Arts Books

I'v been using this book for about 30 years. I needed to get a new one to use in my art classes. This is an excellent book for painting and drawing with all different media.

What can I say - I would love to have the talent of Jack Hamm. I really enjoy this type of art toward character. I'm sure there are many others who I would admire too, but for now I at least know about Jack Hamm... So I went ahead and collected as many books about his style as I could.

Yes Congratulations if you buy this book! It is by far the best book on landscape drawing EVER! Ten books by other authors does not cover the volume or quality of information here! I got a copy when I was twelve as a gift. I already drew quite a lot could copy drawings, photos ,do self portraits and such but this volume turned the lights on drawing the landscape (still my subject specialty!) In over twenty years since, I have never found any book on drawing ANYTHING that is more useful than this one folks! If you paint you should get this too! I have never seen a competent painter that could not draw also! So if you do or do not already paint work through this gem of a book ! Give it the time and effort it deserves , do what he says, then find your own subjects to draw as well (preferably from life in the field) and APPLY what you learn in here .It will pay big dividends for you and your artwork!I do not understand complaints about format or lack of color in the previous reviews.You can complain about this masterpiece of B&W drawing instruction??? Jack Hamm is one of the most talented artist-teachers ever!I wish to send him a great thank you ! for this book and his others too. He left us a great gift.It is smart to take advantage of it. What else can I say but if you find a better book on landscape drawing I'd sure like to know about it ! It dosen't yet exist to my knowledge! So get it and have fun !

Hamm's How To books are really good. They dissect the shapes of things and show clear ways to draw them.

Hamm's Drawing Scenery book was published in 1972, yet it is still full of useful advice to the artist today. As an author, he makes no assumptions about the reader's drawing skills, and gets right down to basics. This book is broad enough to be written for the general artist, whether you are an illustrator, commercial artist, or fine artists. While it has a slight comic book artist feel about it, the tips and advice are not limited to just comic book art. I've only taken one star off for its unusual layout - but then it was written BC (before computers).

I really enjoyed learning about Diana and how her taste in clothes evolved and improved. I was pleasantly surprised to find out how she had clothes re-worked and how many times she wore the same outfit - or an outfit without a portion of the outfit (i.e. the Elvis dress - without the jacket), and dresses, etc. reworked to update or change the look of it - making it new again. The impression I believe the public was left with was that she never wore anything more than once which was not true. She learned well and knew what she needed to fulfill what task she would wear the outfit to. She was adept at working her wardrobe around where she would be traveling to..... no one missed the attention she made to detail and loved her for it..... she will always be well remembered by the publich who loved and still love her.

I LOVED this book for it's beautiful color fashion photos of the Princess Diana. In particular, I really enjoyed that there were many head to toe photos of many of her most famous outfits. There was also was a nice section on her hat makers as well as Jimmy Choo and some of the shoes he made for her. This book has many photos showing her shoes which is something I really enjoy seeing as part of her outfit. She was very coordinated with her shoes and her hats which was pointed out in this book. It also had many nice close-ups of the materials used in her outfits, which brought out details that I had never seen before, in some smaller pictures in other books. Overall, if you enjoyed the fashions of Princess Diana, I think that you are going to LOVE this book. To me it is a "must have".

this is the best pictur biography the princess could have asked for

I have a vast collection of Princess Diana memorabilia. My collection of Diana books is quite enormous, and sometimes I lose track of the books I own, but this book is one in my collection that ALWAYS comes to mind first! It is one of the most well done books I have seen. The photos are fabulous, and the design of the book is very cleverly done. It shows Diana in her most famous outfits categorized on each page by colour.(Her red gowns, her blue gowns etc.). If your a Di collector, this book is a must for your coffee table.

This book will attract two kinds of individual: those who loved Diana and those who love fashion. Everyone would agree that Diana was one of the most stylish women of our day, and this photographic visit to her clothes closet is a wonderful opportunity to browse and maybe dream a little.

Finally, a book about two dynamic Latino girl characters. The determination of Chavi, against all odds, to play the congas in the Little Havana Calle Ocho Festival will have you rooting for her. You can practically feel, smell and touch everything in her barrio; this is due to the vibrant, lively writing and the wild colorful artwork. Your kids will love Chavi and view her as a little barrio heroine.

