Instruction Books

This would be a good reference book to add to your beginner's library. It covers many subjects, so it gives you an overview of many techniques associated with painting with pastels. It goes into principles of color, shading & perspective. There are many step by step illustrations. Included are lessons on landscapes, still life, cityscapes & portraiture and the illustrated methodology to go with them.

This is my 2nd favorite book from a massive library of pastel books. LOL It's one you can learn from and still go back to again and again!

Perfunctorily scanned and look forward to prepping self with this and other pastel tomes/volumes bought for the purpose. Now to find the time to get back to it. It's been nearly 35 years.

This book is incredibly helpful with demonstrations, suggestions for colors, layering options, and beautiful illustrations with various styles shown. The only thing that would have been even more helpful to this book was a little more information about paper and pastel suppliers and the difference in quality between them. I'm still giving it 5 stars though!

The book's subtitle below "Pastel School" starts off with "A practical guide..." and this is so true! I am impressed at the book's clarity in how it is sectioned and titled for each skill/technique discussed. Information from getting the type of pastels you may want to use to recommendations on caring for the finished artwork is all covered. Some may say that the information in a few sections is a bit sketchy/limited, but if you want to learn more (e.g. doing portraits), there are additional books available that can provide a pastel artist to advance and learn more. This book gives you the basics, but also allows for growth in the sections on types of art styles that one may produce (e.g. still life, landscapes, flowers, portraits). This book, plus another one I am using, are enabling me to learn pastel art in a way that that will ensure long-term enjoyment with this art medium. I can't wait to get back to my new package of pastel papers to begin a new piece, particularly with a few of the skills I've expanded upon from the information I've learned from this book!

Liz really makes sense with this book. Like a lawyer building her case she systematicaly convicts conventional sex. Her arguments are extraordinary. More to the point what she's saying has the undeniable ring of truth to it. As you read this book light bulbs keep poping off in your head. Definitely worth the read and also a try.

There are many books about intimacy and also sexual relationships. "Peace Between the Sheets" in unique in that it takes a look at our most intimate relationship and gives the reader a series of "exchanges" that show how to deepen the experience of intimacy in a loving way within the context of sexuality. It IS about deepening the connection AND deepening intimacy at the same time. It is one of the first books that I have found to really focus on opening up and healing to create a more profound experience of loving.

I would recommend this book to anyone looking to strengthen and deepen their most intimate relationship...to open up to the creative dyanamic of loving.

Liz really makes sense with this book. Like a lawyer building her case she systematicaly convicts conventional sex. Her arguments are extraordinary. More to the point what she's saying has the undeniable ring of truth to it. As you read this book light bulbs keep poping off in your head. Definitely worth the read and also a try.

There are many books about intimacy and also sexual relationships. "Peace Between the Sheets" in unique in that it takes a look at our most intimate relationship and gives the reader a series of "exchanges" that show how to deepen the experience of intimacy in a loving way within the context of sexuality. It IS about deepening the connection AND deepening intimacy at the same time. It is one of the first books that I have found to really focus on opening up and healing to create a more profound experience of loving.

I would recommend this book to anyone looking to strengthen and deepen their most intimate relationship...to open up to the creative dyanamic of loving.

Having studied the challenge of enduring love within sexual relationships for a number of years, I am delighted that a book now exists that offers practical down-to-earth advice about how to achieve a sustainable loving relationship in a modern day, largely secular environment.It proves that many spiritual traditions were right in principle, but that without the knowledge that science has revealed today, could not understand the practices well enough to communicate them effectively to their flocks.Many of the other relationship guide books today, describe the problems and manage them, but do not solve the underlying cause- this book does seek to do that and it would appear, very effectively.

The idea that genital orgasm can produce the same kind of addictive craving as cocaine, heroin or alcohol is astounding and should be researched further.Its suggestion that the deep state of well- being, balance and abundance that we are all wishing for but rarely achieve for long, is indeed possible through a slightly modified but totally satisfying and natural way of making love, is truly revolutionary in its import.

