Commercials Books

This book is essential for all Art Nouveau lovers.

There are over 200 pages with postcard illustrations from mainly Europe and a few from The United States.

The book starts with a description of "The Origin of Picture Postcards", The popular Subjects of Art Nouveau Postcards", "Postcards as Graphic Designs" and explain (briefly) the techniques and material.

Great inspiration for art and design students.

Of the hundreds of books available (or no longer available) about postcards, there are only three major works which merit the status of full-length superb art book, suitable for coffee table or prominent in-home placement. Two of these books, "Postcards from the Nursery" by Dawn and Peter Cope, and "Postcards of Nursing: A Worldwide Tribute" by Zwerdling, I have reviewed in their appropriate listings. Both of those books transcend the *apparently* limited subjects (if you go simply by the titles) and provide a range and scope of art and photography which really has to be seen first-hand to be appreciated.

The book under consideration here, about art nouveau, is just that. That it happens to be the best art nouveau book on postcards ever published is not apparent from the title, and the fact that the best art nouveau appeared on postcards is also not something well known.

"Art Nouveau Postcards" is a multi-level book. Its production values and range of illustration place it among the finest of art books. The information about the artists is simply unavailable elsewhere without a visit to several European libraries, making this book a superb reference book.

The illustrations are grouped by country, and simply by browsing the book, one can begin to appreciate the differences in the various schools of the "new art" which shaped the style. It can be argued that all the futuristic forms, such as Deco, etc. had its origins in art nouveau or that they were reactions against art nouveau. Art Nouveau, was, after all, a rebellion...and it set the "legitimacy" for all other art rebellions to follow. Nevertheless, whether or not it was superceded by other styles during some periods, art nouveau is still very much alive and this book shows you why.

The subject matter is boundless. If you cannot find dozens of images on your first run-though, you probably are not particularly inspired by art at all, so this review is not for you. But if you buy only one book about art nouveau, this is the one for you. It will not only offer you something you can appreciate immediately, it will educate you, pleasantly, into a finer level of appreciation and a greater understanding of the art movement, the postcard in general, and the artists who shaped the art of the 20th and 21st centuries.

At the first introduction of so-called 'art' in the form of videotapes played in museum and gallery installations caused a public response of skepticism: how can something so transient as filmed activity be called Art? The validity of video art is now accepted as one of the more creative venues of artistic expression and that is due to a very great degree to the pioneering efforts of Bill Viola, a uniquely gifted man who now is accepted internationally as one of the most important artists of our time.

This brilliant book as created by Chris Townsend explores Bill Viola's works from the 1970s to 2004 with abundant photographs of 'stills' images from his videos that even in the frozen state of the book page are shatteringly poignant and beautiful. Perhaps for those uninformed about Viola's work this format will not impress, but the book may stimulate more people to seek out installations of his works as they appear in the varied arenas of art around the world. Townsend includes contributions by excellent writers such as Rhys Davies, Cynthia Freeland, Antonio Guesa, David Jasper, Jonathan Lahey-Dronsfield, David Morgan, Otto Neumaier, Elizabeth ten Grotenhiuis, Jean Wainwright - each of whom brings not only artistic verification but also personal response to Viola's many projects.

Perhaps one of the most successful works Viola has produced has been THE TRISTAN PROJECT in which he worked in tandem with Director Peter Sellars, Conductor Esa-Pekka Salonen, the Los Angeles Philharmonic, and Gehry's Disney Hall to re-think the Wagner masterpiece "Tristan und Isolde" in terms of the elements of water, fire, and the spiritual transformation of love - all by adding the element of projected gigantic screens of Viola's models in movement that created an opera production so profound that it is being staged throughout the world to both audience rapture and critical acclaim.

Bill Viola is a living genius and this fine book helps to inform us why. Highly Recommended. Grady Harp, November 05

Sixty illustrations, all but five in color, lend to Chris Townsend's compilation Art Of Bill Viola, the first extensive critical appraisal of the works of video and installation artist Vignola. From themes surrounding the relationship of Vignola's art to religions to essays which consider his international influences and reputation, The Art Of Bill Viola is a 'must' for any in-depth art collection strong in video and installation works and artists.