Mayra Dole's character, Chavi, is a touching, vibrant, young female character you will want to introduce to your children. In fact, Chavi is so "touching" that she can't keep her hands from tap-tap-tapping everything that she comes in contact with. Chavi is a drummer in a culture where girls are not supposed to drum. Despite the strong forces trying to stop her, Chavi perseveres and lives out her dream. This book will give you a taste of Miami and its unique blends of cultures. Beautifully illustrated and written in both Spanish and English, this is a story that will most certainly...touch you.

Rhythmic as a conga beat. Highly entertaining, motivates critical thinking, strong/fun girl characters, jam-packed with Cuban culture, and my 2nd grade class loves it! 10 stars! A++

Cuban-American Chavi has such character and spunk. Your children will fall in love with her conga sounds/passion for perseverance/spunky attitude/and the cartoon-like, wild illustrations. A must buy for anyone interested in exposing children to ethnic cultures set in US communities/barrios and Spanish & English language.

A wildly creative/artistic romp through Cuban Miami's Calle Ocho festival in Little Havana. Feisty, strong Cubanita tumbadora player's drum sounds leap off the pages. Your children (and you)will fall in love with Chavi and want to start speaking Spanish, drumming, and dancing merengue! Tender, heart-felt bilingual story (written in Spanish and English) about a drummer girl who shows the world that unlike what her teacher, family and barrio friends think, Cuban girls CAN and SHOULD be able to play tumbadoras!

A must buy for kids who love fun stories that inspires them to think critically, create, and perform. For Latino/Cuban book collectors, parents who want to teach their children Spanish or English, libraries, teachers of ESL, music teachers, performance art teachers, and for anyone interested in Latino cultures, particularly the Miami Cuban working-class culture.

FUNTASTIC!

Elia Kazan was arguably one of the most influential people that theatre has ever produced. He had an amazing life through his art, and outside of it.

Here, at the age of 77, past the point of modesty, conceit and pride, he tells his remarkable story of learning his craft, harnessing his incredible God-given talent, and channelling his drive into success.

We learn about his trysts and liasons with other icons, his marriages, his faults and missteps.

He owns up to many things that have not made him proud, including naming names during the deplorable McCarthy communist witch hunts of the 1950's.

He talks openly of his failures as a parent and a husband, his infidelity, and his loss of faith.

He also recounts his many astounding successes in film and theatre, including the many great actors and actresses he worked with.

His honest self-assessment is a breath of resh air.

This is one of the greatest autobiographies I have ever read.

This is the best show-biz biography I have ever read. Poor, Greek immigrant, Kazan fought his way up the entertainment ladder to direct my favorite movie (On The Waterfront) and my favorite play (Death of A Salesman). Along the way to these achievements he was an original member of the Group Theater; he relates his experiences there including an in-depth retelling of his relationship with Lee Strasburg. He met prectically everyone in the business from an aspiring Marylin Monroe, Marlon Brando, James Dean, Arthur Miller and what seems thousands of others in the theater and movie world. His antecdotes are fresh and revealing, even those that may be common knowledge. Of particular note are the chapters devoted to the making of Streetcar Named Desire and On the Waterfront. His work with Brando, who was seldom better than when he worked with Kazan, is discussed. Along with his great movies and plays, Kazan tells his side of the House On Unamerican Affairs controversy that swirled about him until his death. While the book is massive at 864 pages, it is over too soon. It is a rare, literate portrait of the man Kazan, who changed American movies and theater forever-- and for the better.

One of the most honest, compelling, brilliant, wise, stunning books I've ever read. Kazan's life was awe-inspring, and to have it retold with such lucidness and unflattering candour is a gift for the ages. Not only was he one of the greatest theatre directors and film directors of the 20th Century, he writes like a blessed demon. This was a spellbinding, page-turning read. Immersed in its pages, I learnt so much about life, America, directing, theatre/cinema history, and myself. I also learnt more than I've ever known about how men think (wish I'd read this years ago).

