Book Description
Harley Brown offers artists his "truths" for painting success--the stuff he hopes they teach in art school. A well-established artist, Brown has gained a large following with his frank, no-nonsense approach to teaching art. Twelve knock-out chapters include:
* What every artist should do first. Harley's own cheap and dirty way to start a painting
* Composition--who needs it? See why most paintings are boring. And why a few will knock your socks off.
* Working with color. Stay miles ahead of the person who skips this chapter!
* Going on from here. Your greatest obstacle isn't skill...it's attitude.
* Plus, 30 magic solutions to common problems, 15 things to leave out of a painting, 24 painting sins and much more!
Supplementing Brown's advice are more than 10 step-by-step painting demonstrations in oil and pastel. His unique offerings are sure to enlighten and entertain painters of all skill levels and backgrounds.
Customer Reviews:
Wisdom, but without taking himself too seriously.......2007-04-12
Mr. Brown's Eternal Truths is the kind of book I have picked up again and again. Not so much for the artistic advice, as for the cheerful inspiration that fills every page. It inspires me to actually head to my art table and begin painting, which is much more than most books. And, most especially, Mr. Brown approaches everything (his paintings, his advice, his life) with humor and joy. A lesson to us all.
Simply amazing!.......2007-02-09
There's not much I can say that hasn't already been said. Simply put: This book will improve your art, and you as an artist, more than any other book I've seen. Full of useful tips, truths and anecdotes from Harley Brown's experiences, this book is just great!
Insights and Inspiration.......2006-11-06
This book is an amazing compendium of technique infused with insights that will inspire artists to rethink what, why and how they paint. Set up casually with plain talk, it belies the great book design and wonderful artwork. I highly recommend this book to all artists who aspire to do better!
Harley Brown's Eternal Truths for Every Artist.......2006-07-09
Fantastic book, and highly recommended for anyone wanting to get inside the "meat" of an art instructional manual. Harley has a wonderful sense of humor, and an easy way of explaining his procedures. I have read it through cover to cover, and use it to reference repeatedly.
Next purchase, is Harley's newest book.
Excellent book for intermediate artists.......2006-06-30
Brown's book is excellent for intermediate or advanced artists. I think beginners will find it confusing and beyond them (Brown presumes some drawing and painting abilities are in place). His book will help you "bust loose" and get to the next level. His advice and side-comments are entertaining, anti-establishment, anti-artsy-baloney and generally right on! Enjoy.
Book Description
"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal
Customer Reviews:
A must have for deconstruction aesthetics.......2007-05-12
A reading of Adami's reading of Derrida's Glas. Fantastic book. Recommended to those who want a new view of painting, art, and history in general.
Very interesting book.......2007-03-15
Derrida has a very complicated way of writing : it is not easy avoiding metaphors, the verb to be, the 'I'. Especially when the subject is art, beacause it is exactly the realm of the aesthetic, the subjective, the presence. This, I think, is one of his most difficult texts.
This book sets to investigate the multiple questions that develop in the presence of Cezanne's proposal : Cezanne's aim is to tell the truth in painting.
What is the relation between truth anda beauty, language and image, philosophy and art? Derrida investigates those in two large chapters called 'Parergon' and 'Van Gogh boots'.
Book Description
Vienna at the dawn of the twentieth century was a city like no other—filled with avant-garde artists and bursting with intellectual and sensual energy. But this burgeoning society was constantly at odds with the conservative and often disapproving nineteenth-century culture. This fascinating book focuses on the figures at the center of this controversy: Egon Schiele, Gustav Klimt, Oskar Kokoschka, and others whose radical artistic expressions were shocking as well as ground-breaking. This generously illustrated volume examines the numerous levels on which the new culture clashed with the old, including sexuality, power, and religion. It analyzes the impact these artists' works had on their surroundings, and places them in an historical context that illuminates the social and cultural debate they instigated. It also explores why art that seemed so provocative at its conception now represents a standard of excellence for the modern audience.
Amazon.com
Philip Steadman's remarkable book Vermeer's Camera cracks an artistic enigma that has haunted art history for centuries. Over the years, artists and art historians have marveled at the extraordinary visual realism of the paintings of the 17th-century Dutch painter Jan Vermeer. The painter's spectacular View of Delft, painted around 1661, and the beautiful domestic interior The Music Lesson seem almost photographic in their incredible detail and precise perspective. Since the 19th century, experts have speculated that Vermeer used a camera obscura, an early precursor of the modern camera. However, conclusive proof was never discovered, until now. In Vermeer's Camera, Steadman proves that Vermeer did indeed use a camera obscura to complete his greatest canvases. Part art-historical study, part scientific argument, but mainly a fascinating detective story, Vermeer's Camera argues:
Vermeer had a camera obscura with a lens at the painting's viewpoint. He used this arrangement to project the scene onto the back wall of the room, which thus served as the camera's screen. He put paper on the wall and traced, perhaps even painted from the projected image. It is because Vermeer traced these images that they are the same size as the paintings themselves.
