Book Description
The book features a series of 10 residential landscape designs by Design Workshop in the mountains and deserts of the American West. Highlights include resurrection of ancient Spanish irrigation channels called acequias on the grounds of New Mexican estates; water-harvesting techniques and erosion prevention strategies that allow for the growth of lush landscapes in arid climates; siting of new homes to capture magnificent views, and water features that create mountain streams out of irrigation ditches and ponds.
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- Big Sky
- It's a personal celebration of the American West
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Big Sky: Wild West Panorama
Manufacturer: Firefly Books
ProductGroup: Book
Binding: Hardcover
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Similar Items:
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National Audubon Society Guide to Landscape Photography
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The World's Wild Places
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Rocky Mountains: Wilderness Reflections
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Close-up Photography in Nature
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Brilliant Waters: Portraits of Lake Tahoe, Yosemite, and the High Sierra
ASIN: 1554071763 |
Book Description
A personal celebration of the American West by one of its finest photographers and authors.
Distilled from more than two decades of exploration, Tim Fitzharris'
Big Sky captures beautiful panoramas rarely matched in majesty and diversity.
Big Sky includes tinted canyons, cactus-studded deserts, ice-capped mountains, rumpled badlands, the misty beaches of the Pacific and a limitless expanse of prairie wildflowers. These are images that reflect the still heart of America's native wilderness.
Fitzharris opens
Big Sky with personal observations on photographing the American West and then presents a retrospective of his photographs, organized by region:
- High Plains
- Canyon lands
- Rocky Mountains
- Sierra Nevada
- Southern deserts
- Pacific coast.
For each of these six sections there is an introduction to the landscape, followed by 12 plates for a total of 72 panoramas.
Stunning and beautiful,
Big Sky is a lovingly compiled collection of remarkable panorama photographs of this vast section of the nation. This will be Tim Fitzharris' definitive work, demonstrating his reverence and respect for the American West.
Customer Reviews:
Big Sky.......2007-06-09
Gorgeous book. Almost like being there as we read. Enjoying it now and
will for years to come.
It's a personal celebration of the American West.......2007-04-12
BIG SKY captures some gorgeous panoramas, capturing natural landscapes and tinting to explore some of the lesser-known state parks and wilderness areas across the country. It's a personal celebration of the American West by a photographer who spent over twenty years searching for just the right sites and experiences: when one was found he'd take a series of panoramic shots and stitch them together on a computer, here produced in panoramic 27x9 inch spreads to properly capture the results. Art photography libraries as well as public libraries strong in visual travel representations will want this.
Book Description
"You find yourself drifting when you become aware of the arrangement of trees behind a freeway sound barrier, when you wait for the container ship to disappear beyond the horizon, when you sit and listen to the ambient noise of distant traffic, unconcerned that most people would consider this a waste of time."
From the moments described above, emerges a captivating sketchbook from
Christian Schellewald. Art Director Schellewald has taken time away from the world of entertainment design to create vignettes that capture his everyday observations of living in California, specifically Los Angeles and San Francisco. When viewing such delicate yet compelling sketches, one feels as though Schellewald's memories are his or her own traveling between these two cities through his eyes and artwork.
Customer Reviews:
Amazing sketch book.......2006-06-22
In the flood of published sketch and artists books, this one stands as a real valuable and personal contribution. The artwork is loose, atmospheric and truthful in its portrayal of the real world, not the artificially contrived and prettyfied world of other so-called artists. Christian's artwork in the film production of "The Road to EL Dorado" or "Over the Hedge" is fantastic. Here we have a much looser version of the artist at work.
It is what is missing that forces me to take one star of the review. It doesn't explain the circumstances and media in which this sketches were made. The notes in each sketch are great to convey the sense of a diary but techniques and media are a mistery and for those who would like to learn something about the making of the artwork, there is not even a footnote. I think a technical prologue or epilogue would have rounded up a great book.
An excellent source of inspiration!.......2006-06-05
I have never been to any of the places mentioned in the book, but I know them from different media and I feel that "LA/SF" conveys their flavor and atmosphere very well. The sketches in the book are very lively and the colorations are great as well.
I recommend this book to anyone into art/sketches/California!
