Illustration Books

I use this book frequently, especially when studying art books of Christian art as well as during a recent Bible study of the Book of Exodus. This was an invaluable guide to the symbolism used in art and the various meanings. For example, when studying the symbolic meaning of the priests robes of the Old Testament, the meaning of the pomegranate for the OT and NT is significant. In the OT, the pomegranate stood for the 613 Mosaic laws (the pomegranate was thought to contain 613 seeds). In the NT, the pomegranate is the symbol for the resurrection of Christ. The Hebrews believed following the law led them to God. For the Christian, belief in Jesus' death and resurrection leads to God! Enjoy this read.

When I bought this book, I needed a quick and dirty reference to religious symbolism in western art--I was pleased and surprised to find out that it's small, lightweight, and therefore portable when I visit museums. (Why don't more publishers consider weight and size when they print books for travelers? Lonely Planet and DK, I'm looking at you.)

Its easy size belies the incredible amount of useful information it contains; there are fourteen sections covering everything from the significance of certain animals to religious garments to a brief hagiography for commonly portrayed saints. About one-third of the book is a set of reproductions (sadly b&w in this edition) of famous renaissance religious paintings. There's no discussion or explanation accompanying the paintings--which is the only thing I don't like about the book.

And if you read one of the earlier reviews and are wondering about the chocolate mouse in Rosemary's Baby, it's a reference to mice as a symbol of evil because of their destructiveness.

Although not encyclopaedic, this book, first published in 1954, is indispensable to the art history, religious art, iconographic, and religious lives student. The essays are of significant depth without excessive volume, and the illustrations, although of a limited period (Medieval through Renaissance), are pungent enough from which to learn. Two limitation I will remark:
There are no representations from Eastern- or Byzantine- iconography.
The illustrations are all black and white.

I study Art history, and christian art. This book primarily focuses in on Renaissance paintings and thier symbols. I found it to be useful and detail orientated. A very good reference book.

If you are an art history student, this book is an absolute must. While there are many books that contradict one another when it comes to symbolism, this book is one that commonly agrees with others I have read or consulted.
For as inexpensive as this book is, you cannot afford NOT to get this book!

Wonderful, wonderful, wonderful....not only because I'm in it, (brother used me in one of his shoots for Village Voice campaign)...but, buying this book is a great way to see innovation and artistry normally slated for galleries...

Warren is the best there is when it comes to reviewing the current Ad scene. However there are some factaul errors in the book. i.e. He talks about the breakthrough work that PKL did for Smirnof vodka in the sixties... It was'nt for Smirnof, it was for Wolfschmidt Vodka. Even more important was the work PKL did to launch the first Xerox dry copier, with the famous "Monkey" commercial.
However, the most dramatic ommision was that there was absolutely no mention of Jack Tinker Associates, the InterPublic think tank that kick started Mary Wells into Wells Green Inc.
Otherwise, a great book.
Warren, email me, Ive lost your phone number.
George Parker

Hardly anyone outside the industry itself has a high opinion of advertising, and I'm probably no different -- most of the time. However, I've long appreciated the occasional high degree of originality and wit of which ad writers and artists have shown themselves capable, especially since the late 1950s. This fat volume brings all of them together, beginning with Volkwagen's groundbreaking "Think Small" campaign. There are chapters on the influence of European copywriting on American ads, the development of a new "visual language," the rise of backhanded "oddvertising," the growth of advertising as a reflection of (and finally an agent of) social change, and the advent of guerilla anti-advertising, each of them an entertaining and instructive mix of graphics and text. There's even a separate chapter on the ups and downs of the famous and long-running "Got Milk?" campaign. This gorgeous book will keep you studying the artwork and reading the discussions far into the night.

This isn't just a book for ad students and insiders, though I imagine they'd love it. I'm not an ad junkie myself, but I happen to love this book because it's a very different and interesting coffee table book, that you can spend hours looking at. The ads featured in the book are amazing - funny, clever, intriguing, sometimes works of art in themselves. And the captions explain what's going on, all that sly thinking and logic behind the ads. I find it's the kind of book that really gets people talking. But be forewarned - it's a huge book, so make sure you have a strong coffee table!

As the proud author, just wanted to share w/readers some of the recent press reviews for Advertising Today:
"An amazing book," says Esquire magazine; a 4-star rating from Maxim magazine; Village Voice says "media archaelogists will pore over it for decades to come"; praised on ABC World News; on her radio show, Joan Rivers called it "fabulous" & the hot new coffee table book; J. Walter Thompson pres. Bob Jeffrey says, "Never has a book captured the heart and soul of advertising as much as Advertising Today."

Wow! Anyone who is a fan of Chesley's art needs this book. Lots of great biographical info as well. Quality of lithography is top-notch. Expensive but definitely worth it.