I used to think of John Berkey as just a sci-fi artist. But after viewing this book its clear Berkey is quite simply an excellent artist on all levels. What I find masterful about his work is that upon close viewing you see that he uses simple brush strokes for his approach. Yet, when viewed from a distance his art appears as detailed as any photograph I've seen. This is what it means to be a true artist: Being able to convey a clearly conceived and well-executed idea while maintaining an original sense of style and technique. Mr Berkey's work should be viewed by all, whether sci-fi fan or not.

For those of you who were inspired by John Berkey's fantastic visions of the future decades ago, you will find continued inspiration in Jane Frank's new book, The Art of John Berkey. This book complements the earlier Painted Space book well, but stands on its own as a serious work about John Berkey. Several pages of autobiographical notes from Mr. Berkey himself followed by several chapters chronicling the many phases of Berkey's remarkable career. Back before computers, Berkey mastered the brush, inferring technological complexity with only minimal strokes in a way few other artists can. He ranks high along with legendary futurist artists like Syd Mead and Ralph McQuarrie. The book is beautifully printed, with lush colorful pages that bring Berkey's paintings to life. I recommend you purchase this book-it will take you on a fantastical journey you will want to come back to time and again.

The author, Michael Leek is a professional illustrator and has the artist's eye for picking out great maritime paintings. Starting with the Dutch School of 18th Century, Leek progresses chapter by chapter through the different national schools of maritime art. Along with great paintings, Leek provides a short biography of the artists.

This is not an academic book. It is written for the person who loves paintings of old ships. This is a book rich in atmosphere. I would recommend this book for anybody who likes spend lazy afternoons thumbing through beautiful books.

I've spent many a long and happy hour aboard literary ships, from Viking longboats to modern warships, and perhaps my fondest times were spent with Horatio Hornblower or Jack Aubrey in the days of fighting sail.

Here is a prize to be snapped up, a feast to be savoured, an illustration on every page, working through from the earliest ship paintings of royal barges carring Pharoahs up the Nile to Charles Turner's painting of Britain's last battleship being towed to the breakers.

In between there are hundreds of pictures, every one carefully selected and described. The illustrations are evocative - I'm looking at an early passenger liner now and I can all but smell the coal smoke, feel the spray on my face from the waves and hear the comments of the passengers lining the rails as they cruise past.

The text is focussed on the painters - there are many, many long columns devoted to the artists, their lives, their styles, their main works. We learn of the various schools and techniques and developments in the field of nautical illustration. But the artists are the focus, as they should be, and this is a very human book - I felt at times that I was standing behind an artist, looking over his shoulder as he captured the essence of some mighty ship. Or of some cameo, passengers on a liner, fishermen cleaning their nets, small boats serving a fleet anchored in the background.

Eminently readable, it provides the authorative background for the real reason I bought this book - the illustrations. This is a book I can lose myself in, sailing away on waves that have long since spent themselves, on ships that are but memories now, with painters, dust themselves but living fresh and new in these pages.

The Artist's Survival Manual is just that. Any artist, beginning or long time professional can find something invaluable in this easy to follow clearly written manual. Subjects ranging from contracts to tax issues are approached in an informative straight forward manner not without some humorous observations to boot.Another aspect of this book is the way that Toby has thoughtfully acknowledged topics like creative blocks,and general morale for artists through the long haul. There are chapters with detailed information along with anecdotes from Toby's very experienced and succesful art business. A section with simple forms and contracts that can be used by the artist.A more than basic primer that covers the ins and outs of everything from galleries,group exibitions,and having an open studio,as well as basic sales ethics blending together making for a sharp informative read that leads to a better sense of what is going on in the art world,and how to approach it all with more confidence. I highly reccomend it.

This is a "must-have" book for every visual artist involved in marketing his or her own artwork. All the important issues involved in marketing one's own artwork are dealt with in this book by Ms. Klayman, who has long been a visual artist herself as well as an expert on laws, contracts and royalties for visual artists and currently an instructor in an arts administration program at Golden Gate University. As an artist in San Francisco, I have used this book to educate myself about the various issues involved in marketing my own work.

Ms. Klayman guides us step-by-step through the often dreaded maze of dealing with copyright issues, pricing issues, commission issues, multiples as a way to enhance an artist's offerings and earnings, consignment arrangements, artist-gallery relationships, bookkeeping for tax purposes, avoiding problems with the IRS, to name a few. Potential pitfalls of all kinds are held up for our inspection and clear directions are given for their avoidance. A wealth of sample forms are included in the book (which can be used with written permission of the author)--Artist-Gallery Agreement, Resume, Consignment Receipt Form, Installment Sales Agreement, among others. Every artist needs to be ready with the tools presented in this book in order to be a successful business person-and these days every artist must be a successful business person as well as an artist in order to survive in the marketplace.