It's cover is coated with fabric and it is stable and nice. The paper is white, glossy and suits most of the sketches very well. The quality of the prints could be better and some of the (meagre)texts such as translations or the text on the cover are layouted badly.
Don't get distracted by my little negative critiqe as the pictures easily make up for this tiny flaw. Flipping through this book was a treat and made me dream about California!
Average customer rating:
- Panographs with an edge
- Peerless Panoramas!
- Wonderful text and photographic art
- To share or savor alone?
|
The Western Horizon
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover
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Similar Items:
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Lee Frost's Panoramic Photography
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Stretch: The World of Panoramic Photography
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Heart of a Nation: Writers and Photographers Inspired by the American Landscape
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America Wide: In God We Trust
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Desert: The Mojave and Death Valley
ASIN: 0810945622 |
Book Description
"Macduff Everton updates travel photography in the same way that Ansel Adams updated 19th-century photography of the West. He captures strange and eloquent moments in which time, and the world, seem to stand still."-Andy Grundberg, New York Times
Only a handful of photographers have succeeded in capturing the majestic landscapes of the American West. Now, Macduff Everton takes his place among them, with magnificent panoramic photographs that deserve to be viewed alongside those of Ansel Adams and Eliot Porter. Everton's lush, romantic pictures-each a cinematic tour-de-force of light and color-present breathtaking views of the Grand Canyon, Monument Valley, Yosemite, Crater Lake, Mount St. Helens, the Missouri Breaks, Big Sur, the Painted Desert, and other fabled vistas of the American West.
With lyrical commentaries and sketches by artist and writer Mary Heebner, and an introduction on the Western landscape's importance to American history and lore by best-selling author Edmund Morris, this glorious book is Everton's masterwork.
MACDUFF EVERTON is one of the world's most distinguished and prolific travel photographers. His work is widely exhibited and collected by museums around the world. He lives in Santa Barbara, California, with his wife, Mary Heebner.
MARY HEEBNER is a writer and artist whose mixed-media collages, works on paper, and limited edition artist's books have been exhibited and collected throughout the United States and abroad.
EDMUND MORRIS is a Pulitzer Prize-winning biographer, best-selling author, and an astute historian and commentator on the United States, his adopted country.
76 panoramic photographs in full color, 12 sketches, map, 131/2 x 91/2"
Customer Reviews:
Panographs with an edge.......2001-12-29
I noticed that the writing on the front flap of the book jacket claimed that the images are large format panographs. After taking a close look at the first few images on pages 1-10, I came to the conclusion that these are panographs taken in 135 format not the medium format of the 120 or 220 types. Everton's notes of camera and film on page 7 confirmed my assessment. It is interesting that he departed from the usual practice of his peers by choosing the colour negative film Fuji NHG II rather than its sibling, the transparency film, Fuji Velvia 50. Though it does not have the punchy colours and high contrast of Velvia, NHG II gives softer colours in highlights and more shadow details. With negative films, mastery in controlling exposure is only half of the accomplishment, mastery in making prints is essential for bringing the final image to the masses. Everton said he developed his prints in a rental lab. If so, his craft is well done. The contrast control of each image is good with no lost of colour saturation and shadow details, even for heavily overcast landscape such as the one on Lemhi Pass (p56). About half of the images was taken at a time when a storm was approaching. Some even have a clearly visible rain curtain (p33,49,62). The panograph of the Great Sand Dune Monument (p62) is a real visual treat. The land and sky were connected by a rain pillar over the sand dune on the right, illuminated by the emerging light. The highlighted strip of the desert floor formed the visual anchor for the reader, guiding my eyes to start the journey from the lower left-hand side of the image then wander into the distant storm-covered horizon. The smoothness of the dunes form a visual contrast to the roughness of the storm clouds above. It is rare to see a rainstorm in a sandy desert let alone under such magical lighting. Capturing fleeing moments like this calls for great patience and skill on the photographer's part. The panograph of Lower Geyser Basin is my second favourite (p49). The steam pillar jetted out of the geyser is the force within the deep earth whereas the heaven is owned by the menacing storm dumping torrents of rain from above. I couldn't stop asking if this image was taken on Planet Earth or near Mount Doom of Middle Earth in Tokkien's fantasy. My other favourite is the panograph of the Lower Calf Creek Falls (p72). Here stillness and transquility was interrupted by the gushing waterfall. The branches of the two trees at the foreground formed a perfect arch that frames the waterfall. This is a stage built by Nature where we are invited to sit in front and be immersed in the sound of moving waters.