If you were about 10 years old in 1950, there was very likely a moment of absolute epiphany in your young life. In my case it occurred in the Junior High library in about 1950. From the shelf I pulled a large dark blue book about 8 by 11 inches in size. Even the end-papers were stunning, color plates of the surfaces of Mercury and Jupiter. But, thumbing through, I actually began to tremble when I got to facing pages 132 and 133! It is safe to say I have never recovered from the sight. I now have two copies of this book, one at home which I purchased in about 1951 and one in my office, which I purchased a few years ago. It was THE CONQUEST OF SPACE, by Chelsey Bonestell and Willy Ley.

Who was this incredible artist, Chelsey Bonestell? Although I collected books illustrated by Bonestell throughout the 1950s and 1960s, I knew little about him personally until I found a trade paperback about him in the late 1970s or early 1980s, which gave a broad overview of his life and work.

The present book is a greatly expanded version of that earlier work, 256 pages versus 133 in the trade paperback. Since that paperback came out, both Chelsey and his wife have died, but I think it is safe to say Chelsey's work is more appreciated than ever. Here you'll learn of his childhood, his work as an architectural renderer and movie matte painter, and his entry into space art at an age when most men are thinking of retirement. Chesley lived to be nearly a hundred, and was able to compare many of his painted visions of other worlds to actual photos taken by astronauts and robots. But none of these photos have the incredible artistic validity of Chelsey's own vision. As many have commented, where Chesley's vision disagrees with reality, it is generally Chesley's vision which is the better.

For several generations, whenever anyone thought of space travel, or explorations of other worlds, it was Chesley Bonestell's vision they recreated in their mind's eye. Few artists have ever had or could ever hope to have such an impact.

Whether you are an old fan or are discovering Bonestell for the first time, this is a rich feast of his art, which ranges from architectural renderings to recreations of long-vanished Spanish missions of California.

"The Art of Chesley Bonestell" is an extremely high quality Science Fiction art collection that comes around once in a decade or two. The last Chesley Bonestell collection of this calibere, "Worlds Beyond: The Art of Chesley Bonestell", was published in 1983. Chesley Bonestell's art goes back to the golden age of Science Fiction of the late 1940's, 1950's and 1960's. His work was displayed on the covers of SF periodical magazines, SF paperback books, and Space Science books of that era. His style is realistic and his work is breathtaking! His concepts of other-worldly-visions are naturally realistic and have a Zen-like feeling of mystery to them. The color plates in this book are of awesome quality. I guarantee this book will increase in price, as the 1983 collection has. The 1983, "Worlds Beyond: The Art of Chesley Bonestell", sells for around $100 or more. Buy this 2001 book, "The Art of Chesley Bonestell" now, because it will only cost MUCH more after it goes out of print.

I bought this book for the space art but found out there are many other excellent paintings to go along with them. Bonestell's art makes you want to be at the places he's painted except for places like New York under nuclear attack and ancient Egypt being bombarded by comets. The space art is incredible. I only wish I could get large prints of some of the pictures to frame them. I'm even considering buying another book and cutting out some of the pictures that are barely large enough to frame.

I am among the hundreds of thousands -- perhaps millions -- of people who owe their lifelong interest in matters of astronomy and space science to a childhood discovery of the art of Chesley Bonestell. I remember vividly pawing through the pages of The Conquest of Space at the age of about ten, my mouth open as I saw the marvels of the universe displayed.

It was thus actually rather nerve-racking when I opened this new book for the first time. Could the reality of his art possibly match my childhood memories? Could all of that vividness and excitement have been magnified in my mind's eye over the succeeding decades? Was I in for a disappointment?

I most certainly was not. If anything, the fabulous art inspired and excited me even more than it had way back then.

And there's a lot of that art here -- a real feast of it, superbly reproduced. And I discovered as I kept turning the pages, hands quite literally trembling as I discovered treasure after treasure. Even more excitingly, I found that Bonestell had worked in areas of art I'd never suspected before: fabulous landscapes, stunning sketches ... I have perused many, many art books, but I've never before reacted quite as strongly as to this one.

And it gets better. There's a long, beautifully written and utterly fascinating illustrated biography of Bonestell written by Ron Miller. It's almost as if one's getting two books in one.

An earlier reviewer (who cannot spell "Chesley") talked of this as if it were an expanded version of The Conquest of Space. He was talking through his hat. This is a completely new book covering the entirety of Bonestell's career both visually and textually; it contains a big selection of illustrations from The Conquest of Space (all the best ones), but they form only a small part of the huge and sumptuous collection on display here.

This is a gorgeous book, and an extremely valuable piece of work -- the authors/compilers deserve the highest praise for having brought this treasure to us.