Steadman painstakingly develops his argument through careful study of the history of the camera obscura, an exploration of 17th-century optics, and a detailed study of the light, optics, perspective, and measurement of a series of Vermeer's paintings. He goes to remarkable lengths to reconstruct Vermeer's studio and its furnishings, down to the angle of the light from its windows. The science is complex, but always clearly explained. This is not an attempt to reveal Vermeer as an artistic "cheat." Steadman convincingly argues that "Vermeer's obsessions with light, tonal values, shadow, and colour, for the treatment of which his work is so admired, are very closely bound up with his study of the special qualities of optical images." Vermeer's Camera is a wonderful book that shows the ways in which, during the 17th century, art and science went hand in hand. It offers an enlarged, rather than reduced, perspective on Vermeer. --Jerry Brotton. Amazon.co.uk
Book Description
Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This intellectual detective story starts by exploring Vermeer's possible knowledge of seventeenth-century optical science, and outlines the history of this early version of the photographic camera, which projected an accurate image for artists to trace. However, it is Steadman's meticulous reconstruction of the artist's studio, complete with a camera obscura, which provides exciting new evidence to support the view that Vermeer did indeed use the camera. These findings do not challenge Vermeer's genius but show how, like many artists, he experimented with new technology to develop his style and choice of subject matter. The combination of detailed research and a wide range of contemporary illustrations offers a fascinating glimpse into a time of great scientific and cultural innovation and achievement in Europe.
Customer Reviews:
Well researched and tolerably convincing.......2006-06-30
This is a very well researched book. The author has taken great pains to measure and analyze Vermeer's paintings, finding a striking feature that many of them, when back-projected through the perspective view point at the size of the painting, imply a consistent location of a back wall to the common room used in the pictures. The author asserts that the only reasonable explanation for this coincidence is that Vermeer used a camera obscura for at least some of the layout of his paintings.
This comes off as very plausible, though the analysis is limited to paintings that include a tiled floor. It would have been interesting to see this work extended through photogrammetry of objects of known sizes in the paintings (chairs, musical instruments, etc) and applied to more of the paintings.
I think the only real failing in the argument is that Vermeer could have could have had the skill to paint perspective of this quality, and therefore not needed the aid of a camera. As pointed out in the text, he was not bound to perfect accuracy; there are some deviations.
Interesting, scholarly study.......2005-03-22
Did Vermeer use optical aids, like a camera obscura, in crafting his wonderful paintings: yes or no?
That is the question being asked here. This is a technical question, only, it adds or detracts nothing in Vermeer's ouvre and career either way. It's and interesting question though, and even an important one. What choices did Vermeer make in achieving greatness?
Steadman convincingly argues that Vermeer very likely used a camera obscura, in one form or another, in creating many of his paintings. This work starts with a thorough discussion of the inconclusive written records. Vermeer was certainly contemporary to people like van Leeuwenhoek, who pioneered microscopy, even lived in the same city at the same time. He had long exposure to trades where lenses were used regularly, and lived in a time when lenses were available commercially. All that is circumstantial and, unlike other authors, Steadman declines to read more into available facts than they said in the first place.
His real contribution is in his detailed analyses of Vermeer's paintings and their geometries, and in actual reconstructions of the rooms Vermeer portrayed and tools he might have used. This is the scientific method at work: present a falsifiable hypothesis, and create an experiment that confirms or denies it. "Is shadow in 'The Music Lesson' a credible, literal rendering of an actual scene?" His experiments from the late 80s, rebuilding rooms that match Vermeer's says "Yes." This is a delightful contrast to armchair guesswork by others, such as Wheelock, who never really checked but thought the shadows looked false.
This is a worthwhile historical and technical achievement, partially funded by the BBC for a TV special in 1989. It also stands in clear contrast to Hockney's later work on much the same question, "Secret Knowledge." Hockney asked, as an artist, do these tools give me the experience captured in the old masters' art? His answer, achieved by personal immersion, was also "Yes." I respect Steadman's rigor as a historian and experimentalist, but this work comes off a bit dry compared to Hockney's first-person report.
It's an interesting book on an artist about whom maddeningly little is known. It's thorough, and gives future art historians a very high bar to clear. If not for the hands-on liveliness of Hockney's book, I might have ranked this one even higher.
//wiredweird
A Detective Story for Vermeer Lovers.......2004-05-25
This treasure is actually a mystery novel in the guise of an art book! Steadman cleverly examines the long-held debate over Vermeer's alleged use of camera-like inventions to help create his masterworks. He does so by constructing models of the rooms, examining long-overlooked clues and engaging in some very pragmatic thinking. At times Steadman almost comes across as art history's answer to Lt. Colombo, which is a compliment. This is a very readable and enjoyable book for any art lover who also loves a good mystery, brain teasers, and practical application of optics. My only quibble is that additional illustrations and plates would have helped Steadman make his point better.
