History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Fine Indian Jewelry of the Southwest: The Millicent Rogers Museum Collection

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Excellent Reference Book on Southwest Indian Jewelry
must-have book for Southwest Indian Jewelry coll;ectors
GOOD SERVICE
A recommended addition to personal, academic, and community library Native American Studies reference collections

Fine Indian Jewelry of the Southwest: The Millicent Rogers Museum Collection
Shelby Jo-anne Tisdale
Manufacturer: Museum of New Mexico Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0890134820

Book Description

The book presents the jewelry colection through its founding collector Millicent Rogers, bringing to life the Taos she discovered in the late 1940s and showcasing the authentic, classic-era jewerly that she collected when Fred Harvey and others were popularizing Indian-made tourist pieces.

This lavishly illustrated book serves as a solid overview of southwest Indian jewelry from prehistory to present.

Customer Reviews:

Excellent Reference Book on Southwest Indian Jewelry.......2007-05-31

If you like Indian Jewelry but can't get to the museum in Taos this is a great first book on the subject. If you do go to the Millicent Rodgers Museum, this is the book to help you savor that grand experience for many years to come. And it's a great reference work if you are contemplating investing in Zuni or Navajo jewelry.

Wilford's Trading Post
Gallup, New Mexico

must-have book for Southwest Indian Jewelry coll;ectors.......2007-03-14

This is a glorious book of Southwest Indian Jewelry with interesting info on Millicent Rogers, who herself was a work of art.

A must-have for collectors of Southwest Indian Jewelry.

GOOD SERVICE.......2007-02-07

I HAVE ORDERED SEVERAL BOOKS FROM AMAZON AND THEY ARE EXPEDIENT AND HAVE A GOOD BOOKS AT A GREAT PRICE. AVAILABILITY GREAT. I WILL CONTINUE TO DO BUSINESS WITH AMAZON AND THEIR SERVICE. THANK YOU, BECKY DYER

A recommended addition to personal, academic, and community library Native American Studies reference collections.......2006-08-07

Painstakingly compiled and with an expert, knowledgeable commentary by Shelby J. Tisdale, Fine Indian Jewelry Of The Southwest: The Millicent Rogers Museum Collection offers an impressively informative history and survey of the southwestern Native American jewelry that is represented in the collection of the Millicent Rogers Museum as the result of art patron and passionate collector Millicent Rogers who assembled a spectacular collection of Navajo and Zuni silver and turquoise, Hopi silverwork, and Pueblo stone and shell jewelry during the late 1940s and early 1950s. Of special interest is the chapter devoted to "The Origins of Indian Jewelry in the Southwest". Profusely illustrated and a very strongly recommended addition to personal, academic, and community library Native American Studies reference collections, Fine Indian Jewelry Of The Southwest is enhanced for scholars and non-specialist general readers alike with the inclusion of a glossary, references, and an index.

American Visions: The Epic History of Art in America

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decide for yourself
AMERICAN VISIONS 4 COLONIAL WAY OF THINKING
New World Symphony
A panoramic view of American Art with vivid opinions
What I think is important in American art by R. Hughes

American Visions: The Epic History of Art in America
Robert Hughes
Manufacturer: Knopf
ProductGroup: Book
Binding: Hardcover

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ASIN: 0679426272
Release Date: 1997-04-22

Amazon.com

Australian-born art critic Robert Hughes, author of the highly acclaimed study of modern art, The Shock of the New has made his home in the United States for the last 20 years. His latest undertaking, which he calls "a love letter to America," is his most massive: a 350-year history of art in America. Published in association with an eight-part PBS series of the same name, this is no scholarly text. With the same voracious wit and opinionated brilliance that have characterized his criticism for Time magazine, this tour-de-force spans three centuries of events, movements, and personalities that have shaped American society and its art. The reproductions are outstanding; 323 out of 365 are in rich, vivid color. Infinitely entertaining and perceptive, this superb book makes readers feel as if they have discovered a truer, hidden America. It seems certain to become one of the most important works in the art-historical canon.