The pictures are great. I especially like Henry Cole's drawing of Wilbur(some pig, Charloote's Web). However, on Page 33, Fern's name should be Fern Arable, not Fern Avery. This is editor's fault. For this, I gave 4 stars. This book was a product of Reading Is Fundamental, Inc. They should have not made such a mistake.

I like to see better editing, especially for children's books.

A really beautiful picture book for adults showcasing a variety of different children's illustrators to showcase an array of picture book art. I picked this up at a conference and I think it is great for librarians or anyone who loves books.

This collection of artwork is an inspiration to future illustrators. It is helpful for teachers trying to show students that reading is important for many reasons.

Among the delights in this book, "The Art of Reading", are artists respectfully mimicking other artists, sharing memories of favorite books, of authors & illustrators; each one encouraging their audience to read and ENJOY. The cover illustration, by the late influential Fred Marcellino, was chosen for its appropriate subject of cat and mouse cozily reading together!

First, I raced through, looking for my favorite illustrators. Then I would pause often to laugh at someone's adaptation, as for example Paul Zelinsky's wonderfully amusing interpretation of "The Color Kittens" and his delightful essay. 'All bases are covered' in this handsome book: it salutes childhood favorites and teachers who were mentors while exploring a variety of mediums & styles. How different and imaginative are the creations of Lois Ehlert, Raul Colon, David McPhail. Bryan Collier with his layers of art and photo collages inspires the detective in us, trying to figure out the source of materials.

All the artists stir some regret that we do not share their talents, yet we love the trips back to happy lap-times and those exciting years of discovering the meaning of words. RIF (*Reading is Fundamental*), an important non-profit literacy organization, has compiled for their 40th anniversary celebration this elegant gift for all who love to read. Reviewer mcHAIKU 'toasts' all the happy memories forever attached to magical artists such as Wanda Gag, Maurice Sendak and Garth Williams.

As an elementary librarian I am always interested to see what books people have loved since childhood. It's fun to see how many can conjure up warm feelings about their mothers, or teachers or even a book's character that they identified with as a child.

How delightful to see what books influenced some of our most talented children's illustrators by reading The Art of Reading! And like the "cherry on top", we get to see their creation in salute to the book.

Even when Ray Bradbury isn't writing, his friends and fans and disciples are writing about him. This book will give you a couple of hours of joy, and make you wish you had read all 500 of Bradbury's published works, seen all his movies and television productions, heard all his radio plays, seen his stage productions, heard all his recorded books and stories, attended all his lectures, seen all his media interviews. Once hooked on Bradbury, no-one goes into recovery. Ray Bradbury's works are written for future generations of optimal behaviorists who want to see the world and its people survive and thrive.

--Jim Reed, author, DAD'S TWEED COAT: SMALL WISDOMS HIDDEN COMFORTS UNEXPECTED JOYS. Learn more about Reed: jimreedbooks.com

This coffee table book is a must have for Bradbury fans. Full of pictures and illustrations of his various stories and books are interweaved with text written by friends and associates of Bradbury's throughout his professional carreer. The book spends a great deal of time on his personal correspondance with William Gaines (comic book publisher and later MAD magazine). The correspondance shows a literary master who was truly fond of comics,then considered a trash medium during the 1950's. The book also spends a good deal of time on notes by Francois Truffaut, the french cinema genious who filmed farhenheit 451. Bradbury is also shown as a man who loved Hollywood from the time he was a small boy. This book is a great addition to have, both for the written word and the beautiful artwork.

There's a point in this book where the author says "You have to be an amazing writer to inspire so many illustrations and paintings." And that's why Bradbury is so great. After reading a book like The Martian Chronicles, you can easily imagine what he was describing. And if you can draw or paint, you'll want to create those images on canvas.

That's why almost every piece of artwork in this book is so beautiful. Just take the Illustrated Man as an example. Each artist who was commissioned to create a cover for the book had the task of showing an almost-naked man covered in tattoos. But the tattoos had to show scenes from dozens of short stories. One artist made the Illustrated Man an obese, shirtless guy in a carnival sideshow. Another gave him technicolor cartoons across his back and shoulders, depicting roaring lions and men in spacesuits. The third image is the most famous --- a nude man with his back to the viewer, sitting, with all of the skin below his neck covered in images.

This approach is repeated throughout the book --- different artists interpret the most vivid images from Bradbury's best books and stories. Over a hundred paperback book covers are reproduced (including a few that I was obsessed with when I was ten years old), along with movie posters, paintings, movie stills, and comic book pages.

The text is just as good. This book serves as a biography of Ray Bradbury, tracing the arc of his career from science fiction author to short story writer for 'the slicks' to comic book writer, novelist, playwright, and screenwriter. Bradbury's relationship with EC comics is recounted through the correspondence between Bradbury and William Gaines. It's very interesting, especially when Bradbury catches Gaines stealing his stories and offers to write more for EC instead of suing.