It's such a pity Kazan's life has become simplistically defined by one act, and his artistry overshadowed - ironic, too, considering he made films with a deep, compassionate, liberal humanity. You can look at his life through through the prism of that one act, or read this for a much richer, fuller, deeper understanding of Kazan - the good, the bad, the ugly. And the genius.

This book made me want to live my life more fully, view myself less vainly, and create my work more honestly. Can't ask for more than that.

I was truly surprised by this book when I read it some years ago. I was surprised by how engrossing and powerful it was , all the way through. This man lived a tremendously interesting life, rich in great creative challenges and triumphs, rich in meetings and experience with remarkable people, rich in sexual adventures and complex human relationships. The story of how the child of Greek immigrants came to become the director of two of the classics of the American Theatre "Death of a Salesman" and a 'Streetcar Named Desire" and of two of the great American movies, "On the Waterfront" and " East of Eden" is told with remarkable frankness and perceptiveness.
Kazan does not come across in this work as a saint, but rather as a truly strong person who took what he wanted from life, even if this meant hurting others. His personal and inner torments however too make up an interesting part of this story.
One more point. His writing follows the rule of Henry James and is always interesting. This is a work whose richness in anecdote and event are so great that it fits into the 'couldn't put it down' category.

With a former Supreme Court Justice warning the USA today (March 10, 2006) about starting down the road toward a dictatorship, it seemes fitting to re-visit the House Un-American Activities Committee (HUAC) in the 1950s when the right-wing was trying to scare our citizens into giving the government supreme power, just as neocons are trying now.

Elia Kazan defends his decision to name names during the Hollywood Hearings of the 1950s, saying that his ideas toward the Communist Party had changed and he thought the higher ups (maybe from Russia) were dictating policies to the American communists in the movie business.

Maybe so, but he also admits the Hearings already had all the communists' names and admits they were only showing their power to control people here in Hollywood,using intimidation to instigate the blacklist. In real life, the USA government was the bully, not the old, tired communists of the 1930s.

If so, then why did he ever think the movie he directed, "On The Waterfront," was a good analogy for what he faced? The USA government caused the black list and precipated suicides and family break-ups in their Hollywood investigation.

It was the mob who caused the deaths and intimidation in "On The Waterfront." Is Kazan saying that Congress behaved like the mob? Or that the mob behaved like Congress?

Granted, Kazan was a great director, brilliant at times. But to him the bottom line was the bottom line, and to keep his position as an all-star director, he had to name names. While he tries to seem noble, the reader can see his 'reel' motivation was money and his career. So what if he named names! He was working.

Today, we see the right wing using similar tactics in the Bush administration: questioning people's patriotism, using smears and mud-slinging against opponents, trying to get people fired if they disagree with neocon policies, keeping a blacklist of university professors who oppose them, and most recently, equating the AARP group of loving gays instead of our troops.

After reading Kazan's book, I did gain a firm insight into right-wing politics, and these politicians use juxtaposition of images to label their opponents. Right-wingers still don't care if they distort the record. To them, winning is everything.

I got this as a gift from someone who knows I quilt. I have mixed feelings, and most of it is because I quilt for utility and beauty, and this is a technique that seems more suited to beauty.

The instructions are clear, and give you lots of directions to go off on your own, as well as lots of useful pointers (if you're using glitter, remember that gravity will affect things). The results are gorgeous.

That said, I don't know that this book serves my needs for something that can be washed again and again, thrown on beds and floors and grass, and stand up to the rigors of quilt-like use as opposed to wallhanging art-piece news.

If you are looking for an interesting way to add depth and sparkle to your art pieces, this is the book for you. If you plan to wrap a scared dog in what you make, not so much.

This is a wonderfully visual book with page after page of inspirational photos of the artist/author's exotic quilts (and works by other talented textile artists) and her methods of creating the most amazing textures through her layered surface design techniques. It is easy to read with photos laid out very clearly alongside the appropriate directions and it includes ideas for using both traditional objects and not so traditional, all done with a particular artistic effect in mind.

This book is an excellent source of information on creating truly exciting textures with textiles as well as being just sheer pleasure to thumb through for inspiration with its brilliant use of colour.