My only criticism of the book is that it is so choc-full of good ideas, advice and observations that many of the pearls of wisdom could be lost through overload. It requires several reads to appreciate how profound its wisdom is, though even in the first read through, it makes huge logical and emotional sense. The book could benefit from some important ideas being unbundled and illustrated with more concrete examples. Apart from this trifling consideration, I would thoroughly recommend the book to any person seeking to understand the mystery and mastery of love.It is truly inspirational.

This book has many, good-sized, excellent color reproductions of work with an interesting history of the New Hope artists. There are also succinct biographies of each of the major artists of this regional school plus a list with images of many of the lesser known people.
The last chapter of the book discusses the framemakers in the New Hope region who were part of the arts and crafts movement which is an interesting piece of art history in itself.
Mention is made of the "Pennsylvania 10", a group of the prominent women artists in this area, and a chapter could have been created to feature them, but they are worth a book unto themselves.
For anyone interested in American art, American Impressionism, and that period during the first half of the twentieth century as art moved from representational concepts to abstract and non-objective concepts, this book is worth having.
For artists who are working in this representational manner, they will find a wealth of ideas from these painters in terms of technique, design, and concepts.

Pennsylvania Impressionism opens with an introduction explaining the origins of painting in the area, followed by a somewhat pensive and personal mediation on art both, by Brian H Peterson; followed by two further discussions of art in Pennsylvania by Sylvia Yount and William H Gerdts respectively. Then comes the main colour plates section along with the artists' biographies. This is followed with entries for other associated artists and comprises brief descriptions accompanied by a representative thumb-nail illustration of each artist's work. The book concludes with two bibliographies and other lists.

This is a beautifully illustrated volume, the introductory chapters are illustrated, the colour plates section amounts to nearly two hundred pages, and along with the concluding section the full colour illustrations number three hundred and sixty nine. In the colour plates section they are arranged one and sometime two to a page and the standard is good, often revealing the quality and texture of the paint. However it should be noted that even the full page illustrations in fact rarely occupy more than half of the total page area, leaving the image surrounded by a lot of white space.

This is an attractively laid out and beautifully illustrated book, and the paintings themselves are absolutely superb.

This book provides a thorough survey of the Bucks County "Impressionist" painters. Plenty of good quality visuals, excellent as a resource. Particularly of interest to people in the Bucks Co, PA area.

Excellent history of an important period in American art. Outstanding production - paper, color plates and binding. Efficient processing from Amazon.

I'm an amateur painter and a regular subscriber to American Art Review where I've seen frequent references to Fern Coppedge's paintings. I just fell in love with her colourful work and looked on Google for a single book about her work but alas, there doesn't seem to be such a book. So, I Googled up a booklist and hit on this title, though I love the work of Edgar Payne and Birger Sandzen too. Colour is my own credo and this massive hardback gives plenty. I'd heard of Redfield, Folinsbee and Lathrop but not of Kenneth Nunamaker or Clarence Johnson. The book is bursting with snowscenes like Nunamaker's "Winter Fog" a minimalist view of a sluggish river in slate greys, olive greens and navy blues. Amongst the numerous colour plates, the oils in some of the Redpaths and Coppedges seem to ooze off the page and are visually edible. The potted biographies and wee articles on the many artists are by different experts and I shall be dipping into this beezer of a book time and again. The American impressionists started up slightly after the European school but I think their work is more realistic, darker, and maybe more realistic with reference to mankind in the works I've seen. I'm also a keen viewer of the Canadian Group of Seven, that's me - an old reactionary!

If you like this you'll like: J. Driscoll and A. Skolnick: The Artist and the American Landscape published by First Glance Books, Cobb, Cal. 1998 and

The McMichael Canadian Art Collection published by McGraw-Hill Ryerson Ltd., Ontario paperback 1989.

