise.

My son became "addicted" to the Bone series about a year and a half ago. I've never been a fan of comics but when my non-reader decided these books were what he wanted to read I was on a quest. He started by reading the color re-releases of the first few books and when Old Man's Cave had not come out yet I bought him the all-in-one book with 1000+ pages. My non-reader finished it in a short amount of time and was left with wanting more. When I came across "The Art of Bone" I was thrilled. It talked about how Jeff Smith created the characters when he was 9 years old. My son turned 9 last month so I got it for his birthday. As he was going to bed and talking about the day (which included 9 friends and The Reptile Guy) he said his favorite part was receiving "The Art of Bone"! THAT made MY day! It is a beautiful book and is very informative. I would recommend it highly to anyone interested in this series, beautiful comic book art or looking for inspiration.

(from an extended article, copyright 2007 Michael F. Hopkins)

For those who have come to treasure the Sequential masterpiece known
as BONE, this coffee-table volume will be an extra-special treat. For those who have never heard of the phenomenal epic which established storyteller Jeff Smith as a prime mover in the fields of Comics and Children's Literature, THE ART OF BONE will serve as an eye-popping introduction to one of the finest authors in any field.
The latest hardcover project from Dark Horse Comics, THE ART OF
BONE is a feast of information. Detailing why and how Smith became
a cartoonist, the book showcases his interest from schooldays to professional practice decades later.

Rich in Smith's probing, versatile illustrations, the volume
pinpoints the essential and unique balancing act which the
Sequential author must play between narrative and visualizing.
In an era where too many throw all their logs on one fire,
showboating without focus or meaning, the success of a skillful talespinner with much to say and share with all is as refreshing
as it is encouraging.
A stirring, insightful whimsy worthy of Walt Kelly (Pogo) and
Charles Schulz (Peanuts) is complemented by reflective pathos and
intense character interplay that Will Eisner (Sundiata, The Spirit)
could take great pride in.
In Jeff Smith's aesthetic, a tale can cross all boundaries, whether through animated cunning or larger-than-life Fantasy, and bring its points effectively home.

Whether lost in the wilderness, or deep in the throes of a life-shaping
quest, the imperative of journey informs the heart Smith's work. THE
ART OF BONE is a delightful look into the way of that path, and how much fun using one's head can be.
Very uplifting, in fact, for the heart and soul.

Give it a read.
Give it several.

Jeff Smith truly has lived the American Dream...he found one thing he liked to do and he's done it for his entire life. OK, that may be simplifying things a bit. But even as a child, Smith knew he wanted to be a cartoonist. In fact, inside this fantastic book you'll get to see one of the very first Bone comics, drawn by Smith when he was just ten years old. The characters had yet to be refined in terms of their look and personalities, but the spirit is still there. Bone is really one of the great comics and one of the great comics success stories of the modern era. A wacky and wise-cracking strip that is one part Walt Kelly, one part J.R.R. Tolkien, and the rest all Smith. Smith took a chance on his creations, and self-published them. While most self-publishers fail quite quickly, Smith proved that talent rises to the top. Bone soon became a cult-hit on the part of Cerebus the Aardvark.

This volume from Dark Horse Books is chock full of 200 pages of rare Jeff Smith Bone art. Some of it unpublished, some of it pencil versions, alternate covers, etc. You get a little bit of everything in this book: Finished panel pages, completed, full color covers, unfinished panel sequences, rare sketches, pencil versions of completed covers, often side-by-side with the finished product, and so much more. The editors are along to provide captions to the art at the bottom of the page, often noting Smith's influences such as the valley scene from Bone #1 and its comparison to a similar scene from one of Joe Kubert's Tarzan pages. Not that it is a copy of the Kubert scene, but rather how smith uses perspective in the scene, dwarfing the characters by the sheer expanse of the area that Bone is looking over.