Klayman's book also delves into the complex personal situations every artist faces upon commitment to being an artist in society. Since most artists need a second job in order to survive financially as an artist (and many studies support this fact), there are some very specific dilemmas almost every artist faces related to balancing time and energy--these are discussed. Also explored are slumps, the importance of keeping in touch with one's collectors, the sometimes difficult relationships with other artists, definition of success, believing in one's own work, insurance issues and even writing a will.

Every artist entertaining the idea of selling work or in the midst of being represented by galleries and dealers or even just selling work in the studio NEEDS this book.

This book, like Arts and Crafts Houses II, covers only three houses, in this case William Morris's Red House (designed by Phillip Webb), William Richard Lethaby's Melsetter House, and Sir Edward Luteyns' Goddards, but it covers them beautifully and thoroughly. There are site plans, floor plans, elevations, beautiful black and white photos and stunning color photos, significant introductory essays, and lists of references. This is a beautiful book at an amazing price.

These are three of the major works of the Arts and Crafts Movement beginning with the fabulous Red House which brought together many of William Morris' ideas in shaping this movement. Philip Webb worked with Morris to create this resplendent design, inspired by the earlier neo-Gothic movement, but pointing the direction to a new architecture. There are many fine color photos as well as key details of the house that give you a very good impression of this seminal work in the English Freestyle.

Lethaby and Lutyens carried the movement forward. They, along with C.F.A. Voysey, were the leading figures in the Arts and Crafts Movement, and shown here are their key works. The Melsetter House is a tour-de-force, stripped of most of the Neo-Gothic trappings, this house offers a more refined version of the English Manor House of the late 19th century. The site plan shows the beautiful configuration that Lethaby came up with to anchor the house on the large site with its radiating gardens. There are many beautifully detailed drawings, including molding profiles of the enormous fireplaces, which graced this mansion. But probably the most evocative photos and drawings are those of the chapel which was an extension of the main house.

Lutyens was a very eclectic architect, drawing on many classical themes as well as Neo-Gothic themes. Goddards represents a closer adherance to the Arts and Crafts Style, but in the introduction the author gives the reader a wide sampling of Lutyens' style. Goddards has elements of timber architecture and is more earthy in its appearance. The skewed wings open up the courtyard to the countryside beyond, and Lutyen's richly detailed chimneys rise as strong tower elements in the otherwise horizontal house. Lots of wonderful sections and detail drawings to give the reader a full impression of this manor house.

Most of the sculpture described in this book is to be found in the British Museum, which indeed is where I purchased Dr. Reade's book. However, "Assyrian Sculpture" should appeal to a broad audience, especially those of us who have been following recent events in Iraq and would like a brief overview of this country's ancient imperial megalomaniacs. Even as we pulled down monuments to Saddam Hussein, so did successive dynasties of Assyrian kings loot the palaces of their predecessors and proclaim their own glory. Visitors to their palaces were forced to view a procession of triumphalist scenes, depicting the king at war, his exploits in the hunting field, and his status as exalted by Assyrian gods and genies.

For almost three centuries, until 612 B.C., the small kingdom of Assyria dominated the Middle East, its empire at one point extending from Iran to Egypt. "Assyrian Sculpture" relates the story of those years in sculpted stone, and more rarely in glazed brick, and offers its readers a glimpse of a long-lost civilization.

The archaeological discovery, starting in 1843, of a wealth of artifacts from the ancient Assyrian Empire brought to the attention of Europeans a form of artistic production that was unique and unexpectedly striking to many contemporary eyes. Roughly comparable arrays of ancient Assyrian artifacts found by both French and English excavators and transported with great difficulty to Europe, were put on display almost simultaneously in the Louvre and British Museum, starting in 1847.

The first archaeologists to explore ancient Assyrian ruins were Paul-Emile Botta, a French diplomat, and Austen Henry Layard, an adventurous English lawyer. In the mid-nineteenth century they both explored mounds in and near present-day Mosul, a city in northern Iraq that embraces the site of ancient Nineveh. Between the two of them, they uncovered the remains of five Assyrian palaces.