The map next to Everton's preface showed not only the places where the images were taken but confirmed the warning that American wilderness is an endangered specie. The rest of the writings is simply an eloquent elaboration of this urgent issue. This book is another quality publication from Abrams Inc. I give it four out of five stars.
Peerless Panoramas!.......2001-02-28
This book deserves more than five stars for the unmatched color panoramas of the most picturesque horizons in the western United States.
You could visit these sites for twenty years and not see actual scenes as luscious as these. Whether you know the West or think you would like to, I suggest that you start with this remarkable book. This is the West as you've never seen it . . . but could. The wonderful photography is nicely complemented by the essays that provide geological and historical perspectives on the scenes portrayed here.
The photography is all done in 148 or 150 degree large format color panoramas. This perspective approximates what the human eyes can see, including peripheral vision. As a result, these images give you a remarkable sense of being present that is almost impossible to obtain in a book.
The reproduction quality is amazingly good, and the lighting and tones vary wonderfully from one outstanding photograph to the next. Almost all are displayed over an entire wide panorama-sized page, and many extend over parts of two such pages.
The feeling is so ethereal that it evokes the same sense of natural wonder that looking at paintings by the Hudson River School creates. There are in fact some parallels, as a few scenes include tiny people or animals in the foreground.
The book is divided into sections showing the Great Plains, the Rocky Mountains, the Colorado Plateau, the Cascade range, the Pacific Northwest, and California. Although I have traveled extensively in the West for over 40 years, more than half of these scenes were new to me. I can see that I have many wonderful trips ahead of me to visit these locales, now that I know how gorgeous they are.
Here is a list of the sites:
Sand Hills, Nebraska
Badlands National Park, South Dakota
Theodore Roosevelt National Park
Montana Prairie
Breaks of the Missouri
Yellowstone National Park, Wyoming
Waterton/Glacier International Peace Park, Montana
Lemhi Pass, Montana
Mores Creek, Idaho
Aspen, Colorado
Great Sand Dunes National Monument, Colorado
Grand Canyon, Arizona
Grand Staircase -- Escalante National Monument, Utah
Ghost Ranch, New Mexico
Painted Desert and Petrified Forest National Park, Arizona
Monument Valley Tribal Park, Arizona/Utah
Wupatki National National Monument, Arizona
Mount St. Helens
Crater Lake, Oregon
Mount Shasta, California
Oregon Coast
Big Sur, California
Santa Catalina, California
Yosemite, California
Mono Lake, California
Joshua Tree National Park, California
Death Valley, California
The text connects these boundless images to "a West of unlimited horizons" and the work of Turner in developing his frontier theory of the role of the West in stimulating American imagination and initiative. Even today, the book argues that the "unconstrained Western horizon" is important to our sense of taking on the new challenges of modern society.
Everyone who sees these photographs will agree that it would be horrible if these sights were ever to be spoiled. We are fortunate that government policy began to preserve these lands beginning in the 19th century. With today's challenges of pollution and visitors, perhaps even more will have to be done.
Reading and looking at this book is a spiritual journey, not unlike a peaceful meditation. If your spirit is troubled at all, I suggest this book as a balm that you can always use to ease your discomfort.
Live with beauty!
Wonderful text and photographic art.......2001-02-15
Wow. What a wonderful book that amazes me, everytime I open the cover. Everton seems to have complete control over the dynamics range in all of his photographs. Dark clouds yield to lighter, fluffy clouds, down to a light horizon, and a rich, dark lower 1/3 of these exposures. Add to this control his use of a tool that has limitations, at Noblex 150 panoramic camera.
Everton also captures locations that have already been widely photographed before, but with his own signature. He adds a new face to Calf Creek Falls in Utah. A must have book for your table.
To share or savor alone?.......2000-12-08
The Western Horizon honors the expansive beauty of U.S. topography west of the 100th meridian & east of the Pacific. Mary Heebner provides lightning commentary and subtle sketches complimenting her husband, photographer Macduff Everton, as he captures sites in inimitable ways. Together, they lift a creative curtain... and what a chronicle of our planet's passage they present!