I do hope you can put this in your review pages as I so enjoy having this book: I'm in remission from bone cancer and, while I'm able to drive again, am unable to travel abroad and see these paintings at first hand.

Fiona Ross

I first found this book by checking it out in the public library, and I fell in love with how easy it was to pick up the basics, and then the intermediate!

I loved it so much I bought two copies: one for traveling and one for my home use. Thanks to this and many other self taught Russian books, I am finally abble to move to Russia with a little more confidence!

Although not yet fluent,I am able to pick up words and phrases very quickly thanks to THIS audio program.



Thanks a bunch and please buy this phenomenal set!


Vladimir Pravda.

I'm going on a trip, and these tapes have really given me a base of conversational Russian to use while in the country. I am, however, trying to learn the alphabet on my own. Not all that easy. If you want to be able to communicate and do so quickly, these are the tapes for you.

It really works, I previously spoke almost no Russian aside from "yes" and "no." But wanted to learn more, so I checked out this set of tapes, and two others at the local library. Guess which one taught me better? No question, this one did. It really teaches you how to speak in an easy way, so with a little practice most people can pick it up. This is a great set of tapes.

Yes, the Pimsleur method does work! The eight lessons will give the listener a vocabulary of about 100 words, more than a few useful sentences, the ability to construct their own sentences, correct pronunciation (written Russian is not as phonetic as the books led me to believe), and a strong desire to find out more about this charming language.

I studied Russian in college, but let my knowledge lapse. I love the language, and recently decided to refresh my skills. I went through three other audio programs before trying this one. The others were all "survival" and "travel" phrases that did nothing to help me regain my former abilities. This program's teaching style is excellent. Although I didn't learn much new vocabulary, it gave me outstanding practice at speaking and listening. However, what you're able to say after the eight lessons included in this program is pretty basic. Thus my caution... If you're really serious about learning Russian and want to do so with the Pimsleur method, you're going to have to buy not one, but two (or maybe three) complete 30-lesson programs that retail for around $345 each! It's probably worth it to a serious student and I'm leaning toward taking the plunge, so if you get hooked on the method, beware of the cost! Nevertheless, this introduction is an excellent way to discover if you want to learn more of this beautiful language.

After taking a Computer Graphic Design Class last semister at the Community College that I attend here in the Kansas City area the class pretty much sparked my interest in looking at art. This is one of my first art books that I have bought my first being a book featuring art by MC Escher. I am interested in this style of art.. Lowbrow as it is called.. I like it because it's very thought provoking and makes you wonder where in the world do people get ideas for this type of material? It's really a trip for the mind.. As a whole this book is a very good introduction.. and includes art by several different artists.. you get a good first taste of what this type of art has to offer.. which is perfect if you are a newbie like I am.

I do not come from the lowbrow culture ,whatever that is, and have never paid it any heed. But I came across this book and my eyes have been opened. This art is NOT what I had assumed - it's clever, thoughtful, insightful, and challenging. It has an in-your-face attitude which I think held me at bay for a while. But through this book I have learned to relax, to appreciate and to enjoy. Many thanks and much admiration to Kirsten Anderson for assembling this, and for including three short but effective essays by three painters who helped me discover a whole new world lying right before my eyes.

This is a great book. Lots of great featured artists with excellent examples of their work. If you have any interest in this style (lowbrow) art, you can't go wrong with this book...

Can't say enough terrific things about this, it's one of the best selections of modern art available. Yeah. I said modern art and not "outsider" art. Sorry kids, but that new crap we see in Artforum and in the big museums is the hellspawn of marketing, grant maggotry, the corporate world, and the new corporate academia. It has little to do with the natural evolution of Western Art. If it tickles you to think you're being a Bad-Boy/Girl/Whatever by liking this "outsider" stuff then you're falling right into their game plan, you're a niche market and they'll try to eat up this world just like they ate up "alternative music" in one big gulp. This art is the art of true Americans and that other yuck--the so-called mainsteam (which includes the pre-fab avant-garde nowadays no matter how middle-class titilating and naughty it be) is the Devils' work--the real Devil, the one that created Wal-Mart and George W. Bush.