If you're a Bradbury fan, you'll love this. It's the kind of book you'll pull off the shelf every month and flip through, just to marvel at all of the strange and beautiful images. If you don't know Bradbury's work, you'll still enjoy all of the artwork. Maybe the images will inspire you to read his books..

This treat of a book is unique in that it is not merely a collection of illustrations from Bradbury publications over the years, but seeks to document the whole spectrum of "visualizing" the rich prose of Mr. Bradbury, an almost impossible task! This includes films, stage productions, marginal doodles by Bradbury himself, books and films that inspired Bradbury in his early years, and much more - a rewardingly broad approach to crafting the book.
In addition wholeheartedly agreeing with the wonderful points noted by other reviewers, I would like to point out that the book features much rare material by Joseph Mugnaini, the definitive Bradbury artist, in the form of concept sketches for covers, stage backdrops, and some of the original paintings that inspired the Bradbury-Mugnaini partnership in the first place. The contribution of Mugnaini's works to Bradbury's success, as a visual carnival barker beckoning readers into Bradbury's world is tough to underestimate.
The book is beautifully printed, with one absolutely tragic exception - the reproduction of Charles Addams' original illustration for the story "Homecoming" is horrible! It is terribly blurry and there are some kind of liquid stains on the original work, which hung in the Bradbury home for many years. For comparison, look at the (reversed) reproduction used as the dust jacket for Bradbury's recent "From the Dust Returned" novel/collection. Just unfortunate that the one illustration botched - was the lone collaboration between two magnificent twentieth-century masters of the macabre. Still OVERWHELMINGLY worth owning however.

Now that Sam Weller's "The Bradbury Chronicles:the Life of Ray Bradbury" is selling like water at the bookshops,we'll see the importance of Jerry Weist's "BRADBURY,AN ILLUSTRATED LIFE,A JOURNEY TO METAPHOR".I didn't read yet Weller's book,but I know that Frederik Pohl didn't like it.I own a copy of "Bradbury,an illustrated life...", since it appeared.And I loved it.What a gorgeous "objet d'art"!The ailing Bradbury must be proud to have inspired a book as beautiful-and good-as this one.The text by Jerry Weist is well written,professional,competent.The Foreword,by Bradbury's archivist ,collector and friend,Donn Albright,is very informative about a few of Bradbury's illustrators.The Introduction,penned by Bradbury himself,is enlightening.
As an admirer of Science-Fiction illustration and collector of SF Memorabilia ,this work was a visual feast to my eyes ,taste and, sensibility.
Called my attention:firstly,the reproductions of book and magazine(AMAZING STORIES,WONDER STORIES QUARTERLY)covers,interior illustrations,movie stills and posters(the famous one-sheet poster for the silent "THE PHANTOM OF THE OPERA" and the glorious six-sheet poster designed for William Cameron Menzies's/H.G.Wells's "THINGS TO COME")and the Sunday comic strips(TARZAN,BUCK ROGERS),that influenced Bradbury's visual taste and literary preferences.Secondly,the reproductions of publications(fanzines)like IMAGINATION and FUTURIA FANTASIA(with Bradbury as editor)that enriched his beginnings as a science-fiction fan ,nurturing his creative juices and his friendship with the future great illustrator Hannes Bok,plus the moving photos made when Ray was visiting New York City during the (First)1939 WORLD SCIENCE FICTION CONVENTION financed by his buddy Forrest J. Ackerman, or made in Los Angeles ,like the amazing photo showing a youthful Ray at a meeting of the Los Angeles Science Fiction Society(LASFS) in 1940,when nineteen-year-old Bradbury was just beginning his writing career.This photo is sensational because it shows us other famous(now)members of the LASFS:FORREST J. ACKERMAN,MOROJO,RAY HARRYHAUSEN,ARTHUR K. BARNES,EDWARD E. "DOC" SMITH,CHARLES HORNIG,ROBERT HEINLEIN(seated at the table,only his face showing).Also appearing in the photo :JACK WILLIAMSON and EDMOND HAMILTON(standing near the wall in the background).The other photograph that moved me was taken(circa 1946/47)probably in Los Angeles, too. In this one , Ray appears side by side with the couple EDMOND HAMILTON/LEIGH BRACKETT and with Hamilton's sister.Thirdly,I was enraptured by the exquisite beauty of the interior B&W drawings(Oh,the marvelous B&W drawings by HANNES BOK,LEE BROWN COYE,BORIS DELGOV, VIRGIL FINLAY&LAWRENCE STERN STEVENS) illustrating Bradbury's stories in pulp magazines ;the outstanding colour paintings printed as illustrations for Bradbury's stories in the 'slicks'(ESQUIRE,THE SATURDAY EVENING POST,COLLIER'S,and so on).His stories(for instance,"A Sound of Thunder","The Beast from 20000 Fathoms","The Illustrated Man" and "Mars is Heaven")were,then, interpreted by great artists like STANLEY MELTZOFF,REN WICKS,JAMES R. BINGHAM&JAMES BAMA;the futuristic cover designs for Hardcovers ,like GEORGE BARROWS'S Arkham House(American edition) and MICHAEL AYRTON'S Hamish Hamilton(British edition) cover designs for "DARK CARNIVAL",ARTHUR LIDOV'S cover illustration for "THE MARTIAN CHRONICLES"(1950)and JOSEPH MUGNAINI'S cover painting for the british edition(1963)of "SOMETHING WICKED THIS WAY COMES" ;the catching paperback's covers for the BANTAM edition of "THE MARTIAN CHRONICLES"(1951)and the BALLANTINE editions of "FARENHEIT 451" &"THE OCTOBER COUNTRY"(1953&1956 respectively,both JOSEPH MUGNAINI'S covers).Deserve special mention the series of JOSEPH MUGNAINI'S(1912-1992) litographs,preliminary watercolor sketches,original B&W drawings and paintings inspired by Bradbury's stories and books.The italian-born MUGNAINI was considered the best interpreter of Ray's dreams.
Finally,the chapter dealing with 'EC COMICS and Ray Bradbury:The Untold Story' is precious.Jerry Weist is in his terrain here.As he says in the opening of the chapter:"The story of how Ray Bradbury came to have his writing adapted by a small,energetic company named Entertaining Comics in the 1950's is now a legendary chapter of comics history".How very true this is.I was enchanted by fantastic reproductions of originals by FRANK FRAZETTA,AL WILLIAMSON,AL FELDSTEIN(his recreations are amazing).And it is always rewarding for me to admire the fabulous adaptations&splash-page arwork by the great WALLACE(WALLY)WOOD,a real genius of the comics.'Last,but not least' I was thrilled reading and seeing the archive of photos and Film Memorabilia reproduced.My favorites:the promotional photographs of Ray with the lovely Barbara Rush during the production of "IT CAME FROM OUTER SPACE"(Universal,1953);the Half-sheet &Insert posters & Window lobby card for the same film and the known(signed) One-sheet poster for "THE BEAST FROM 20.000 FATHOMS" .
Many years ago I saw "THE BEAST FROM 20.000 FATHOMS" at an old movie theatre in my home town.It was an unforgettable experience for me.A few years later ,I read the famous Bradbury's terrifying short story "MARS IS HEAVEN",the first yarn by this great writer that I read.I was definitely hooked.From then on I've been reading almost all his SF&Horror stories and a good number of his novels(novels?).
So,I love this book and I warmly recommend it.