Book Description

Writing with all the brilliance, authority, and pungent wit that have distinguished his art criticism for Time magazine and his greatly acclaimed study of modern art, The Shock of the New, Robert Hughes now addresses his largest subject: the history of art in America.

The intense relationship between the American people and their surroundings has been the source of a rich artistic tradition. American Visions is a consistently revealing demonstration of the many ways in which artists have expressed this pervasive connection. In nine eloquent chapters, which span the whole range of events, movements, and personalities of more than three centuries, Robert Hughes shows us the myriad associations between the unique society that is America and the art it has produced:

"O My America, My New Founde Land"  explores the churches, religious art, and artifacts of the Spanish invaders of the Southwest and the Puritans of New England; the austere esthetic of the Amish, the Quakers, and the Shakers; and the Anglophile culture of Virginia.

"The Republic of Virtue"  sets forth the ideals of neo-classicism as interpreted in the paintings of Benjamin West, John Singleton Copley, and the Peale family, and in the public architecture of Thomas Jefferson, Benjamin Latrobe, and Charles Bulfinch.

"The Wilderness and the West"  discusses the work of landscape painters such as Thomas Cole, Frederick Church, and the Luminists, who viewed the natural world as "the fingerprint of God's creation,"  and of those who recorded America's westward expansion--George Caleb Bingham, Albert Bierstadt, and Frederic Remington--and the accompanying shift in the perception of the Indian, from noble savage to outright demon.

"American Renaissance" describes the opulent era that followed the Civil War, a cultural flowering expressed in the sculpture of Augustus Saint-Gaudens; the paintings of John Singer Sargent, Mary Cassatt, and Childe Hassam; the Newport cottages of the super-rich; and the beaux-arts buildings of Stanford White and his partners.

"The Gritty Cities"  looks at the post-Civil War years from another perspective: cast-iron cityscapes, the architecture of Louis Henri Sullivan, and the new realism of Thomas Eakins, Winslow Homer, the trompe-l'oeil painters, and the Ashcan School.

"Early Modernism" introduces the first American avant garde: the painters Arthur Dove, Marsden Hartley, Joseph Stella, Charles Demuth, Charles Sheeler, and Georgia O'Keeffe, and the premier architect of his time, Frank Lloyd Wright.

"Streamlines and Breadlines"  surveys the boom years, when skyscrapers and Art Deco were all the rage . . . and the bust years that followed, when painters such as Edward Hopper, Stuart Davis, Thomas Hart Benton, Diego Rivera, and Jacob Lawrence showed Americans "the way we live now."

"The Empire of Signs"  examines the American hegemony after World War II, when the Abstract Expressionists (Jackson Pollock, Willem de Kooning, Mark Rothko, et al.) ruled the artistic roost, until they were dethroned by Jasper Johns, Robert Rauschenberg, the Pop artists, and Andy Warhol, while individualists such as David Smith and Joseph Cornell marched to their own music.

"The Age of Anxiety"  considers recent events: the return of figurative art and the appearance of minimal and conceptual art; the speculative mania of the 1980s, which led to scandalous auction practices and inflated reputations; and the trends and issues of art in the 90s.

Lavishly illustrated and packed with biographies, anecdotes, astute and stimulating critical commentary, and sharp social history, American Visions is published in association with a new eight-part PBS television series. Robert Hughes has called it "a love letter to America."  This superb volume, which encompasses and enlarges upon the series, is an incomparably entertaining and insightful contemplation of its splendid subject.

Customer Reviews:

decide for yourself .......2006-03-18

"I don't listen to what art critics say. I don't know anybody who needs a critic to find out what art is." - Jean Michele Basquiat

For anyone who doesn't know, the profession of "art critic" is obsolete. That's why this book gets one star. I picked it up because I was made to believe it was an article of history, or fact if you will; instead what I got was someone trying to tell me what to believe about other people's work. I dictate my own feelings. Hughes' only way of making art is to criticize that of others, yet the very people he criticize, such as Arthur Rimbaud and Jean Basquiat will always have something Hughes will never comprehend, originality.