Love this book and the abundance of techniques and project ideas. With the clear directions and numerous photographs of techniques, the hands-on rewards are immediate! The outcomes are stunning! This is a must have book for any fiber artist!

Here are some excerpts from my review of this book. You can see the complete review on the Quilter's Review website.

"Have you ever looked for fabric but couldn't find exactly what you wanted? Maybe you found a great print, but it was a little too bright. Or you found something close, but you really wished it had some gold sparkles in it....

"Bonnie Lyn McCaffery shows you how to create the fabric you want, and how to have fun doing it.

"Bonnie has worked out all the details of turning run-of-the-mill fabric into something not only personal, but spectacular. The only limit is your imagination. And if your imagination is limited, Bonnie will help you with that, too.

"Bonnie's technique begins with a base fabric. Cotton, the choice of most quilters, works well, but so do silks, satins, metallics, and many others. To the base fabric she applies a sheer fabric to add a shadow layer, or to create a slight color change. She explains the properties of the different base and top fabrics, and how they work together....

"I collected a printed invitation, small silk flowers, and a folding fan from a bat mitzvah, and have been trying to figure out how to incorporate them into something to commemorate the occasion. I'd thought my only choice was to make a shadow box or frame for these memories, even though I really want to make a quilt. But now, Bonnie's book has given me the ideas and know-how I needed to create a commemorative quilt.

"I can't remember when I've had so much fun playing with fabric. Thanks to Bonnie's book, I now have a whole new relationship with my stash."

You know all those beautiful floral applique quilts you have pictured in your mind? The ones you will stitch when you have time? Fantasy Floral Quilts by Bonnie Lyn McCaffery teaches a very clever method for creating floral quilts by capturing silk flowers under a layer of sheer fabric.

I found this book to be well-illustrated, packed with content, and offering an approachable can-do style. Very detailed quilt examples accompany every technique. Twisted Branches is one of Bonnie's clever techniques for creating a unique and realistic "branch" look and gave me a great idea for a Tree of Life quilt.

Bonnie teaches how to apply color schemes, color value, and flower positioning. One very creative suggestion was to view silk flowers as flowing blocks of color, adding dimension to landscape quilts. Embellishments of thread, beads, buttons, charms, and silk ribbons are an integral part of Fantasy Floral quilting. I really liked the french knots created from silk ribbons and used for flower centers.

Fantasy Floral Quilts by Bonnie Lyn McCaffery is a fun, creative book for all quilters and is a great second step for fans of her first book, Fantasy Fabrics: Techniques for Layered Surface Design.

This is a WONDERFUL Book!!!!
Thanks SO much!!
It arrived just in time!!

I have owned this book for a while now and would like to highly recommend it as one of the best picture books on costume history. The photographs of extant period costumes are stylish and detailed, with a strict attention to accuracy and art. Because one cannot trust later renditions of costumes, having a contemporary resource is crucial, and with such lovely examples as these, this is a fantastic book to use.

It captures the essence of each period, shows off details, and does so with taste and care. Every page is in full color, covered with pictures of groups of mannequins, posed to look like portraits with abstractions of hair in the shape of the period. Anyone can read its gorgeous images and find inspiration in its pages.

this is a great book! it has so many wonderful pictures. it's perfect for anyone studying fashion or costume related interests.

Many costume history books emphasize the historic aspects, or the costume aspects, of a collection's garments but "Fashion" presents the garments, as the title implies, as fashion. It is easy to envision these garments being worn by real people living real lives (the period accessories -shoes, hats, gloves, reticules, fans, stockings etc. - don't exactly hurt) and the presentation, right down to showing the garments on mannequins of the contemporary fashionable body shape help make the clothing `real'. The book definitely lets the garments speak for themselves; each century has a brief introduction, but besides those few pages, text is restricted to garment description and short `blurbs' here and there.

Costume historians tend to get really excited about books that bore other people to tears. This is not one of those books. Every one of my friends who has seen this tome has found in it something fascinating. The beautiful presentation of the garments, the large images and clear colors make this an ideal coffee-table book and an ideal gift for anyone interested in fashion, history, or the art of clothing. I saw the "Fashion in Colors" exhibit at the National Design Museum in New York (check out the book!) which featured many garments from the KCI, and I was happy to find they are as beautiful in the book as they are in person.