When I was just a boy (many years ago), for a treat to myself, I bought the Classics Illustrated comics. The art work and plot were so engaging that I still carry some of those images around in my mind. Jules Verne's "Mysterious Island" and Dana's "Two Years Before the Mast" and many others were indelibly imprinted on my brain so that they could never be forgotten. Little did I realize that these illustrated novels were real literature, that they would lead many years later to actually reading those works. When I spied the life-sized book "Classics Illustrated: A Cultural History with Illustrations," I could not resist buying this book. When it arrived, I began reading a serious history of the Classics Illustrated publications, their awkward beginning and about the lives of their illustrators, and how the U.S. Postal Service effectively drove Classics Illustrated out of business. (It seems that the post office considered this comic a book and not a periodical.) Colorful images taken from the book abound throughout this edition. It's ironic that this very volume of literature is in danger of becoming a classic itself.

CLASSSICS ILLUSTRATED comprised such a crucial, influential, and above all, entertaining part of my youth that they have never entirely left me, and in fact I still have my entire childhood collection, and then some. The author of this book, William B. Jones, notes that his approach to the subject is meant to be objective in nature; but of course anyone raised on CLASSICS ILLUSTRATED can never be completely objective about them, and time and again Jones' understandable passion for these books seeps through. Nor is it simply nostalgia: when I go back to reread old issues it is mainly for the inherent richness of the storytelling and artwork they contain. Where in all comic book history is there a work so profound and moving as the Norman Nodel-illustrated LES MISERABLES, or as sad and tragic as the Angelo Torres-illustrated TOILERS OF THE SEA? Where is the comic book art that can excel, for its sense of historical time and place and fine drawing, John Severin's treatment of the Alamo and the Mexican War in BLAZING THE TRAILS WEST? Has there ever been a swashbuckling comic book so superbly ALIVE as George Evans' treatment of THE THREE MUSKETEERS? As for THE WAR OF THE WORLDS, I wholly agree with the author that it was never adapted so effectively, in any medium, as it was in CLASSICS ILLUSTRATED. I could go on. This is not to say that there weren't issues that were pretty bad, especially in the early days, and Mr. Jones freely admits this. But for those who are already familiar with this series, and especially for those who aren't, I cheerfully recommend this book as a kind of bible to CI and its several related series. I learned so much that was new to me about the issues, the artists, the editors, and the evolution and ultimate decline of the publishing house, Gilberton Company. The packaging and layout and paper quality of the book is a delight. Bravo, Mr. Jones! And bravo, CLASSICS ILLUSTRATED!