The book also reprints perhaps the seminal page in Bone's history. Bone is being chased by two of the fearsome Rat creatures that are ever after him. He leaps to a tiny branch thinking he is safe as the two large predators could not possibly fit on the same branch, and would be stupid to try. When they are both on the branch, Bone screams the immortal words, "Stupid, Stupid Rat Creatures!" This phrase has even been included in Random House's Cyberspeak dictionary.

The book introduces the reader to all of the main characters including Fone Bone (the star), scheming Phoney Bone, dim-witted Smiley Bone, Thorn (bone's human love interest), Gran'ma Ben, and Lucius who runs the local tavern. With heroes you need villains and we can't leave them out...they include The Lord of the Locusts, The Hooded One, and Kingdok, who rules the Rat Creatures.

Bone is so rich in its story and scope that it really humbles comics that have been put out by the "larger companies". Even if you haven't read the comics you're sure to be dazzled by the art in this book. Smith is without a doubt one of the best cartoonists and best storytellers of the past twenty years. And if you are a Bone fan then the book will provide a lot of interesting anecdotes to many of the stories that you've enjoyed over the years. The good thing is that even though the series ended in 2004, Scholastic Books is reprinting the series in collected editions and in full color. This book gets my highest possible rating. Get it...NOW!


REVIEWED BY TIM JANSON

This book is big and chock full of beautiful Linsner paintings (many of which are of his greatest creation: Dawn). If you have ever seen any of his work and you liked it, I would recommend this book. There is an intro by Linsner that's pretty interesting and there are snippets about each painting throughout the book. It's a stout book that would be better as a hardcover, but that's my only complaint.

The Art of Joseph Michael Linsner is essential to any JML collector, but also an awesome item for anyone who appreciates the beauty of art. The softcover edition of this collection makes it affordable to the big fans with small bank accounts. Looking through the eyes of Joe, one will see a woman as a work of art or poetry and not a piece of meat. The colors are vibrant, the details are lucid, and the annotations throughout truly give insight into the mind of the artist, who he is, how he feels, and what inspires him.

Edited by JML and Eva Hopkins, with special thanks to Zeke Feldhaus, The Art of Joseph Michael Linsner is cleverly divided into sections. It begins with a nice introduction by Richard Kane Ferguson, then proceeds to a fabulous story by JML about the first artbook he bought which reveals how his taste for art began when he was just a boy. After that, we see exquisite images of Dawn, Death, and Dark Ivory along with many others (women, men, and vampires, oh my!) throughout the Love, Hate, Heaven and Hell sections. Then we move on to About the Art, comments by JML (about art, of course) which include images from the creation of the Dawn: Three Tiers #1 cover from its birth/sketch stage to the gorgeous finished painting. And of course, no collection of art would be complete without an About the Artist segment (with pictures). But wait, that's not all, there is also a two-page spread with photographs of Dawn Lookalikes from DragonCon, some Dawn collectors items, and a few other odd and end pictures. This definitely adds a personal touch to the entire thing. Well, if you've read this far, you must be interested, so what are waiting for? Get your copy today.

WOW! If one could give out 10 stars on the 5 star scale this would be the book to score that high.

More that just a detailed, beautiful look into one of America's leading illustrators, this is an insightful prose into the mind of that artist. Here is the successor of the great artists of the 40's, 50's, and 60's. Done in a style that is very today, and very much his own.

An amazingly well produced book, with quality throughout. From the paper, the binding, to the wonderful reproductions, everything is top notch. This is an art book you would expect to pay two to three times more for.

I feel this is a chance to glimpse into tomorrows major gallery artist, before he explodes on the scene. Live a little dangerously and venture into some unknown areas. ENJOY!

WOW! If one could give out 10 stars on the 5 star scale this would be the book to score that high.

More that just a detailed, beautiful look into one of America's leading illustrators, this is an insightful prose into the mind of that artist. Here is the successor of the great artists of the 40's, 50's, and 60's. Done in a style that is very today, and very much his own.