AMERICAN VISIONS 4 COLONIAL WAY OF THINKING.......2004-09-21

In short, Robert Hughes view on Graffiti Art and artist Jean Michel Basquiat in his book American Visions: The Epic History of Art in America are dismissive. first of all, Graffiti Art evolved outside of an art historical context and it wasn't meant to opperate in it. Hughes says Graffiti art was "short lived." After the 80's art world disposed of graffiti as a trend it still existed in urban environments and is now sadly "still" being appropriated by contemporary western artists today.

Hughes calls Basquiat a "Little Black Rimbaud" and speaks of his work as being "visual monotony of arid overstyling." I think Hughes was speaking about how the work didn't address him or include him and therefore he attacks the artist. By making racist comments such as the one mentioned above one has to consider that Hughes is not only wreckless in his writing but racist in intent!

I think time has also proven Robert Hughes incorrect about Jean Michel Basquiat and Graffiti Art.

New World Symphony.......2004-03-24

I have been a fan of Robert Hughes since I fist saw the television show "Ths Shock of the New" and also his criticism in Time Magazine. In this book, he takes as his subject the epic of the American artisitc experience. In lesser hands this could be a dull topic, but thanks to Hughes's enthusiasm and interesting takes on American life, this subject becomes quite fascinating indeed.

Hughes begins at the beginning and starts off with a discussion of Spanish colonial art of the old west before moving onto the East coast and the founding fathers of American Art (West Copley, Peale and Stuart). When discussing the paintings Hughes ties it in with the politics of the various periods, the literature and even the music, establishing that art does not exist in a vacuum.

I have seem many of the works discussed in this work and found Hughes's insights inspiring in some instances sending off to look up material on them. The strongest sections deal with aside from the early American artists, Cole's The Way of Empire series, the Eakins, Steiglitz, and Masden Hartley.

Although I rate this book with five stars, I did have one or two problems. I would have thought that he might have examined Sargent's technique more thoroughly. I have always noticed that he seems to have a problem drawing hands.

The most profound disagreement that I have with Hughes is over theRegionalist movement of the 1930s. I am afraid I do not share his view of Benton. Rather than put him in the context of socialist realism and nazi art, I would have thought a more natural point of departure would be the discovery (some might say invention) of an early American aesthetic. Benton, Grant Wood and John Curry were more part of this trend than any of the international movement of totalitarian art.

I also disagreed with the section on the abstract expressionists who Hughes likes and I do not, finding them sterile and self-indulgent.

The book concludes with a survey of the art work of the 1980s and 1990s. This is more about commerce and perception and is illustrated by a story of the purchase of Van Gough's Irises. Whether one agress or disagrees with Hughes's judgements, oneis sure to find this survey of American art history stimulating and thought provoking.

A panoramic view of American Art with vivid opinions.......2004-01-02

Dismissing a critic simply because you disagree with him, even violently disagree with him, is to miss the value a critic has. A critic's role is to spark your own thinking and investigation, to encourage us to formulate our own views and develop our arguments for them more explicitly. Letting a critic supply you with your views or to simply reject him because he doesn't confirm your pre-dispositions is a waste of your own reading time as well as the work the critic put into to his work.

Rejecting a critic's views is fine, if you do it with well-formed argument and facts or for explicit aesthetic views and tastes. The whole purpose of affirmation includes the idea of rejection. Just as accepting everything is to accept nothing, making choices on acceptance includes the statement, "No, not this."

Robert Hughes has strong views and has the talent for stating them forcefully. Whether or not you agree with him is almost beside the point. This book is a wonderful tour of American Art from Colonial times through the mid 1990s.

While I don't want to try and state Mr. Hughes' views for him, my reading of this book tells me that when architecture, painting, and sculpture comes from an artist honestly trying to come to grips with his or her views of the world and our living in it, Mr. Hughes considers that a good thing. Whenever that is compromised in favor of social acceptance or whenever an artistic establishment forms to enforce an orthodoxy and muzzle expression he considers that a bad thing.