Spectacular photographs are framed with informative prose-poetry re: geologic history and human wear. Many of the images are highlighted by magically addictive, cloud reflected light ... others are pure, simple zen. You gaze & graze on Earth's lines as they reach skyward. Time is everywhere. Many thanks to Abrams for yet another choice coffee table reference. Hopefully, Heebner & Everton will have an opportunity to soon grant us some more cardinal horizons. I'd rate The Western Horizon at no less than a full box of gold stars - it's a perfect book either to share or to savor alone.
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American Eden: Landscape Architecture of the Pacific West
Michael Leccese
Manufacturer: Vilo International
ProductGroup: Book
Binding: Hardcover
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ASIN: 2845760051 |
Book Description
With many illustrations and a well-documented text by one of the finest specialists in American landscape architecture, this book features Lawrence Halprin, Peter Walker, Tovert Murase and Martha Schwartz.
Customer Reviews:
Especially recommended for college library and cinematic studies reference shelves........2006-11-05
Edited by film exhibition history expert Deborah A. Carmichael, The Landscapes of Hollywood Westerns: Ecocriticism in an American Film Genre is an anthology of essays by learned authors concerning the role of nature and landscape in American Western movies, including silent, documentary, and feature-length films. From "Hydraulic Mining Then and Now: The Case of Pale Rider" to "Cinematic Conquest: Breaking the Mexican American Connection to the Land in the Movies" to "Landscapes of Failure in John Ford's Grapes of Wrath" and much more, each essay explores a different connection between land and American cultural mythmaking on the silver screen. Especially recommended for college library and cinematic studies reference shelves.
Book Description
What is landscape? How does it differ from 'land'? Does landscape always imply something to be pictured, a scene? When and why did we begin to cherish images of nature? What is 'nature'? Is it everything that isn't art, or artefact? This book explores many fascinating issues raised by the great range of ideas and images of the natural world in Western art since the Renaissance. Using a thematic structure many issues are examined, for instance: landscape as a cultural construct; the relationship between landscape as accessory or backdrop and landscape as the chief subject; landscape as constituted by various practices of framing; the sublime and ideas of indeterminacy; landscape art as picturesque or as exploration of living processes. These issues are raised and explored in connection with Western cultural movements, and within a full international and historical context. Many forms of landscape art are included: painting, gardening, panorama, poetry, photography, and art. The book is designed to both take stock of recent interdisciplinary debates and act as a stimulus to rethinking our assumptions about landscape.
Customer Reviews:
Excellent Smart Study.......2007-08-27
This book faces two usually insurmountable hurdles - first, designing an art book in a smallish size, with the corresponding destruction of anything like a scale appreciation for larger images true size; and second, covering an enormous amount of material in a very short text.
The first remains an indefensible decision, and there's no more to be said. As for the second hurdle, Andrews does a fine job of what baseball pitchers refer to when they wiggle out of endless bases loaded situations without giving up a run - walking between the raindrops. This scholarly act of prestidigatation calls for hearty applause - usually such surveys are either too careful or too general. Happily this book is neither, but rather thought-provoking and sagacious.
Andrews success seems to lie in an acquired acceptance that for all the modern kitchen sink tools applied to art history, from Levi-Straussian anthropology to historical statistical anaylysis to Foucault's deconstructionist revisionism, there remains an abiding need for aesthetic appreciation. As one reads through the book, a sort of moderated mediatation or commentary on what is landscape, how we see it, a large array of such new thinking pops up, many contemporary responses about the nature of landscape are offered. Yet in the end Andrews falls back, and rather slyly I maght add, on a sort of updated aestheticism. The distinction, and the difference Andrews makes with this old tool is surprising. The material comes across with a clarity and directedness absent from the more typical contemporary approaches to art, approaches emphasizing far more than the works of art, usually at the expense of shrinking down their full import in a maze of dubious cross-referencing.