Did He or Didn't He?.......2001-07-27
Did the famous Delft artist, Johannes Vermeer, use the camera obscura to create his remarkably photographic paintings? People have been asking that question for a century or more. To help answer it, Philip Steadman has written this great little book. It is truly an enjoyable investigation of Vermeer's acquaintances, studio, and style. My favorite parts of the book are Steadman's photographic reconstructions of Vermeer's paintings. Did Vermeer use the camera? If he did, would that make him an artistic cheat or a visionary? I like a book that leaves me with some things to think about, and this one does the job.
Book Description
One hundred thirty-six drawings and paintings of Raymond Pettibon, one of the most famous and interesting artists in North America. Pettibon's drawings pitilessly critique contemporary culture, using the aesthetic traditions of comic, pop-art and popular culture. His primary theme is the failure of the 1960s subculture to resist authority and shake up the world. The philosophy behind Pettibon's work is that the murder of Sharon Tate by the Manson cult and the Altamont killing mark the collapse of the highflying hopes and demands of the generation of 1968. His work, full of frightening images, speaks openly of the continuing despair and disgust of a generation. Pettibon is a striking example of an underground artist who now represents of so-called high culture.
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Painters of the Humble Truth: Masterworks of American Still-Life Painting
William H. Gerdts
Manufacturer: Univ of Missouri Pr
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ASIN: 0826203558 |
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W. Hunt Pre Raphaelite: Poetry of Truth----Alfred W. Hunt and the Art of Landscape
Christopher Newall
Manufacturer: Ashmolean Museum
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ASIN: 1854441965 |
Book Description
The first retrospective exhibition of Hunt's work in over 100 years at Ashmolean Museum, January - April 2005. Includes an inventory of his studio with 225 sketchbooks that had been owned by his daughters. Enhances understanding of the Pre-Raphaelite movement.
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The Lure and the Truth of Painting: Selected Essays on Art
Yves Bonnefoy
Manufacturer: University Of Chicago Press
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The Curved Planks: Poems / A Bilingual Edition
ASIN: 0226064441 |
Book Description
Yves Bonnefoy, France's most important living poet, is also a literary and art critic of renown; in writing so extensively on the visual arts, he continues the critical tradition begun in the eighteenth century by Diderot and continued in succeeding centuries by Baudelaire, Apollinaire, and other leading French poets.
The sixteen essays collected here show the breadth and depth of Bonnefoy's writings on art, aesthetics, and poetics. His lyrical ruminations range across centuries and cultures, from Byzantium to postwar France, from the paintings of Piero della Francesca to the sculptures of Alberto Giacometti and the photographs of Henri Cartier-Bresson, from the Italian Giorgio Morandi to the American Edward Hopper. Always fascinated in his poetry by the nature of color and light and the power of the image, Bonnefoy continues to pursue these themes in his discussion of the lure and truth of representation. He sees the painter as a poet whose language is a visual one, and seeks to find out what visual artists can teach those who work with words. More philosophical than historical and more poetic than critical, the essays express Bonnefoy's deep sympathy for the creative process and his great passion for individual works of art.
Bonnefoy's engagement with great art in The Lure and the Truth of Painting sheds light on the philosophy of presence and being that animates his poems. This book will be welcomed by lovers of Bonnefoy's poems and by everyone interested in the creation, history, and appreciation of art.
Yves Bonnefoy's numerous books include New and Selected Poems and In the Shadow's Light, both published by the University of Chicago Press. Richard Stamelman is director of the Center for Foreign Languages, Literatures, and Cultures and professor of romance languages at Williams College. He is the author of Lost beyond Telling: Representations of Death and Absence in Modern French Poetry.
"Few exponents of contemporary French letters deserve the attention of the reading public in America more than Yves Bonnefoy. . . . [His] writings . . . are an important lighthouse on the contemporary cultural coastline."—Emily Grosholz, The Hudson Review
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RES: The Useless Truth
Valeria Gonzalez
Manufacturer: La Marca Editora
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ASIN: 9508891157
Release Date: 2007-03-01 |
Book Description
The artist known as RES, born Ra l Stolkiner in Argentina in 1957, studied both photography and economics, which influences his work through the idea of an economics of ideas. This first critical anthology of his career gathers nine series of photographs--Where Are They & Magnets, Pardiez! (By God!), Pretty Little Plastic Thingy, DNSCTTH, On Jorge L. Borges, Me-Cactus, Between is Nothing, Hern n CortEs' Route, and his latest, Conatus. That most recent and perhaps most intense entry recreates--in detailed costume, makeup, lighting and composition--iconic pieces of western art, widely acknowledged masterpieces by painters such as Velazquez, da Vinci and Picasso. Each portfolio is introduced by a short text key to its interpretation. And how to interpret the title? The Useless Truth refers to art's ability to highlight the irrelevance of information, a truth RES points out is just as useless as any other while it remains locked away in the autonomous field of art.
Books:
- Heart-Shaped Box: A Novel
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
- History: Fiction or Science? (Chronology, No. 1)
Books Index
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