Book Description
In this book are the essential beliefs and theories of a great teacher and American artist, Robert Henri. While it embodies the entire system of his teaching, with much technical advice and critical comment for the student, it also contains inspiration for those to whom the happiness to be found through all the arts is important.
Customer Reviews:
Every painter should own this book........2007-03-10
George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.
An Art Spirit for Everyone.......2007-01-08
The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
"Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well. It is not an outside, extra thing.
When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
"Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."
"There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."
"(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."
While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding
Excellent.......2006-10-20
If you are an artist, have an interest in art or even just like to read thought provoking quotes then you could do a lot worse than have this on your shelf. The book is collection of conversations, thoughts, writings. There isn't much of a structure to it - more a random collection although the index helps somewhat. It lends itself to just opening the book at a random page and reading whats there. It contains one salient point after the other on the how's, whys and wherefores of painting, drawing and sculpture. This book should be on every artists shelf.
"Art," before commercialism took over........2006-09-13
Finally a review of art, for the sake of art, without becoming cluttered by commercial concerns. Paint color, composition, line...The book is written as a painting with no particular beginning, middle, or end. It needs to be absorbed as a whole to fully appreciate its contents. The pedantic English can tire but it does not subtract from the freshness of the message and the pleasure it provides to every student of art.
an eternal favorite.......2006-02-04
"There are moments in our lives, there are moments in a day, when we seem to see beyond the usual. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. If one could but recall his vision by some sort of sign. It was in this hope that the arts were invented. Sign-posts on the way to what may be. Sign-posts toward greater knowledge." Robert Henri
Twenty two years ago when I discovered this book I could not have imagined the impact it would continue to have on my life. Robert Henri speaks of both the technical side of art and the art experience. I have re-read this book, a little bit at a time, many times over the years and have found something new to appreciate each time.
While I find less and less time in my life for my artwork, I am able to enjoy beauty and clarity in all of it's everyday forms. The trick is to remember to capture it in your mind. When I feel I have lost the ability to appreciate everyday beauty, I pick up this book. It never fails to rejuvinate my mind and inspire me.
Book Description
Rufino Arellanes Tamayo was a leading Modernist who brought Mexico international acclaim through his development of a new form of abstract figuration, that ultimately made him one of the most recognized and respected painters of the twentieth century. A Zapotecan Indian born in the state of Oaxaca in 1889, he was exposed as a young man to the cultural wealth of pre-Colombian Mexico while working as a draftsman at the National Museum of Archeology in Mexico City. While his contemporaries Siqueiros, Rivera and Orozco were advocating art with a message, often political, Tamayo's work focused on plastic forms integrated with a masterful use of colors and textures. Early in his creative life, Tamayo kept strict linear perspective, and later he explored Cubist issues, but in the end he created a style that was all his own, participating in the development of "Mixografia," a graphic technique used to obtain colored and textured three-dimensional printing on handmade paper. Published on the occasion of the first major U.S. exhibition of Tamayo's work in nearly 30 years, curated by Diana C. du Pont with Juan Carlos Pereda, Tamayo: A Modern Icon Reinterpreted offers a comprehensive view of the artist's work throughout his life, accompanied by eight wide-ranging essays featuring fresh new readings from top scholars. This detailed study of Tamayo's creative methodology is the most complete book on the artist to be published in more than 10 years.
Book Description
For more than a thousand years, Eastern Christians have used their hands and hearts to create icons, proclaiming God's reality in a visible-and breathtakingly beautiful-way. This ancient art is enjoying a renewed interest in the West, as people of faith create icons and use them to meditate on mysteries for which there are no words.
A Brush With God is a guide to painting icons and using them in prayer. Written with warmth and energy, it describes the history of icons and examines why they've been a spiritual tool for so many centuries. Written from a uniquely Western perspective, the book guides artists-from novices to professionals-through the process of icon painting, using traditional techniques but employing contemporary materials. Included are eight full-color plates of the artist's icons.
Customer Reviews:
Nicely done.......2007-08-22
I love this book! I created the icon of St. Nicholas using the books instructions, and got positive feed back on it from my "extremely honest" family and friends. The materials required are readily available and the directions are clear. Most importantly, the spiritual experience during the process was incredible. I can't wait to do the other two icons in the book. However, I do believe you need to be confident in your artistic skills to be successful and avoid frustration. My only criticism is the lack of pictorial examples. I had to refer to another book to understand the difference between the Greek and Russian style.