He also tends to favor actual skill, facility, and even virtuosity in expression (if not necessarily technique) over posing and demanding acceptance. The artist must be able to communicate to others and win an audience and hold them over time to win the author's admiration. Influencing others and having resonance with other artists and other times is also a plus.

The sorry state of art in our time with the dominance of a self-reinforcing elite art establishment in the museums, the shows, and the galleries comes in for a heavy beating later in the book. It isn't a blanket rejection of current art, rather it is a large pin the balloon of recent pretension and I think this is very valuable.

I see this in the book and hope I am saying this correctly in part because I agree with this view. Not every conclusion Mr. Hughes makes is one I find myself endorsing, but as I say, that is beside the point. He has mastered a lot of information, presents us with hundreds of wonderful works to consider, and challenges us to think for ourselves about the issues he raises. I think this is a wonderful service and that this is a wonderful book. I am glad to have it on my shelf to dip into again and again.

What I think is important in American art by R. Hughes.......2001-04-24

In American Visions, Robert Hughes takes on the rather daunting task of summing up the history of American art. While he does not entirely succeed it is a valiant effort. By using nine time periods, Hughes attempts to make the understanding of the art he believes is important easier to digest. The inherent problem lies with the concept of what Hughes deems important. Art is not easily criticized, one man's masterpiece is often someone else's waste of time, and although I admire Hughes' willingness to put himself on the line time after time, I often disagree with his emphasis. Artists like Winslow Homer and Edward Hopper get their due, but many others like Alexander Calder get a fleeting mention. Sculpture and photography are ignored and architecture is dealt with in huge sections and then forgotten until the next period Hughes feels is worth discussing. Hughes also has the annoying habit of referencing a painting and then not have it shown, an example being the Warhol "Electric Chair" pieces that are not presented although they are discussed in some detail. Hughes' vocabulary will have you reaching for a dictionary at some points and wincing at the use of crude descriptions at others ( "Charles Demuth was not a flaming queen" "Mabel Dodge Luhan ...an intolerable b----) Overall this book frustrates as it educates and the combination is irritating to say the least. It just appears that Hughes has just bitten off more than the reader can chew. While it is a starting point for those of us whose art history is sorely lacking it just doesn't satisfy as a reference work; it is more of a critical review of art in America, not the same thing as a history.

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Excellent Investment
Nice Introduction to Mexican Art
Combines scholarship with passionate storytelling

Mexican Art Masterpieces
Marcus Burke
Manufacturer: Universe
ProductGroup: Book
Binding: Hardcover

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ASIN: 0883635984
Release Date: 1998-07-28

Customer Reviews:

Excellent Investment.......2006-01-28

I read this book for months and months and months. It is a rich investigation into the history of Mexican art /its creators/ and the confluence of cultures that brought it about.