Love this art, demand that your museums purchase it, rejoice in the fact that you'll never see some Ryden or Williams hanging in a corporate headquarters, sing Hosannas that some trendy art monkey with a Smith degree won't be writing pompous reviews using terms like "globalization" and "gender" about this stuff, wrap yourself in the red, white, and blue, and sing the Star Spangeled Banner! I just wish we could find some equivalent modern creative types with this kind of vitality in music and architecture.

(Recommended--read Paul Johnson's recent history of art, especially the bit where he talks about how the modern art world went all to hell because someone figured out how to market the bejesus out of it)

Great book to get a well laid out view of the pop art of our times.
While the mainstream media ignores low brow art as if it doesn't exist, on the contrary it is very successful amongst the many who grew up on comic books, Mad Magazine, monsters, tv shows, and so on.

A great overview book, you can't go wrong with it.

The book was in excellent condition, exactly what we needed and $10.00 cheaper than anywhere else.

For anyone that plays the flute, especially those that need guidance for practicing, this is a fantastic resource. When using this collection, you should have a metronome and tuner at your disposal, especially for the volume on intonation.

4 stars instead of 5 only because I haven't gone through the whole book yet. The exercizes on tone and breathing are really helpful. It is well written, easy to understand, and realistic as far as goal setting.

I recommend this book to anyone getting back into playing on their own or an experienced musician.

I purchased the omnibus version after buying the single publication on tone. The Omnibus edition comes spiral bound and the pages can be sometimes unruly...slipping out of the slots of spiral binding and giving an untidy look to your sacred sheets of flute wisdom(which is rather annoying to this already disorganized musician).

I refer to the information in the tone section more than any other. The other 'books' in the omnibus were a bit sparse in terms of content. I am glad I spent under 30.00usd on the omnibus instead of buying each book individually.

For those musicians with a sense of humor, the writing style of the author is quite fun to read. His discussions are loaded with flute-specific musings, puns, and other subtle rhetoric. His writing style is ingenious...and a relief from the overly serious disctionary style we usually encouter in method publications.

This book covers almost everything there is when it comes to developing tone, technique and skill. I'm really enjoying it. I think it is a must for beginners, and also really useful for the developing-intermediate flutist that needs a little more to get to the advanced level. my tone is better allready...

After seeing the positive reviews on this book, I decided to go ahead and get it, as I realized despite my having played viola for such a long time, I don't own a single tome detailing the principles of good technique and playing.

So far I've gone through sections dealing with left hand positioning (the frame) and intonation. The writing is clear and engaging; Galamian observes many times it is important not to lay down arbitrary rules on how things should be done - unless there is a compelling reason. I like how the sections contain exercises that are written out - the provide a concrete method to achieve the results he discusses. The photos of hand positioning are also very descriptive.

I can tell I'm going to refer to this book again and again in the coming years - it is so nice to have it reinforce what I've heard (and often forget!) from different teachers! Definitely recommended!

I'd like to add that I found this book for about $20 less at Shar Music - but at any of these prices it's completely worth it!

I would recommend this book to any musician. Although it extensively covers bowing and left hand technique, the most important aspects are in how to practice and master your art. The variations suggested can be used by any musician on any instrument and will take you to a new level of technical control.

I would not suggest this book for a beginner, this material is best learned from an experienced teacher. Advanced students and teachers should all have this book in their book collections.

As a former violin student of 9 years who moved towards piano instead, I have found this book immensely valuable in helping me as a Suzuki parent of a young violinist myself. If you have a child moving into the Kreutzer etudes, or in Book 7 or later in the Suzuki series, this book is a godsend. At this point in your child's studies, you have no doubt been listening to many great artists, and wondering how they attain the immense variety in tonal coloring, or how they actually implement such amazing shifts, or complex bowing techniques. This book, with its pictures, is outstanding in deconstructing these motions. While it is highly analytical in parts, the book is also excellent in addressing the body's motion as a whole - in showing the coupling between the hand, elbow, shoulders, violin... using well known extracts from etudes, caprices, and solo works as practical examples.