A history and how to of icons.......2007-04-05
A background about icon painting and projects to get you started.
Well done.......2007-03-17
This nice little volume gives enough background to get you started on both creating and appreciating icons. Whether you just want a deeper appreciation for the artistic aspects or a deeper appreciation of the spiritual disciplines associated with icons, this is wonderful place to start. It includes several colorful plates in the center to provide good examples or starting points for you own artistic exploration.
The text is well written, concise, and clear. Chapters are arranged to first give you an appreciation of the spiritual connection icons can help fulfill. It is a brief introduction to a vast topic but one you will want to gain deeper understanding of their purpose. Then the author briefly describes some of the artistic nuances and differences in Russian, Greek, and Coptic styles that will give you more to ponder as an artist. With that brief overview of background information, the author then takes you through the technical aspects of creating several icons youself. The instructions are clear and step-by-step so they are easy to follow. Ultimately, practice will yield results. You will not likely create a priceless gem on your first try but the instructions are enough to give you a good start. And the more practice, the better you will be.
There are several little tidbits of added information in the Appendixes for further study and appreciation. All of this in so few pages might seem impossible. However, this thin little book is loaded with a broad view that does not sacrifice too much in depth. It is a perfect introduction to the topic and very well done. The author clearly loves the topic and conveys that passion in an infectious manner. An enjoyable read even if you never pick up a brush. The understanding of the spiritual, artistic, and technical aspects will provide greater appreciation of this art form enriching your life with beauty.
Modernist catholic using acrylic.......2007-01-17
I own this book but this book is not that good.
The first thing I have to say is that the author is not Orthodox christian, but catholic of the latin rite born and former benedictine monk. The book suggest you to use Acrylic paint and say nothing about Egg Tempera! Well, if I am going to use acrylic paint, why hand painting? I would prefer an inkjet printer! If you have only this book then you will have to buy one about egg tempera.
In page 11 he says that his first teacher recommended (just!!) abstinece from meat and alcohol but then he complete change the meaning of fasting.
Say nothing about the use of Holy water and natural hair brushes, his brushes are acrylic as well.
Just what I expected.......2007-01-11
I was pleased to receive the book in a timely manner, new, and exactly as I had expected it to be.
Average customer rating:
- Frazetta was the best
- The cover came off!
- See For Yourself
- Icon: A retrospective by the Grand Master of the Fantastic Art
- Fantastic!
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Icon
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Fire and Ice (2-Disc Limited Edition)
ASIN: 1887424717 |
Amazon.com
This book is going to make Frank Frazetta fans very, very happy. Icon: A Retrospective by the Grand Master of Fantastic Art Frank Frazetta is a comprehensive look at the work of one of the world's most influential fantasy artists. Frazetta's entire career is covered, from his earliest work on L'il Abner to his unused poster art for Quentin Tarantino's From Dusk Till Dawn; from his powerful interpretations of Robert E. Howard's Conan character to his whimsical Hollywood parodies. More than a hundred full color prints of Frazetta's most representative work are collected here in a single handsome edition, along with photographs of the artist and his studio, quotes, and testimonial biography.
The subject matter of Frazetta's work is familiar--brawny warriors, buxom enchantresses, and terrifying monsters--but he manages to infuse them with a rare charisma. His figures are sublime, at once naturalistic and hyper-real, and his vivid use of colors startles the eye again and again. Incredibly, this collection manages to do justice to his decades of award-winning work. Icon is a must for the serious Frazetta enthusiast. --Brendan J. LaSalle
Book Description
The incredible paintings of Frank Frazetta have brought him worldwide fame, legions of loyal fans, and scores of imitators. His darkly dramatic Conan the Barbarian oils and the equally powerful and erotic compositions for the works of Edgar Rice Burroughs have become the ultimate standards of excellence in the fantasy and adventure field. Icon was Franzetta’s first major retrospective in his 55-year career. Lavish full-color reproduction on deluxe art paper showcases over 65 major finished oil paintings, 25 drawings, and other pieces. This new softcover edition contains 32 new pages of additional, never-before-published art and photos. New material includes paintings of Woody Allen and Peter Sellers; concepts of Clint Eastwood for the movie poster to The Gauntlet; original concepts for the Conan book cover paintings; and character drawings for the Broadway production of Li'l Abner.