Nice Introduction to Mexican Art.......2003-02-07

Whenever such a subjective titile is chosen such as "Mexican Art Masterpieces" there are bound to be ommissions and unlikely selections. For the most part this book is a good,quick study, covering in abbreviated form the art of Mexico in four sections: Prehispanic,Viceregal or Colonial, briefly the Nineteenth Century and more extensively the Twentieth Century. Most of the art featured is familiar to those who have even the most remote understanding and scope of Mexican Art. With just under fifty color plates to cover some 3,500 years of monumental art, as previously stated, this is a good introduction but by no means an exhaustive study. One of the strengths of this book is the one page synopsis given to each piece that gives a history lesson covering the social and political climate,a biography and an interpretation of the art piece pointing out the little details and nuances. The information provided is not earth shattering but helpful nonetheless and is not overly analytical and very easy to follow. The other strength is the magnificence of the chosen pieces, reflecting both ancient and modern themes by Mexican masters. I found it curious that missing from the Prehispanic section were such items as the wood carved Aztec drum or huehuetl from the Toluca Basin, considered by many to be the consumate representation of artistry achieved in woodcarving by the Aztecs or the figure of Chacmool, which is found throughout Mesoamerica, most notably in Chichen Itza and Tenochtitlan. From the Colonial period there is not an oil painting by Cristobal de Villalpando , who along with Juan Correa is considered to be the most represenative from the Baroque period. Surely his "St. John the Evangelist and Mother Maria de Jesus de Agreda" is worthy of being featured. The image of the revered La Virgin de Guadalupe is also missing from this time period. Miguel Gonzalez's exquisite oil, gilding and mother-of -pearl inlaid masterpiece,"Virgin de Guadalupe," which is housed in the Museo Frantz Mayer in Mexcio City should have been included in my humble opinion. From the Nineteenth Century Rodrigo Gutierrrez's "The Senate of Tlaxcala", housed in the Museo Nacional de Arte in Mexcio City, is also missing. With it's luminous light on the orator and Romanesque posturing it is truly a masterpiece. In the Twentieth Century, Francisco Goitia, considered to be to be the most Mexican of Mexican painters is nowhere to be found. His landscapes reflecting the turmoil, pathos and beauty of Mexico are absent from this collection of masterpieces. With many works to choose from, his masterpiece"Tata Jesucristo"(Father Jesus) is one that could easily have been included. These minor discrepencies and personal observations aside, I would recommend this book to anyone interested in the art history of Mexico. This is a good introductory book to the masterpieces in Mexican Art.

Combines scholarship with passionate storytelling.......2001-02-14

In Mexican Art Masterpieces, Marcus Burke showcases forty-eight unique and fascinating pieces of Mexican art that range from ancient ceramic statues and mosaic masks from the Mayans and Aztecs, to tomb facades and interior temple reliefs. Also represented are feather pictures, monstrances, classically inspired paintings by artists of the viceregal period (including Baltasar de Echeve Orio and Juan Rodriguez Juarez); 19th-century masterpieces by Obregon and Velasco; and 20th-century favorites including works by Mexican muralist Diego Rivera, Jose Clemente Orozco, Frieda Kahlo, and others. Burke combines scholarship with passionate storytelling in each of the forty-eight essays that accompany the works and reveal the complicated connections between Mexican politics, society and art. Mexican Art Masterpieces is especially recommended for students and enthusiasts of Mexican history, art and culture.

Arte Latino: Treasures from the Smithsonian American Art Museum (Further Treasures from the Smithsonian Museum)

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Smithsonian teaser
Contemporary Latinos Productions

Arte Latino: Treasures from the Smithsonian American Art Museum (Further Treasures from the Smithsonian Museum)
Jonathan Yorba
Manufacturer: Watson-Guptill Publications
ProductGroup: Book
Binding: Paperback

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ASIN: 0823003213

Customer Reviews:

Smithsonian teaser.......2003-06-18

How do you highlight 200 years of Latino art in the United States and Puerto Rico in a book from a world renowned collection? Well you don't do it in a 108 page book from the Smithsonian American Art Museum. Having visited the said museum it is a pity that this small book is an offering they produced to represent the vast collection. The book uses the term "highlights" but it is just not enough. It is like a variety of crackers offered in a fine restaurant; it'll hold you over but not satisfy your hunger. The collected pictures are beautifully presented accompanied by very short analysis of the piece and usually a paragraph about the artist. If you like looking at a few nice pieces than this book will do.This book is like fast food for the art aficionado. Since the represented art is in various media it results in a disjointed but varied whole. Most of the featured artists in the book are contemporary but there is the occasional misplaced unknown colonial artist or noted 19th century santero Felipe de la Espada that just doesn't fit or do justice to the subject. There is a lack of continuity and thematic cohesion with the book. When the book is thread together it is when the art of New Mexico artists are featured , most notably the works of santeros and wood carvers, George Lopez, Gloria Lopez Cordova, Luis Tapia, Horacio Valdez, Jose Benito Ortega, Ramon lopez, George Lopez, Felix Lopez(yes, it a long family line of Lopez santeros) and Patrocino Barela. Again the problem here is that they are placed between other media like oils, acrylics, fiberglass, woven cotten rug, colored pencil, granite and silver prints for a resulting weird representaion. The book has no chapters and unfortunately it could have used them. This book just scratches the surface and falls short. This book is for someone just beginning on their quest for knowledge about Latino art. Possbly from this point you can depart to finding out more about some of these artists but this book is only a starting point. If you are looking for a Latino art appetizer than this book is for you, otherwise look elsewhere to satisfy your appetite.