My main interests lie in pre-WWII clothing, but the arrangement of many of the collection's contemporary Haute pieces had my nose to the page. I reference this book constantly for inspiration (I'm a fashion major), for education, and simply for my entertainment. The KCI's publications can go out of print pretty quickly so beware! There is also a new book out "Fashion: A History from the 18th to the 20th Century, Volume 1", I've been having trouble getting it but it is supposed to be as beautiful and detailed as "Fashion".

This is an exquisite book filled with highly detailed images of beautiful garments. It is a refreshing look at western fashion through the ages since the clothing featured hasn't been photographed in every other book out there. Of particular interest to me were some 18th & 19th century paintings showing a garment paired with a photograph of the actual piece (or of a similar piece) now in the collection of the museum.

The span of time the book covers is from the 18th century to the 20th century. This not-too-tight focus enables the reader to see a good selection of garments from different time periods without running the risk of becoming boring. It also makes it easy to see the progress of fashion during those years.

As other reviewers have mentioned, this book is a great value. Nearly every page contains large, brilliant photos. A must-have for any fashion student or costumer.

I've been admiring photos of Lisa Lichtenfels' work for a good few years. Now and then a photo will turn up in this or that doll magazine, of a human or demihuman figure so realistic, so luminous, so detailed, it is hard to believe that it's a "cloth doll" over an "armature."

Ms. Lichtenfels' art falls into the category of "if you have to ask how much, you can't afford it." So for most of us, the occasional glimpse of a photo would be all we could afford. When Reverie came out with this book, I knew I would one day have to get a copy -- and it does not disappoint.

The photos are many and beautiful. The showcased characters are shown in several views, with engaging background text by Lisa. The preface, by the late John Darcy Noble, is both enjoyable to read and, as it should be, illustrative of the artist.

This is probably a good time to point out that most of the figures are nudes. They are appropriate nudes, and they come in an astonishing diversity, and Ms. Lichtenfels' power to create beautiful and interesting nude figures is probably a large part of her appeal. But if you do not like nudes in general, be forewarned.

If you have not seen Lisa Lichtenfels' work before, and you are reading online with a few minutes to spare, Google her name and see what you think.

The latter parts of the book include "The Progress of a Work," a detailed segment showing exactly what's under the skin of these fascinating figures. She truly constructs a realistic skeleton and sketches out her plans for the body with surgical precision.

I found the last main section, "Evolution in Fabric," to be a bit spooky. Many of her earlier figures had that combination of whimsy and surreality that can unsettle the sensitive soul. Nothing nasty, you understand -- just art on the border of faerie, perhaps, reality on the edge of dream. The many characters and their settings and stories are certainly a significant part of the story, though, and I am so glad that this section is here.

Finally, the book closes with an Afterword by publisher Krystyna Poray Goddu.

This book is a keeper.

Anyone who sees Ms. Lisa's sculptures will be amazed, but people who sew will be astonished. Her stitches are microscopic and her attention to detail is unmatched. Add to this her vivid imagination and you have the most riveting figures I have ever seen. All artists should see this book. All fiber and thread lovers should see it. Everyone should see it!

Beautiful! It's hard to believe these are all fabric, truly. Very inspirational! I doubt I'd ever be able to make one of my own but it's wonderful to have on my coffee table and druel over from time to time. Wonderful book!

How does she do it??? It is hard to believe the dolls won't get up from the page and talk to you. They are alive. Kudos to Lisa. This book does not disappoint.

Figures in Fabric is inspirational! The creations of Lisa Litchtenfels are truely exceptional works of art which are beautifully presented in this book, a definite "onshow" publication that will never go on a bookishelf or in a closet. A book to drool over again and again for inspiration and creativity, though I doubt anyone can measure up to her realism and vision. A must for any dollmaker to have in their library.

We've all had the experience of reading a book the way one savors a fabulous meal. We savor every word, each surprising turn and revelation, and the last thing we want is for the experience to come to an end.