Customer Reviews:
Frazetta was the best.......2007-07-15
I read Edgar Rice Burroughs novels as a teen and will never forget the impact of the Frazetta covers. His heros, the settings and the creatures were so wild and vivid; plus I think he definitely set my ideals of feminine beauty for life. This collection is a must for anyone who wants a good biography of F.F. along with some great reproductions of his best work.
The cover came off! .......2007-06-26
Frazetta is great and this book is swell... however (as one other reviewer also experienced) the cover came off my book after I had it for only one week! I couldn't believe it! To credit of the publisher they did send me a replacement. I think I will buy the sequel now. Too bad it's only available in hardcover, but at least that way the cover is much less likely to fall off. As for the third book, it seems to be completely unavailable except to those who are willing to pay over a hundred dollars for it!
See For Yourself.......2007-05-16
Words cannot describe the beauty and passion in Frazetta's work; This book is filled with amazing art, from the original sketches to the final product; Lots of personal photographs and insightful narratives help to make this a satisfying package, but the artwork alone makes this book a must have. From his early career doing comic books and movie posters, to the grand scale of his fantasy art, this is a book that is sure to excite any and all who have a shred of creativity within them. Totally inspiring book!!!
Icon: A retrospective by the Grand Master of the Fantastic Art.......2007-02-08
Quite a volume if you a Frank Frazetta fan. You might even discover some hidden facts about Frank or artwork that you hadn't seen before. It is very complete.
Fantastic!.......2007-01-10
If you like adventure you will love this book. It brings out the kid in you through the warrior and fine art. The illustrations are great to sit down with and not only look at but to get the pencil and paper out and try to imitate. Wonderful!
Customer Reviews:
Good Introduction in Many Ways.......2006-02-13
This book is a good introduction to icon painting, but be forewarned that it does not offer advice on how to draw, which is the most important part of icon "writing". The author tells us to copy the icon photos provided in the book, and not to trace them. But he offers no advice on how to compose a "face" (e.g. make sure that there is one eye's distance between the two eyes; make sure that they are placed in the middle of the head, etc.). The person with no art background may buy the book, try to copy one of the icons, and then mess up and become discouraged and give up because they do not know these basics. Overall, I would recommend this book, but also, if you have no art background, buy a small book on drawing (specifically on artistic anatomy).
Fascinating Icon Information and Beautiful Pictures!.......2000-04-01
This is a wonderful resource for someone who would like to know more about how to paint some of the most beautiful Christian icons. There are beautiful photos of many of the most famous icons, along with step-by-step instructions on how to paint them. There is also fascinating information about the meditative value of painting icons. This book was used in our church to teach a middle-school aged Sunday School class about icons, and the kids then created their own. They were so well done that many church members asked for prints of the students' work! The students are looking forward to doing them again this year.
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An Iconographer's Pattern Book: The Stroganov Tradition
Manufacturer: Oakwood Publications
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Binding: Paperback
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ASIN: 0961854537 |
Book Description
The publication of this patternbook provides a long-awaited and much needed English translation of a recognized and acknowledged classic for both the student and the professional iconographer.
The Stroganov Patternbook, or Podlinnik, of Russian origin, perfectly complements the Byzantine Painters' Manual, or Hermeneia, of Dionysios of Fourna (Oakwood Publications, 1990) as a formidable basic reference text on iconography. The Patternbook is designed to serve as a indispensable tool for both the studio and the library, providing a wealth of material to the student of iconology, and being invaluable to the practicing iconographer.
The line drawings of figures, icons, and scenes represent patters of Russian icon-writing following the council of the Hundred Chapters (1552), free from Eastern influence. Along with the complete descriptions of colors, clothing, and other details, this book "should enhance significantly the ability of iconographers and researchers to complete their tasks.
The appearance of this Podlinnik is certainly the answer to many prayers, and special recognition must be extended to Fr Christopher Kelley for his untiring efforts at translating this classic. The enlarged illustrations, headnotes, glossary of Russian terms, and comparative index of saints according to the liturgical year, as well as the colorful historical background of the Stroganovs by John Barns, will certainly serve serious students, art historians, and professional iconographers for years to come.
- Dennis G. Bell, President
St John of Damascus Assn. of Iconographers, Iconologists, and Architects
Inside this volume are more than 700 drawings of saints and feast days to be used as prototypes. The basic source reference is the Stroganov Family Iconpainter's Handbook, published in Slavonic in the mid-nineteenth century, from the sixteenth-century originals.