Andrews greatest gift is confidence - he conveys a sumpreme sureness whatever he is writing about. In an age of relative values Andrews' certainty reverberates with an insolent disdain for doubt. (I am reminded of one critic's snickering potshot at A.L. Rowse's offhand dismissal of alternate Shakepeare author theories as pure nonsense - "for Rowse, doubt is an undiscovered country.") But Andrews, for all of that, is very much the modern, quite up on the various formalized readings and professional jargon. He has taken the measure of each of these chimeras and gone back to draw his own conclusions around an aesthetic largely free of post-modern cant. For Andrews the modern critical methodologies are but tools, used when needed, and not self-indulgence repudiating the reader in deliberately obtuse and hermetic language. And a huge bonus - Andrews is fun to read, displaying an extraordinarily adept mind; his questions and examples rarely failing to not only make his point, but develop it.
Having showered the author with praise I must point out one caveat: unlike Kenneth Clarke, who invariably seemed to put his figure on the one painting defining an age or movement, Andrews sometimes misses the obvious. A discussion of Niagara which is posed to rightly culminate in Church's great masterpiece suddenly veers off into a discussion of the Panorama, interesting enough as idea, but invariably second rate art. In deliberately thumbing an intellectual nose of Church, Andrews reveals some blind spots - he fails to understand what connects Church's greatest work with the early Wright's prairie architecture - land-gripping yet enclosed and interlocking horizontals celebrating the continent's scale. I find it strange indeed that such a book could fail to register Wright's influence and importance on our view of landscape. Next to these responses to the New World Andrew's Panoramas appear quite naked, generalized and simplistic. Although they fit nicely into his argument, he misses the chance to look beyond and over the edge, as it were. This blatant Eurocentric reading of American art continues on in a discussion of imperialist viewpoints and uninteresting observations on the over-rated Bierstadt: for Andrews the historical connections of American painting outweigh the purely artistic. The result? Even a century and half later Europeans refuse to take seriously our greatest landscape artist Church because he doesn't fit their critical template.
Despite these peccadilloes this remains a first rate book, and a must for any Art History collection.
Book Description
Canyon Gardens is the long-awaited sequel to Anasazi Architecture and American Design (UNM Press). It takes a new look at ancient and modern Puebloan gardening and landscape design approaches.
Part One examines early Puebloan landscapes in detail, including compact gardens and terraces, site planning, the integration of farming and landscape design into settlement complexes, and the unit-courtyard complexes of the Mesa Verde country. It also covers the first meeting of the Ancient Puebloan tradition with Spanish traditions in seventeenth-century New Mexico and the Puebloan uses of plants. New field research is included--recent findings about the Zuni area, the upper Rio Grande country, and the Tompiro and Tiwa canyons and valleys in the Manzano Range.
Part Two looks at the Ancient Puebloan culture's influence today. Chapters here examine the uses of the historic landscape in today's agriculture and horticulture and the impact of governmental regulations on traditional habits of gardening and land use and perception.
Modern architects, site planners, and landscape architects will find these new-found qualities of the Southwestern landscape fascinating and inspirational.
Contributors:
Anthony Anella is an architect, teacher, and writer in Albuquerque, New Mexico.
Kurt Anschuetz is an archaeologist in Santa Fe, New Mexico.
Mary Beath is a writer and artist who has worked in Zuni, New Mexico.
Bruce Bradley is an archeologist and author currently based in Exeter, England.
Carol Brandt is an ethnobotanist in Albuquerque.
Louis A. Hieb is an author and former professor at the University of Washington.
James E. "Jake" Ivey is a historian with the National Park Service in Santa Fe.
Stephen H. Lekson is curator of anthropology at the University of Colorado Museum, Boulder.
Kenneth A. Romig is a landscape historian and landscape architect in Albuquerque.
David E. Stuart is an author and Southwest anthropologist in Albuquerque.
Rina Swentzell is a writer and art and architectural historian and a member of Santa Clara Pueblo, in Santa Fe.
A new look at Puebloan landscaping techniques and uses of plants and how they can influence modern architects in the Southwest.
Book Description
The Southwest, particularly Arizona and New Mexico, comes alive in this book as a land ablaze with colors and brilliance uniquely its own. Here the deep-blue expanse of sky meets the fiery reds and oranges of breathtaking canyons, deserts, and deep valleys, which stretch into rugged mountains. This complex and diverse landscape and the extraordinary cultures thriving within it have been a wellspring of inspiration for artists and source of wonder for many. In paintings by Victor Higgins, Thomas Moran, Edward Hopper, John Sloan, Marsden Hartley, Maynard Dixon, Georgia O'Keeffe and many others we, too, share in visions of the beauty, mystery, and grandeur that has drawn artists and travelers alike to the Southwest.