An amazingly well produced book, with quality throughout. From the paper, the binding, to the wonderful reproductions, everything is top notch. This is an art book you would expect to pay two to three times more for.

I feel this is a chance to glimpse into tomorrows major gallery artist, before he explodes on the scene. Live a little dangerously and venture into some unknown areas. ENJOY!

I believe the book is now out of print, but if you're lucky you might be able to pick it up at a comic book shop which is where I got mine. This book is FANTASTIC!!! Definitely one of the best fantasy art books out there. Great colors, excellent depictions of Dawn - the fiery redhead with one eye showing *grins* and some of the most imaginative and creative art pieces you'll ever see!

Even the backgrounds are incredibly detailed, with everything from dragons to architecture to detailed walls and textures. He really sets the mood in every piece he does.

Excellent work of art. Absolutely excellent.

In the thousands of books devoted to the German National Socialist movenment and rule, this one holds some very important clues to two questions that have gnawed at us like relentless dogs since the close of this tragic story. The first question is how did the Nazi movement gain such an allegiance among the German people who seemed as civilized and educated and cultured as any in Europe and the second question is what was really the goal of the National Socialist German Workers Party. Why can we even think a book on art can answer these questions ? If this were some text rich academic dissertation then that would be a hard sell. But the author, Peter Adam, has used the visual media extremely well, working off the blackground of a BBC documentary. The hundreds of black and white and color illustrations tell us a great deal especially when combined with extensive contemporaneous quotations, primarily from the Germans who promoted and controlled art in the Third Reich.

This book helps us address the question of how mentioned above in a number of ways. By covering painting, sculpture and architecture in one text we begin to see the outlines of the alternate reality the National Socialist movement tried to construct on top of the German nation and state. Other aspects of this alternate reality such as the imagery of Zepplins, Mercedes and Auto-Union race cars, swift new ocean liners, and proud new battleships are not covered in this book but fit together in a way that was uniquely intentional. Every proud imperialist nation state of the 19th and 20th centuries had some sort of imperial style seen in display in the capitals and colonial outposts of its empire. Normally these characteristics developed over a considerable period of time. But Art in the Third Reich makes it very clear that in a few short years, from 1933 to 1940, there was an intensive and directed effort to completely control the visual content of life on a scale and with a commitment that was more totalitarian than even the efforts to do the same in the early years of the Soviet Union. This was absolutely part and parcel of the entire approach to social control in the new state that the Nazi movement was constructing.

The key to the new visual art of the National Socialist movement is made clear in this book. It was not the creation of a new and unique style of art. It was rather the selection of certain tendencies and sytles as mandatory and all others as forbidden. Naturalistic and representational painting that illustrated a certain ideal view of life was all that was allowed. Some of this work was "good" work from an artistic point of view, and some of it was not. But all of it served a purpose and that is why it was allowed. The quotations from the leaders of this effort make that entirely clear. The sculpture chosen was initially no more than conventionally monumental but crossed over into the collosal and the un-natural depiction of force and proud brutality combined with duty driven nudity. The architecture started off in conventional enough neo-Classical style and then became incredibly grandiose and even grotesque. There is good coverage of the pioneering multimedia efforts of Speer and Reifenstahl. The good news here is that you can look at this work in this book and draw these conclusions for yourself.

This brings us to the second question I mentioned above. What was the purpose of all this? The words of Mein Kampf have been buried beneath the natural redaction that occours because of our knowledge of the historical outcome of the National Socialist process. In these works of art the truth of the purpose can perhaps strike us more directly. I think a great virtue of this book is that it does so strike us or at least it struck me. From looking at the images it seems that the purpose of the National Socialist movement was in essence to create a society of clones. I say, in essence, since the scientific process was unknown at the time. But the uniformity of image, the positive rejection of diversity and individuality, the endless repitition of themes, lead to the conclusion that the Nazi leaders actually wanted a population of folk who looked and thought alike. The theme of Ein Folk, Ein Reich, Ein Fuhrer was not an idle throw away line as the idea of Oneness was truly the soul of National Socialism. This was the purpose, this was the goal. The New Order was only for some. The art was to show us who those some were.