One, excavated by Layard in Nineveh, was the "palace without rival" of Sennacherib, perhaps the greatest of the Assyrian kings. The inner walls and courtyards were lined with two miles of sculptured stone slabs depicting the king's various campaigns, from the Persian Gulf to the Mediterranean. It was under his rule that a system of canals and aqueducts brought water fifty miles from the Zagros Mountains to the parks, orchards, and gardens of Nineveh.

Within the palace Layard discovered thousands of clay cuneiform tablets, constituting the world's earliest-known comprehensive collection of written knowledge. In the chapter, "Biblical History in Assyrian Sculpture" the author states that although there is little direct evidence for the historicity of the biblical accounts that emerged from Layard's excavations, they did confirm that "the early history of Palestine, as recorded in the Bible, was more than a work of fiction."

Buy this book for its magnificent reproductions of Assyrian animal sculpture, for its fascinating biography of Austen Henry Layard, and for its concise overview of an ancient Mesopotamian civilization.

Note: There still exists an ethnic minority who call themselves Assyrians. They are a remnant of the Aramaic (or Syriac) speaking Christian community of northern Iraq, eastern Turkey, and western Iran.

Assyrian sculpture is one of the highest points (as is gold jewelry discovered in Nimrod, so called Nimrod Gold) of Assyrian art. Animal depictions especially are vivid, powerful and rather realistic, which is a rare occurence in those times. The Russian writer Ljubimov wrote in his book about ancient art, that if there were only one sculpture of this nation (The wounded Lioness) discovered we would know that the Assyrians had great art and thus the great soul. This book's fime illustrations prove Ljubimov's point.

As for depicting the ancient Assyrians as cruel looters, etc, they have not done anything what was not customary during those times and they were not as cruel as the Bible depicts them. The Bible was written by a nation which was conquered by Assyrian, that's why we hear tales of Assyrian cruelty for more than 2500 years already. But writers of the Bible have done the same things to the nations they conquered - khanaan, etc. So stop it already!

Can't you just enjoy beautiful art without spilling out your ingrained historical hatred?

You can not longer build and live so close to the water's edge but these beauties are grandfathered in on beautiful Muskoka and Rousseau, et. al. I thought of my boyhood days on a lake in Northern Minnesota. I remember smaller and less grand boathouses where the sundappled water reflected off the rafters inside. You were really one with the water. This book captures the essence of it all--I could almost smell the water, wood, paint, varnish, canvas, wet rattan and wicker--

At the water's edge

Muskokaá Boathouses.

This book gives the reeder a chance of dreaming back to the early yaers of the 20th century and experiance how the riche and famuose people spent there weekends and holidays. If you are intrested in old houses, especially bothouses, and architect designs this book is a must.

This book is my best inspiration ever.

Peter Östlund Stockholm Sweden

Discovered Atlas of Rare City Maps at Micawber books in Princeton, NJ. The college student/clerk said it was her favorite book in the store. I read it. Loved it. Gave it to the City Administrator in our town. He's so delighted by it that, after skimming it, he decided to read it one city at a time; like a morning devotional reading!

This book contains some of the loveliest reproductions of old maps I have ever scene. Aside from the beautiful pictures, the author includes interesting and valuable commentary to help the reader understand these city plans in the context of history and geography. All those interested in urban design should read the eloquent forward of this book. It would be highly beneficial if more of our political leaders, and just people in general, understood this era in urban design- the end of the traditional and the beginning of the modern. With the help of this book, perhaps we can bring about a new commitment to intelligent and beautiful urban planning for the future.

As a "working actor" I wish I had known 20 years ago even 1 of these techniques or pieces of information. It would have changed my career. John Shepard's book is beyond informative -its a miracle.

Nancy Mimless

This is a terrific book. Acting is a craft, so like any other craft it has it's changes. It should come as no surprise that there are growing number of facets where knowledge can give you an edge. No actor can be expected to know everything. Enter John Shepard. Here's a book that spells out the variety of camera work out there. Should you find yourself up for a commercial, industrial, creating CD Roms, Soap Opera, film, or episodic TV, Shepard has a chapter on each one. Everything, from what you wear to the details of auditioning techniques, is laid out. Do you expect to be working on location? Shepard tells you what you can expect as well as what's expected of you. There are sample scripts, scenes to practice and exercises to sharpen your skills. This book is full of good stuff.