That's how I ended up reading Fingerpainting on the Moon. The deeper I got into the book, the slower I read--not because it was difficult. I slowed down because the experience was so delicious and I did not want it to end. In this way I passed two wonderful months keeping company with Peter Levitt's generous, talented mind and spirit, and I emerged changed.

Levitt is a born teacher, an advanced spiritual being, and a fine poet. His profound insights into the craft of writing as a spiritual vessel are many, and they all serve to deepen anyone's committed spiritual practice.

This is a book to share with friends and loved ones, and to pass out to strangers on the street! It should be required reading in all creative courses from beginners to graduate students.

Peter Levitt knows exactly where poetry and the spirit live, and he's a magician at showing us how to gain access to both.

Thank you, Peter Levitt, and bless you!

--Robert McDowell, The Poetry Mentor [...]is the author of POETRY AS SPIRITUAL PRACTICE (July 15th, 2008) from Free Press.

Peter Levitt was one of my teachers in graduate school. I'd been waiting for this book for several years, and I was not disappointed. I think this book takes the reader (participant) deep into their own psyches -- it is very meaty and dense -- in that these are not "fluff" exercises and concepts. I will be able to use many of these exercises with my students, as well as with my own creative process. This is a wonderful investment in your creative life.

I make a habit of reading one book on the craft of writing at all times, so over the years I have read a good deal on the subject--from Henry Miller to Mary Oliver, I've covered some territory. I love this book. It is full of surprises. I thought I'd heard it all and I am delightfully mistaken.

This book was chosen for a Spirituality and Health Award in Creativity as one of the Best Spiritual Books of 2003 - and I can see why. Levitt's teachings took me to the root of my own creativity as a writer in a way that helped me to discover sources of my own spirituality I didn't even know existed. He is a great story teller, a great teacher, a great writer, and his method of drawing the reader down to where it really counts is phenomenal and profound. I'm already working this book from cover to cover for the second time this year!
If you're reading this review, you've probably read the books by his peers - Goldberg and Cameron. Without fail, Levitt's approach will take you even further on the path of creativity and awareness than ever before. This was certainly true for me as a writer, but a few painter friends have used this book and they agree. One last thing - Levitt's voice is so affirming, he seems so in love with life and, honestly, with his reader, that he guides past all obstacles to the depths with a compassionate and gentle hand!

Reading this volume summons an almost meditative state, as the wise teacher encourages the reader, as student, to go deeper within for answers, and most importantly, for questions.
While this book might be an instruction manual for writing deeper material I find it also a soothing voice, affirming the powers of creation and individuality within the wilderness of wires, noise and clutter that engulf much of life in the 21st century.
Especially valued are Peter Levitt's examples from a variety of literary and spiritual traditions.
Caution: studying this book might free your imagination, awaken your life.

The young Hal and his instructor in the art of living the good life , Falstaff cavort through the first half of Henry IV as if life were going to be one long , irresponsible entertainment. The dramatic transformation of all of this , and Hal's casting off of Falstaff, and moving to kingly responsibility will come in the Henry IV Part II.
What is present here throughout is the tremendous richness of Shakespeare's imagination in his creation of character, and inventiveness in language , in his ability to create so many different moods and feelings.
'Falstaff' is one of Shakespeare's most beloved characters, and one of the great figures in the Comedy of world literature.
Enjoy.

In Part One of Shakespeare's "Henry IV," the titular king tries to defend his throne from a rebel army led by the hotheaded Hotspur, who has a long list of grievances about the king's treatment of his family, the Percys. Hotspur has allied himself with several principal figures including his uncle the Earl of Worcester, his brother-in-law Mortimer the Earl of March, Lord Douglas the Scot, and Owen Glendower, a Welsh chieftain with a vivid mystical imagination -- he is so egotistical that he insists an earthquake that occurred the day of his birth was a divine proclamation of his importance -- and a desire to usurp all of Wales from the king.

While he is preparing for war against the rebels, Henry IV laments that his own son Henry (Hal), the Prince of Wales, is a shameful libertine living the high life in London and consorting with a gang of scurrilous miscreants. Indeed, Prince Hal's idea of fun is robbing people, and his best friend and accomplice in this activity is Sir John Falstaff, who turns out to be not Hal's peer but a middle-aged man. In a character transformation of an abruptness that can only be described as magical, Hal becomes a serious young man determined loyally to defend his father's kingship from Hotspur's assault after he receives an earnest lecture from his father about the dangers of acting irresponsibly as a public figure.