In the end the National Socialist movement cannot be finally judged by its actions, awful as they were. The 20th century was a time of willfull death and destruction without precedent in history and the Nazis and the German people were not the only perpetrators or victims. An overall judgement has to take in account the goal of the movement. If you read this book and study it carefully, I think you will see what the goal was and your own sense of moral purpose in the universe will have to guide you to your conclusion about it.

Both in responce to popular revulsion against modern 'art' and following in the footsteps of the Soviet Union to manipulate the arts to a political purpose nazi Germany launched its massive arts program covered in this unique and most insightful book.

For those interested in this subject this unique book is a must read. Especially since no other books on the subject are on the market and a number of websites have been forced to shut down.

For thos interested this book covers the nazi arts program. Some of the art created by artists Adolf Zeigler and Ernst Liebermann and various others is actually quite good but these people would have succeeded without this program. Much however is quite bad like politically correct art today, often the work of mediocre artists.

If anything, this book proves that Government and Politics should not be supporting the arts as they do not inspire beutiful things but rubbish.

This is a remarkable book; 300+ pages of wonderful art - much of it censored today (hidden away in DOD archives in Washington DC).

Some of the art is clearly the propaganda of a powerful government. And some (the chapter of "Degenrate Art") is the propaganda of modern American elites. But most of this artwork is truely fine - and of a type no longer allowed to be seen anywhere.

In our modern age - where art is subsidized by the government and reflects the taste of elites - this kind of art is priceless for this is the art of the people. I was touched to tears by the loving caress of working folk and farmers in the painting of Adolph Wissel, Leopold Schmutzler, and Fritz Mackensen.

Also remarkable is the celebration of the human body as nature in ways that are simply not seen in Judeo-Christian societies like modern America - particularly in the sculpture of Arno Breker and Fritz Klimsch. So also the nod to non-Judeo-Christian spirituality that simply could not exist in a modern European society.

The author - Peter Adams - makes the required politically correct, anti-German statements - without which this book could not have been published and would never be sold. Ignore the text - look at the art.

Unlike the propagandistic "Degenerate Art" exhibit of a decade ago, this art will not be traveling to a museum near you. For that reason you MUST get this book. It is pricey - but it is priceless.

ART OF THE THIRD REICH is a fascinating book for several reasons:

1. First, it addresses a subject (painting, sculpture, and architecture of Nazi Germany) that has yet to be objectively explored by scholars (just try finding anything else about it, much less a volume of this quality). The Nazi era still provokes such an emotional response that it has yet to be seen in any kind of historical perspective. However, as time marches on, studies such as this one will become more common, as students of history attempt to understand the perplexing Nazi phenomenon.

2. Art was arguably more important in Nazi Germany than in any other regime in history. In fact, some scholars have argued that the entire social structure was based on the pursuit of an aesthetic ideal (see the film "The Architecture of Doom" for a presentation of this thesis). In other words, rather than Nazi-approved art being a reflection of the culture, the culture sprang from the artistic ideals of its founders. Much of the events of 1933-45 can be seen to fit this paradigm, and this book provides valuable insight into how those events were orchestrated.

3. No regime in history has used propaganda as extensively as Nazi Germany. All aspects of media, art, cinema, and popular culture were channeled toward advancement of the government's objectives, to a degree never seen before. Hence, this book provides a window into the period that will be useful for anyone wishing to understand how images can be manipulated...something that occurs all around us every day.

4. Finally, there is a great deal of magnificent art in this book, which can be appreciated as a distinct phenomenon from the regime that created or condoned it...just as works such as "Alexander Nevsky" are hailed despite their obvious origin as Soviet propaganda. While it is true that totalitarian government-sanctioned art often dips into mediocrity, that is certainly not always the case here. The art of this era deserves to be viewed in the context of the larger evolution of art in the twentieth century, regardless of the political/social "baggage" associated with it.