Customer Reviews:
POSSIBLY THE MOST COMPLETE AND USEFUL BOOK ON THIS TOPIC.......2007-06-26
Originally published in French in 1981 by the great Catholic Publishing House Desclee de Brouwer in Paris as L'Icone: Image de l'invisible, this book may be the most thorough, useful and complete treatment of the theology, procedures, composition and aesthetic techniques of the Ikon phenomenom.
Indeed the ample first section discusses the Genesis and Theology of the Icon, including history from the first days of Christianity, the art of the catacombs, etc. This first section also includes the various theological elements essential to iconography, as well as a discussion of Byzantine society and religious vision. It also discusses literary types in relation to icons, and a general theory of the icon as sign, symbol and as actual or sacramental participation in the Divine.
The second section explains aesthetic elements, including geometric structures, such as proportions, which I find most immediately helpful for any artist who wishes to draw anything involving the human face and body as well as iconographers. This section closely analyzes the formal use of geometry in composition of the icons and their arrangements, and the use of the laws of perspective as well as inverse perspective, dynamic space and epic perspective. This alone is fascinating for anyone who studies art theory, and truly renders comprehensible and visible underlying principles and practices not previously noticed or known. Several common Iconic themes are examined iin this light, including the Annunciation as well as the Resurrection of Lazarus. This second section also fully discusses colors and the theory of color, their meanings in icons, and their composition. The second section concludes with a complete consideration of light, and the inner light of icons.
As promised in the subtitle the third section fully examines the technical aspects of icons, including the preparation of materials in every way, the paints and how to apply them to the prepared and primed board, the selection of the palette and creation of flesh tones, for instance, and techniques and styles of the various ancient schools of iconography, including Greek and Russian. A thirty six page full page selection of icons follows in full color well produced, ending this excellent and comprehensive and informative and useful book with a thorough bibliography and a pair of indexes by subject and by name.
Everything about this book is the best, but what really sold me was the discussion of proportions of the human body and of perspectives, technical problems I had been trying to resolve but which are very clearly presented here.
Highly recommended for any artist, art historian, art lover, or especially the devoted Catholic looking for visual sacramentals as edifying aids in prayer and the saintly, sacred, immanent presence with us in prayer and contemplation. This book discusses everything from theology to hands on techniques and has something for everyone, expressed more completely and clearly with continual examples on every page, than in any other book I have seen. I have in my hand the 1999 paperback reprinting from Oakwood. If you are able to acquire the hardcover edition, or the original French, please invite me over for prayer and painting!
Book Description
Modern knowledge of a Byzantine text now usually carried the Painter's manual or Hermeneia could be said to have begun in 1832. That such a text existed passed largely unnoticed until a French archeologist, traveling among the monasteries of Mount Athos, came across some painters at work in the monastery of Esphigmenou who showed him the text that they were using. A copy was made resulting in the first, albeit erroneous, publication in German in 1955. A correct edition, source unknown, was published in 1909, which has been accepted as the standard since then. This current English edition is from the 1909 Greek text and has attempted to be faithful not only in context but in appearance and layout.
We are fortunate to know as much about the man who compiled this Hermeneia which bears his name as we do. Dionysus was born about 1670 in the village of Fourna in central Greece. At sixteen, he went to Mount Athos, and from the early years of the century became established as a painter. In Karyes (on Mount Athos), he built a kellion (cell) and chapel dedicated to John the Baptist, which he himself painted. Between 1724-1728 he was back in his native village of fourna, and painted the interior of the church of the Transfiguration there. He is last known to have been alive in 1744.
The date of Dionysius' compilation of the Painter's Manual is probably of his second period on Mount Athos, that is, 1730-1734. While he is known to have painted icons in several locations, his stature as an artist must always have been exceeded by his other gifts, and the interest of these works lies in their relationship to the literary works of their creator.
Customer Reviews:
Wonderful Tool.......2007-02-28
This book is a wonderful ref book for anyone who is writing Icons.
Customer Reviews:
a reference handbook, not a theological or devotional book.......2005-08-16
Coomler's handbook is a collection of common icon patterns (line drawings, usually presented backwards or mirror-image) with short decriptions (some better than others).
This book is not a theology of iconography, nor is it a devotional work. It's a reference text, a pattern book which may be used to identify icons & iconographic themes, read and interpret common iconographic symbols, etc. It can be extremely helpful when understood and used correctly, especially when supplemented with good theologies of iconography and devotional works.
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Art & Fear