It most definitely helps to be an advanced instrumentalist in reading this book, as the author certainly presumes that the reader has a trained ear. The sections on how to practice will also be appreciated by those who have worked in intensive Master Classes, and have carried back from these classes some improved practice habits.

All-in-all, this is book not to be missed, particularly by the supportive parents of maturing artists.

this is a MUST for any violinist who is serious about playing the violin. This book has solution to all of the problems that a violinist faces, in addition, this is a great leaning tool, lines from major concertos are used as exemples. again, this book is a must for anyone who's serious about playing the violin or even becoming a concert soloist.

Ivan Galamian (1903-1981) was one of the great violin teachers of the 20th century. He taught people like Perlman and Zukerman, as well as countless other professional players of today. This book sets forth the essentials of his method. The text was written by Elizabeth Green, herself a Galamian student and a noted author and teacher in her own right. But the ideas are Galamian's. The small number of pages (100+) is deceptive; every sentence is packed with information and must be read carefully lest some important feature be missed. Violin playing is a complex mental and physical activity, and to learn it well demands the ability to focus on many small details as one trains the ear and the hands. This book is not really intended to be a self-tutor so much as a reference for the teacher and the student who is advanced enough to understand what Galamian is saying. It is not for beginners. A beginner book might tell you where (approximately) to put your fingers on the string to get certain notes. This book tells you (in words and photos) what your finger looks like when it is on the string, what part of the fingertip is pressing on the string, how hard it is pressing, how fast it should be traveling as it hits the string, the musical effect of different methods of lifting the finger, and so on. And that's only a tiny bit of what is written about what the left hand and fingers do. This is followed by a complete analysis of the mechanics and musical effect of every conceivable bow stroke. Matters of bow speed, pressure and point of contact with the string are all considered in light of the effects they produce, along with many more ideas concerning placement of thumb and fingers on the stick, angle of bow to string, and more. The book concludes with an analysis of effective practicing and teaching. There is much useful material on the relationship between technique and artistic interpretation as well. The many excellent photographs and musical examples add a further measure of depth to the book.

One small quibble: I don't think he spent enough time discussing how to play in tune. What he does say is all correct--he mentions that one must "think the sound" of the desired pitch as well as mentally prepare the hand and finger motion--he is speaking of shifting--but thinking the pitch needs to be stressed more, I think, and extended to thinking the actual sound of a beautiful violin tone as well.

This is a book for teachers and players who are advanced enough to know the areas they need to work on. It is considered one of a handful of classic books on violin playing, which include the famous treatises by Leopold Mozart, F. Geminiani, and Carl Flesch. First editions of this book (1962) are scarce and cost anywhere from ..., which says something about its importance, I think.

I know nothing about creating art. I've not taken one single class. I thought I could never draw or paint, other than "Dick and Jane" type cartoons. Charles Evans changed that. I have an Art show next week. I started at age 35.

An EXCELLENT book, I have been privileged to see Charles Evans work in person. He makes the complicated seem simple, no fussing no nonsense. I have watched his work on television, and it always makes me want to get my paints out!
I cannot understand why others cannot see that! His work is WONDERFUL! And the book is well worth the money!

the type of book i have been waiting for for ages. so helpful - i feel i can paint at last - one of the best on the market. fantastic!!!!!!!!!!!!

Obviously those who didn't like this book: 1)Don't know how to "step outside the box" and 2)Haven't seen the artist at work. For those who are intimidated by the thought of painting but have always wanted to, this book is excellent. It makes watercolor easy and enjoyable. Once going through the exercises you too can create beautiful paintings that you will want to show off!