Ever said that line? Then you'll love this beautifully written and lovingly researched book about the history of Classics Illustrated.

Jones manages to evoke the characters of the men and women who contributed to this fascinating niche of Americana: illustrators, editors, publishers, and even its detractors. Interviews were obviously thorough, chapters are meticulously footnoted, and yet it reads like ...well, like an engrossing classic tale of adventure! Pick a chapter at random or read from cover-to-cover... it's consistently a winner.

While occasionally too ready with a disavowal of nostalgia, Jones does not hesitate to reveal his personal lifelong love of the comic book series. Truly, the best works of fandom itself can be so endearing, so contagious with admiration and awe. This book is no exception. Like myself, Jones loved the comics when he was a kid. Just as publisher Albert Kanter intended, as an adult I've managed to read every word of the real Count of Montecristo and War of the Worlds and The Moonstone, but I first learned these vivid and amazing tales by reading the Classics versions. Jones augments my personal appreciation and gratitude in this excellent book.

His work was in-depth and, while certainly using a critic's eye, relatively even-handed when it comes to the series' contributors. Now, reading the book, Jones has even made me appreciate the work of Classics artists whose pages I'd previously disliked.

Excellent illustrations, particularly of rare pages and covers, fill the book. Nice personal photos of the artists and editors are a great touch, seeing as this is a book of both down-to-earth and scholarly sensibilities.

Only fault I can find is that the text sometimes refers to a page or panel or other artwork which is not actually reprinted in the book. It can be maddening, at times, because we want to see exactly what he's talking about. My family's incomplete collection lies in another continent, otherwise it would be nice to have it at hand for referencing these things. Keep yours at hand. The book, I suppose, would be gargantuan if Jones did include these bits. So, by rights, it is an excellent book, and I did enjoy reading it.

The thing I appreciate most about this book is the soberness (with no lapses into pretentiousness or portentousness) the author brings to his subject. A survey of Classics Illustrated, to be sure, could have very easily elicited yet another visually engaging pretty-picture book saddled with a stridently jokey, throwaway text --ala Chronicle Books. We can be thankful that the tone here is intelligent, the level of detail scholarly, and very few, if any, stones are left unturned. The author has done all his homework, giving all known writers, editors, artists of the series coverage commensurate with their contribution.

This is a thoughtful, caring volume that is so much more than a tribute to a long-gone comic series, although it could be read as that too. One can't help but feel this is a primer on the way more books about popular culture really ought to be written.

From 1941-71 Classics Illustrated comics introduced millions to abridged, comics-style version of literary masterpieces. Classics Illustrated tells of the birth of this popular medium, founded by Russian Jewish immigrant Kanter whose operations saw both the heyday and decline of the golden age of comics. The focuses on artists' creations is particularly involving.

Although this book is written for adults, we purchased this book for our 7 year old son who is currently researching comics, their origins, and authors. It has been a constant companion...traveling with us everywhere! I have had the opportunity to read portions also and I too have found very well written, interesting and informative. The comics choosen have given our family quite few chuckles! Great for anyone who enjoys comics and wants to know more about comics through the years.

This gigantic collection of comics describes the strips that appeared in newspapers rather than on newsstands. There is a small amount of natural crossover, but the author is focused exclusively on what appeared in newspapers. For most of the main strips, he gives a brief historical recapitulation of the spirit of the times as well as a short biography of the people who created the strip. For the strips that have continued across generations of cartoonists, he explains when the transition took place and why.
As can be expected, the best part of the book is the cartoons. Walker gives a small but thorough sample of the flavor of the strip and how it changed over the years. There were some that I remember so well from my youth, in particular "Mandrake the Magician." When I was young, I always got up very early and opened the Sunday morning paper to read the cartoons. I always read them in the order from my least to most favorite. This meant that I shifted back and forth, but that was fine to me.
Even though I am now and will always remain a news junkie, the comics will always be my favorite part of the paper. They give us adventure, excitement and something to look forward to, and in this book you can learn a great deal about the people who made and continue to make them happen.

I've felt for a while that the newspaper comic strip is the most ignored form of popular art, rarely looked at critically. While comic books prosper and have gone well beyond the standard superhero format, the comic strip languishes, rarely allowing new and creative strips to break through, while "institutional" strips (those that have not been amusing for years but are institutions, such as Heathcliff or Crock) dominate the paper.