The breathtaking expanse of the Southwest is nowhere more accessible than in the over ninety glorious landscapes of this book. Accompanying the art are selected writings of such famous authors as D.H. Lawrence and Willa Cather. Suzan Campbell's introduction briefly traces the history of the Southwest along with its continual allure for both regional and visiting artists.
A rare collection of art and literature perfectly suited for the artist, traveler, or anyone enchanted by the Southwest.
Customer Reviews:
an artist.......2007-08-16
I have to say this is probably the most disappointing book that I have ever bought from amazon. The reviews were great so I thought it might have some wonderful examples of southwest painting. I was wrong. The book is very small in size and doesn't look as it should cost more than $7 total. Save your money on this one.
They don't paint them like they used to anymore.......2002-11-17
On a recent first time visit to Santa Fe, I was rather disappointed with much of the art on display in the numerous galleries. One either loves it or hates it, but there seems to be no middle ground on the modern art found in Santa Fe, most of it being atrociously expensive. Then I happened upon this book in one of the stores, immediately fell in love with it, and brought it home. With time to enjoy it slowly, this book harkens back to the days before modern photography, whereby landscape painters were the best means for portraying scenery. Most of the images presented in this book date back to the time between 1925 to 1940, with some going back as far as the mid 1800's. I found it quite interesting that very few images from the last twenty years are presented here. Has landscape painting fallen out of fashion? Evidently so. But, for those who love this style and want a good picture of the southwest the way it was, I can highly recommend this book, which is quite a bargain. The added poetic comments only enhance it's appeal.
A full-color art book with rich and emotional landscapes.......2002-04-11
Paintings Of The Southwest compiled and capably edited by Arnold Skolnic is a gorgeous, full-color art book filled with rich and emotional landscapes from southwestern America, as well as some portraits of the people who call this splendid land home. Works from a wide variety of artists are presented, often with a brief quote from the artist that is relevant to the heart and soul of his or her creation. Enhanced with a thoughtful introduction by independent art historian and curator Suzan Campbell, Paintings Of The Southwest overall is an informative, engaging book of art showcasing the sweeping strokes of memorable works by gifted artists on every page and admirably succeeds in capturing the land's natural spirit. Also very highly recommended are Arnold Skolnick's previous two volumes of artwork, Paintings Of Maine (Clarkson Potter, 0517582295...) and Paintings Of California (University of California Press, 0520211847...).
Book Description
The great parks and gardens of Europe come alive by the skilful interplay of natural landscape and architectural elements. Throughout the ages, this relationship has been treated in different ways. The gardens of the Italian renaissance in the 15th or 16th century were based on rational plans, whereas the French parks of the Baroque period seem more geometric in design, and the English parklands of the 18th century present a scenic composition. In this publication historical gardens from all over Europe are graphically analysed. By highlighting the design processes, these analyses also function as models for future landscape projects. More than 30 renowned gardens have been documented with a wealth of illustrations. Amongst the parks presented are Palladio's Villa Emo, the perfect order of the Baroque garden Vaux-le-Vicomte near Paris or the pastoral yet mysterious park of Blenheim Palace near Oxford. Clemens Steenbergen and Wouter Reh are landscape architects and Professors at the University of Delft.
Books:
- Nineteen Minutes: A Novel
- Painting Sharp Focus Still Lifes: Trompe L'Oeil Oil Techniques
- Parenting With Love And Logic (Updated and Expanded Edition)
- Patterns and Palette Sourcebook: A Complete Guide to Choosing the Perfect Color and Pattern in Design
- Perceiving the Arts: An Introduction to the Humanities (8th Edition)
- Physical Education for Elementary School Children (Brown & Benchmark)
- Pictures of Nothing: Abstract Art since Pollock (A.W. Mellon Lectures in the Fine Arts)
- Pictures of Nothing: Abstract Art since Pollock (A.W. Mellon Lectures in the Fine Arts)
- Pink Box: Inside Japan's Sex Clubs
- Play Director's Survival Kit: A Complete Step-by-Step Guide to Producing Theater in Any School or Community Setting (J-B Ed:Survival Guides)
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