After reading the 15 reviews of this book (either 5-star or 1 star), I had to buy it to see what the fuss was all about. For me it was a refreshing philosophical change from my two years of tight tedious instruction at an expensive watercolor class. Sure, the short exercises about people, animals and cottages are really ugly, but the emphasis on minimal equipment (all British), limited palettes, and wet-on-wet looseness really resonated with me. The excellent step-by-step numbered photographs accompanying the numbered written remarks (including pigments) are carefully planned, especially for the later landscapes. Looked at closely, one can see how the pigments spread and blend with time. I've concluded that the people who hate this book are experienced painters who either already know all this or don't like loose wet watercoloring (or both). This is probably a book for lonely beginners or worried intermediates like me.

I heartily concur with the estimations of Rackham's value to the area of children's book illustrations. Look for Rackham's Mother Goose and Alice in Wonderland from Chancellor Press to introduce your little ones to his illustrations is book form, as well as Favorite Tales From Grimm. But my desire here is to point out the true color found in this collection of Rackham's illustrations. Beware, as some books republished with his pictures do not capture the subtlety of his use of color. He used dark colors and gently colored objects in all of his pictures. This book, along with Dover's other Rackham collections show his work in all its glory, the subtle and the grotesque simultaneously. A delight for any collector of Rackham, suitable for framing.

I just received this as a gift, and I am so thrilled. I think this particular artist has a wonderful gift of emotion in the art that really draws us into the story. I love the use of colors and the unique perspective. I am very pleased to add this to my collection of fairy tale items.

This thin volume is filled with some of the most enchanting drawings and paintings ever to grace childrens' books. There is an element of style in Rackham's work that reminds me in many ways of Japanese woodblock prints of the 19th century. And like a quality Japanese woodblock print, a Rackham plate is a feast for the eye.

Fairy tale subjects can range the fair to the hideous. Often illustrators are biased towards one end of the spectrum. Rackham is one of those talented artists that can simultaneously capture the beauty of a fair maiden and the brutishness of a foul giant in one composition. I especially like the vitality of his figures and the whimsical and often grotesque facial expressions of his fairies and giants. I would recommend this volume to anyone who is fond of fairy tales and fine illustration.

very pleased with the book.have always hoped i could draw like him but my life took me down another road

Indeed a grate collection of various fairy tale illustrations. A must have if you are a Rackham or fairy tale lover regardless of your age.

Fauré's Requiem is one of the most beautiful pieces of music that has ever been written. I am grateful that I was given the opportunity to sing in performance of the piece. Ever since, I have been in love with it. Sadly, I was not allowed to keep the score. Finding the full score online was an answer to prayer (figuratively speaking). I now can follow along as I listen to recordings and even sing my part.

The score itself is in wonderful condition. The printing is clear and easy to read. I was, at first, concerned that I would end up with a huge conductor's style score, but it's of normal size without compromising on readability.

Highly recommended.

This is a great deal for a well-printed score. Beware that there are a couple of different orchestrations for this piece. This is the small orchestra version and there is also a chamber group version. People tend to use the John Rutter edition of the chamber version and that has different rehearsal letters than this one.

Other than that, this is a bargain.

Gabriel Faure's REQUIEM still remains the only piece of music that has ever given me goosebumps. The music can go from bone-chilling to heart warming in the matter of a few bars. My choir that I perform with sang the piece in the spring of this year. To date, I have never sung a piece of music that was more masterfully crafted for the voices of a boy choir than I have this one. Faure's music is as inspireing as it is beautiful. I would highly suggest it to anyone eager to create beautiful music.

This is a beautifully presented score. The type-setting of the music leaves nothing to be desired. The paper it is printed on even has a sensual quality, which matches the music portrayed.
I have already used the score to arrange parts for my wind quintet, and have found the job much easier because of the clear manuscript of the score.

Este Requiem es magnifico, siento como que si estuviera en el Cielo