In this sense, this book is not very helpful; it is a relatively uncritical appreciation of the comics. Nonetheless, it is an excellent book, a good summary of the major artists and developments in the comics since World War II. All the big strips are here: Garfield, Peanuts, Doonesbury, Calvin & Hobbes, the Far Side and many more, along with plenty of material from bygone eras.

This book is around 50% text and 50% comics, so there is plenty of fun stuff to read in either format. For what it is - an appreciative history - it is fantastic. The only flaw is that Walker ignores the comic strips of alternative newspapers, therefore neglecting such important works as Groening's Life in Hell (without which, there would be no Simpsons).

For anyone who has ever enjoyed the comics, this book is a great look at the field and a lot of fun.

Blondie, Archie, Nancy, Pogo, Beetle Bailey to Peanuts, Garfield, Mutts and Calvin and Hobbes, here's a lavish, full-color, oversized, hardback, coffee table book celebrating the best part of the newspaper. Comics curator Brian Walker, son of Mort Walker (Beetle Bailey, Hi and Lois), collects the best examples of this much-loved medium over the last half century. Now that the companion volume, The Comics Before 1945, has appeared, Walker's labor of love is complete. Together these inviting volumes offer a compelling tribute to the art of the funny papers. And Amazon's irresistable price is nearly half off retail.

Hey,where to start in writing a review on a book about Comics, when one has been reading them for over 60 years.An excellent book in every way.Physically,this book is beautifully constructed,with top of the line paper,printing and color illustrations.A great dust jacket, as well as glossy hard covers printed with comic strips.A large volume 10X14 inches,over an inch thick and 326 pages...WOW! By the way ,there is a companion book,which is just as good,covering Comics before 1945;same size and by the same author.
What great memories this book brought back.I was born in 1935 and was an avid Comic Strip reader of 10 where this book starts.
While there are many strips covered in this book that are unfamiliar to me,and probably to most people;all my favourites are there.All through the years,in my opinion the Strips and writers were at their best in the 40's and 50's.But then that was when they were really growing up and so was I.
My favourites were Dick Tracy,Little Orphan Annie,Li'l Abner,Smilin' Jack,Popeye,Beetle Baily,Joe Palooka,Blondie,Tarzan,Captain Easy,Mandrake the Magician,Mutt and Jeff ,Smokey Stover,Henry,Superman,Terry and the Pirates,Pogo and later Doonesbury.
Dick Tracy was my overall favourite,especially in its prime with super characters such as Flattop,Mumbles,The Mole,Brow, B.O.Plenty,Gravel Gertie and little Pebbles,Pruneface,etc.,etc.
Then there was Li'l Abner with Daisy Mae and Ma and Pa Yokum.The nation wide craze set off by those wonderful Shmoos and then the creation of Sadie Hawkins Day antics that swept the schools and colleges.Nothing like that kind of stuff today!
I guess all this fun was just too much for the prudes of political correctness, and their misguided efforts put the end to it all.
At the height of the Comic Strip days,everyone was aware of the 'funnies'and knew all the characters.If you didn't know who Dagwood or Annie's dog Sandy,or Fearless Fosdick was;you just didn't know what was happening.There is nothing like it today.I found the papers kept dropping reader favourites,cutting back on the number of strips,introducing strips with agendas and social engineering,to the point many readers lost interest and abandoned them.
As a matter of fact ,I was really following only Pogo and Doonesbury for the last few years and sadly we have even lost Pogo.Dick Tracy is not even carried by out largest paper in Toronto.I just read the Tracy strips on the Net for 2005.Fletcher and Collins give it a good try,but the storylines and artwork fall way short of the master, Chester Gould.Not only that,punching the keyboard and reading the screen is a poor subsitute for sitting back with the funny papers enjoying a coffee after breakfast or dinner;again in my opinion.
This book also covers a lot of what I call cartoons,and does a great job of it,but cartoons just aren't what the world of Comic Strips was all about.
Walker has also included a huge list of references if one wants to dig further.
This book should not be thought of as a review of any particular strip.It is really a history of Comics,a reference to use if one wants a quick look-see of what a strip looked like and a little about the artists who drew the strips.It also tells a lot about what went on behind the scenes with the artists,newspapers and syndicates over the years.
It also talks about Comics as an artform.Here I agree,one only has to look at how the artwork progressed in a strip like Dick Tracy and more recently Doonesbury,to see the advancement from very simple sketches to excellent art of colors, silhouette,perspective and all, to appreciate it.
After reading the book, I hope one day to visit the International Museum of Cartoon Art;although I continue to think of the Comic Strips as one thing and Cartoons as something completely different.
A great gift for a friend or yourself if you were a follower of the "strips".

The illustrations in this book are so vivid and detailed, it even makes snakes look beautiful to me! I wish there were more books that were made this way.