Not enough can be said about Falstaff, who is undoubtedly one of the most richly realized characters in literature. He is fat, lazy, cowardly, yet boastful, but not in the same way Owen Glendower is -- Owen really believes what he says; Falstaff is just trying to make himself look better than he actually is, but fools nobody because he prevaricates and embellishes without bothering to remember his previous lies for the sake of consistency. You probably know somebody like this in real life -- especially if you're ten years old. Falstaff's piquancy, in fact, so outweighs the stature of the other characters that his absence is sorely felt in the scenes in which he does not appear.

Most of all, Part One of "Henry IV" is a play of contrasts personified by Prince Hal and Hotspur, who incidentally is also named Henry. In their confrontation on the battlefield, it seems unlikely that Hal, who wasted many of his best days living as a rake, could conquer a seasoned warrior like Hotspur in a swordfight. But there wouldn't be much of a tale to tell if not to show Hal triumphing after his resolution to change his weak habits, and the play ends with the conviction that, despite his past mistakes, he would make a noble king himself.

This is the play where the Percy rebellion begins and centers around the Achilles-like Hotspur. Eventually, Hotspur (Henry Percy) and Prince Hal (Henry Monmouth - later Henry V) battle in single combat.

We also get to see the contrast between these young men in temperament and character. King Henry wishes his son were more like Hotspur. Prince Hal realizes his own weaknesses and seems to try to assure himself (and us) that when the time comes he will change and all his youthful foolishness will be forgotten. Wouldn't that be a luxury we wish we could all have afforded when we were young?

Of course, Prince Hal's guide through the world of the cutpurse and highwayman is the Lord of Misrule, the incomparable Falstaff. His wit and gut are featured in full. When Prince Hal and Poins double-cross Falstaff & company, the follow on scenes are funny, but full of consequence even into the next play.

But, you certainly don't need me to tell you anything about Shakespeare. Like millions of other folks, I am in love with the writing. However, as all of us who read Shakespeare know, it isn't a simple issue. Most of us need help in understanding the text. There are many plays on words, many words no longer current in English and, besides, Shakespeare's vocabulary is richer than almost everyone else's who ever lived. There is also the issue of historical context, and the variations of text since the plays were never published in their author's lifetime.

For those of us who need that help and want to dig a bit deeper, the Arden editions of Shakespeare are just wonderful.

-Before the text of the play we get very readable and helpful essays discussing the sources and themes and other important issues about the play.

-In the text of the play we get as authoritative a text as exists with helpful notes about textual variations in other sources. We also get many many footnotes explaining unusual words or word plays or thematic points that would likely not be known by us reading in the 21st century.

-After the text we get excerpts from likely source materials used by Shakespeare and more background material to help us enrich our understanding and enjoyment of the play.

However, these extras are only available in the individual editions. If you buy the "Complete Plays" you get text and notes, but not the before and after material which add so much! Plus, the individual editions are easier to read from and handier to carry around.

I am actually reviewing both Parts One and Two with this since they should be read together.The reason why I enjoyed these plays so much is because we see Falstaff in both of them. He is my favourite Shakespearean character - big, bawdy, rough, a liar and a cheat, but again we know what he is right from the beginning, and Shakespeare keeps him so true to character. These plays are a bit different from some of the other histories. There are more comedic parts in them for one thing. The plays are certainly used as a medium for introducing young Hal (who will become King Henry V). We see him as a young man, and watch him grow and see the influences that his society and the people in it have on his development. He doesn't appear to be growing up well according to his father because he is so irresponsible. King Henry IV was not England's strongest ruler. He was haunted by his guilt over the death of his predecessor, King Richard II. In Part Two, comedy still plays a big role, and we still see Falstaff's influence on young Hal until the shocking moment of Falstaff's death. The best part about Part Two though is the deathbed scene between old King Henry IV and his son Prince Henry. The play leads us to "King Henry V". Prince Hal does finally grow up and he becomes a very strong leader. Actually King Henry Iv, Parts one and two should be read before King Henry V. It is the correct sequence and we see Prince Hal grow and mature.