The reviewer immediately below has raised a very troubling but quite accurate issue in relation to National Socialist art: much of it - particularly the sculpture - is quite beautiful by the standards of classical/Renaissance aesthetics. Can we separate the appeal of some of this material from the political regime which operated the factories of death? I think that we can and we must. Adam's book opens the door onto a forbidden chapter of art history, but one with startling implications for modernism. This book is the only basic, english-language survey of its subject. Sadly, much of the art Adam discusses was destroyed or remains inaccessible. I have had the great priviledge to have seen some of the works reproduced in this book on travels to Germany, and it possesses an undeniable power. My only criticism of this book is Adam's decision to treat the art of 1930's Germany as an anomaly in the history of 20th century art - ignoring the fact that these artists were enormously popular in their day, and neglecting to offer a comparison with the distorted visions of Weimar art. No historical phenomenon is without context. Perhaps the rejection of modernism characteristic of this period is not solely the result of a society descending into barbarism, but is indicative of some flaw in modernist culture. If you buy this book, you will be able to judge for yourself.

This is the best translation of Taoist sexual practices available. The translation formatting is excellent. If you have any degree of previous exposure to Chinese language and Taoist concepts this is not a spring board to further knowledge, it is a rosetta stone. Not an ounce of this text is watered down, like so many of the other books on this subject. Further, the full inclusion of herbal formulas in this text are incredibly vital to understanding the true value of huang di's teachings from su nu.

Best of all ... there are no pictures.

A fine text by a true scholar.

Here is the largest collection of historical Chinese texts on Taoist sexuality in English, excellently translated and footnoted. A must have reference work for the serious, advanced student.

This is not an introductory text, and I think a beginner would be hard pressed to understand and practice many of the techniques in the book.

I'm just a beginner on this subject,I started with some photocopies on the subject(nothing special)and found them not very elucidatory. I wanted to know more!...then I bought this book,although I haven't read it all,from the pages I read, I felt I could comprehend easier what was being said.It explained certain doubts that came accross from the other texts I read.

I think(from the little insight I have)that this book is perfect to understand the subject, if one already knows something about Taoist ancient sexual practices.

This book collects nearly two dozen classical writings on the use of sexual energy in achieving health and long life. It's a distinctly non-Western tradition, but presents a unified, interlocking set of ideas.

The largest part of this lore corresponds to Western alchemy. It uses many of the same metaphors, such as mercury, lead, and the crucible, and much of the same elliptical language. In a few places, the metaphors or code-words are so obscure that translators disagree wildly on their meanings, and even on whether the meanings can be reconstructed correctly. Other parts of the writings draw on mystical Taoism, Buddhism, and the same vital energies that explain acupuncture and traditional Chinese medicine. Not surprisingly, much of the tradition is aimed at male readers, with relatively little concern for the women. Despite the over-all male orientation, the last few selections do address women, with needs that sometimes match and sometimes differ from the men's. Even the men's writings address the importance of the woman's excitement, though, and describe the outwardly visible signs of its many stages.

However it is phrased or whoever it is addressed to, this set of practices is based on summoning and channeling sexual energy. Many of the authors use the "paired way" of coition to raise that power. Others use solo exercises in self-stimulation for the same purpose. This seems especially common in the women's texts, possibly because placing her needs before the man's would have been culturally unacceptable. The emphasis is on yogic self-discipline rather than exotic poses. Still, one author does offer a list of couplings with poetic names such Mandarin Ducks United (a pose I enjoy very much, because of range of additional caresses it makes possible). I recommend this book very highly to students of Asian thought and to anyone else who wants to see different perspectives on the practice and power of human sexuality.

//wiredweird

This is a work of scholorship and not simply a book about the ancient Chinese view of sex. It's very complete and contains both usuful material for moderns and very interesting historical material regarding alchemy, Qi Gong and Chinese medicine as they relate to sex.