The old prints are just beautiful. Before photographs, books like these had hand painted reproductions of the animals. The detail is amazing. One can only imagine how long it must have taken to prepare these works.And collect the specimens.Check out the 7 headed hydra! And cheers to Taschen for another beautiful art book.

Cabinet of Natural Curiosities: The Complete Plates in Colour, 1734-1765 At a time when unimportant volumes by hack authors sell for around $30 it is extraordinary to find a book this beautiful, this timeless at a price less than an average bottle of Chardonnay. Makes one rethink any list they might have made of books to take to a deserted island.

snakes, bugs, plants, birds and all manner of living creatures. It is really an overwhelming collection. Worth getting a larger coffee table.

I'm not a biologist or scientist of any kind. But I am a fan of Taschen's publications and admire his goal of publishing high-quality photo/art books at reasonable prices. I happened to come across this book while browsing in the bookshop, was attracted by the Taschen name on the cover, took a peek inside and bought it on the spot. It was only afterwards that I discovered the history and historical significance of this collection. It's a beautiful book, filled with brilliantly colored illustrations of reptiles, butterflies, plants and animals. Great stuff and a real education for a layman like me.

This is a very special book. Aldrich covers everything an aspiring (or experienced) artist wants to know on the process of creating magnificant animal artwork. Aldrich's work is an inspiration to those of us who dream of creating a piece as beautiful as the ones that are on display in his book. The pictures alone are worth the price. On a practical note, I learned quite a bit by looking at the tools he uses, the different mediums (and combinations) and the step by step process (which includes pictures). I also highly recommend "Painting Animals that touch the heart" by Lesley Harrison. If you love Aldrich... you'll love Harrison.

I was looking for a book on wild animal paiting and a friend of mine just picked this book from a shelf and said... I think this is like your taste.
After reading from cover to cover in just one night, I was impressed by the way I felt about the book. It has quite a lot of writing on it, but the kind of writing that inspires you to explore, think and feel about art and wild life art. It has hints, but not the kind of "take this for granted because it works". Instead, the book stimulates you to find out what suits you better, never creating rigid parameters.
Well, the overal feeling was that somehow Mr. Aldrich has written a journal about his toughts on art and wildlife art, and that he is kindly sharing his long way trip with the reader.
An awesome book and the one to which I come whenever I need a boost, not only for art pourposes, but also when I need a cheer up in my mood.

Loads of material on creating feathers fur and expressions.
The author covers the practical little details you need to learn
and in several demonstration sequences he puts everything
together. You can see the work "becoming". Very helpful reading
for anyone wanting to make realistic pieces with animal
subjects. I loved the section 'dealing with the blahs' which
addresses the point at which you go stale on a piece your are
working on.

This is a terrific reference on accurate rendering
of animals. If you are interesting in techniques
that help you capture the look in the eyes, realistic
fur and that something that makes the picutre come
alive this is a very helpful resource.

The book is concise, it doesn't reinvent the wheel. It knows you want to paint and that you know some basics. It also has just enough review if you need it so that you have a quick overview. The strength of the book is that visual and text explanations really work, step by step is a plus also. I recommend it . You will get more out of it than most sets of instructional books give you. My work is better and I am happier for buying it. NormaJean

A great book of twisted pop art. Those of you with a love of the age of characters selling products and differing takes upon such characters will love it. It is a book you will either love or hate.

A simply superb book - gives a real sense of process, of the development of Mr. Schorr's unique style over time, and has nice large repros of the work (including many of the 'detail' insets so necessary to get any real sense of this work). A must-have for anyone interested in modern surrealism or in pop culture generally, plus a pure joyous delight from start to finish.

It would be straightforward and reasonable to write a Ph.D. thesis on the images and characters here selected and manipulated, and their role in American culture -- More revealingly perhaps, children who visit me and see it simply ADORE this book, and there is little or no non-kid-appropriate imagery. I bought a copy of this as a surprise gift for a teenage-artist friend who had mentioned a newfound fascination with Magritte, and she says it 'changed her life'! While I won't promise life changes, I can easily promise that anyone with an interest in how images are used to massage the public psyche, and/or a fully-developed sense of the ridiculous and the sublime, will find a whole lot to love here. CC

Todd Schorr is a great artist!!!
This book is the best recopilation of him

Great book, excellent quality. provacative art images. Cool cover to protect book through time.

I found out about about Todd Schorr through reading Juxtapoz magazine,being a fan of "lowbrow art" I loved how Schorr mixes so many influences from cartoons to hot rod culture to make statements from the personal to our social concerns. "The battle of Holidays" and the Thanksgiving paintings are amongst my faves and are in the book. It's packaging and presentations are great for a hardcover book. Outside of Robert Williams, Todd Schorr is amongst the best artists in the world get this book.