Henry IV remains one of my favorite Shakespeare plays, even though the tragedies and comedies get far more attention and seeming appreciation than do the histories. As an English major, I examined Henry's (Hal's) character, and I focused on his development from a somewhat foolhardy young man into a self-assured, even manipulative prince. It is hard to say which of these Hal truly is, or if he is a little bit of both.

At the beginning of the play, Hal spends his free time cavorting around with his friend Falstaff (who provides all of the laughs in the play and is cited as one of the best comic characters in all literature). In the first act we already see hints in Hal's sololiquy that he may not be as carefree as we are led to believe, and that he might betray friends like Falstaff to be the prince that he is expected to be. Read on in "Henry V" to see just how much of a polished politician Hal becomes--his battle cries and his "once more unto the breech, dear friends" is masterful in its persuasiveness and ability to induce his countrymen to fight.

Hotspur serves as a nice counterpoint to Hal in "Henry IV." Hotspur is the hothead and Hal makes his decisions calmly and rationally. This almost inhuman rationality comes into play again in "Henry V" and makes you long for the seemingly carefree Hal.

All in all, "Henry IV" is a great read and quite an interesting character study--I highly recommend it!

This is a great book for fans of FLW. We visited his house when we were on vacation in Chicago and saw several of the other homes he had designed. This book is full of superb photographs - not just of the exteriors but of the interiors too, so you can see the furniture and fixtures that he designed.

This book was a wonderful eye opener. It will appeal to the reader for crisp pictures in beautiful settings and landscapes as well as the various style phases Wright went through architecturally. For Wright aficionados, there is a detailed, but not too intense history of his style, works and personal history as he changes design elememts during his career. Grand interior shots only enhance the overall attraction. The book will add diversity to anyone's collection.

This is a lovely coffee table book with mostly spectacular color photos of most of Wrights houses, including many interior shots. There is not much historical information but this is covered in other books.

There are many different aspects to highlight when studying the work of one of Americas' greatest architects. The part of his work that is probably the most accesible, are his private houses. It was great to see all these houses together in one beautiful volume. The photographs are stunning, and it is great to see so much attention paid to the interior of these houses, as Wright was responsible for most interior design too.
As a professional or just a fan, when you love Wrights' work and want to visually enjoy it to the fullest, this book is a must have. The only thing better is to buy one of his houses...

This is a necessary book for all who study architecture. Why? Because the photography conveys something close to the reality of Mr. Wright's works, especially so when it comes to the interiors.

When I was studying architecture in college in the 1970s, the BEST photography books about Wright's oeuvre were "In the Nature of Materials" and the very expensive Wendingen Edition. Both are presented in black and white and while that kind of pared-down quality may have suited the age in which the International Style was still in its ascendancy, it did nothing whatsoever to convey the true sense of a Wright space--specifically interior space. The intimately human scale of these spaces was missed.

And color is so much a part of Wright's aesthetic, and without it, one is in dreary Kansas instead of Oz.

Living in the northeast, it was not possible to see many Wright buildings first hand, until that trip to Chicago... and then what a revelation! These spaces were not cold grays but marvels of ochres and greens and wood tones and conveyed so much more serenity than those older photos could suggest.

Happily, future years placed me in conjunction with many of the Midwestern buildings, and a day trip could take me to Wisconsin or Michigan or other less-frequently visited residential and commercial works by F L W. Friendships with original Wright clients or owners of Wright houses opened other doors--I have experienced about one third of the places in this book, so--trust me--the photos do them justice and are almost as good as being there.

I would guess that anyone who has been in these places will tell you that this book gives a very fine representation of these spaces. And thankfully, more and more of these spaces are open on a regular or annual basis for the student or admirer of Wright to visit. Some residences are even now B&Bs. Wow!

The fine articles that accompany the photographs are also most helpful and enjoyable.

If you find this review helpful you might want to read some of my other reviews, including those on subjects ranging from biography to architecture, as well as religion and fiction.