Contemporary Latinos Productions.......2001-11-30

This is a great source book of contemporary art productions which includes contemporary Latino artists. The selection of art represented is varied and the text gives readers sufficient background for understanding the works. Very colorful and clear photographs of the works are each full-page sized with a full page of text next to each to help capture the image and short biographies and artistic interpretations of the artists at the turn of each page.

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Faberge in America
Geza Von Habsburg-Lothringen , David Parks Curry , Faberge (Firm) , New York Metropolitan Museum of Art , Fine Arts Museums of San Francisco , and Geza von Habsburg
Manufacturer: Thames & Hudson
ProductGroup: Book
Binding: Hardcover

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ASIN: 0500016992

No Longer Innocent: Book Art In America 1960-1980

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No Longer Innocent: Book Art In America 1960-1980
Betty Bright
Manufacturer: Granary Books
ProductGroup: Book
Binding: Paperback

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ASIN: 1887123717
Release Date: 2005-07-15

Book Description

This important history of the artist's book, a flourishing form which over the years has often been greeted with confusion by critics, collectors, historians, and artists, aims to spell out its role in contemporary art and to claim for it a vital and heretofore unacknowledged status since the blossoming of the artform in the 70s. Renowned scholar and curator Betty Bright takes an inclusive view of the varied field in order to redress its marginalization, identifying three distinct types: the fine press book, the deluxe book, and the bookwork. She covers crucial supporters of the form, like New York's Center for Book Arts, Franklin Furnace, and the Visual Studies Workshop Press in Rochester, New York, as well as key organizations and figures in Chicago, Atlanta, San Francisco, and Los Angeles. Bright examines how artist's books have responded to specific movements, such as Pop, Fluxus, and Conceptualism, and how the book arts' own mini-art world of the 70s was shaped by seminal exhibitions, fledgling nonprofit organizations, and collectors.

A Measure of Perfection: Phrenology and the Fine Arts in America (Cultural Studies of the United States)

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An original view on 19th century American Art
An original view on 19th century American Art

A Measure of Perfection: Phrenology and the Fine Arts in America (Cultural Studies of the United States)
Charles Colbert
Manufacturer: The University of North Carolina Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0807846732
Release Date: 1998-01-21

Book Description

Despite its widespread popularity in antebellum America, phrenology has rarely been taken seriously as a cultural phenomenon. Charles Colbert seeks to redress this neglect by demonstrating the important contributions the theory made to artistic developments in the period. He goes on to reveal the links between the tenets of phrenology and the cultural ideals of Jacksonian democracy.

As Colbert demonstrates, virtually every important figure of the American Renaissance expressed some opinion of phrenology, whether or not they embraced it. Its proponents included many artists eager to support a cause that enhanced the status of their profession by endowing the human form with extraordinary significance.

Colbert reviews the careers of Hiram Powers, William Sidney Mount, Harriet Hosmer, Asher B. Durand, and Thomas Cole, among others, in light of their responses to phrenology. Powers's Greek Slave, for example, can be seen as a model of the physical and moral perfection available to those who adopted the phrenological program, a series of dictates on everything from diet to mental and physical exercise. By creating portraits, genre scenes, ideal figures, and even landscapes that embodied the theory's teachings, Colbert shows, artists endeavored to enlist their audience in a crusade that would transform the nation.

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An original view on 19th century American Art.......1998-11-09

Written by Charles Colbert, who teaches in the Fine Arts Department of Boston College, this work is the most recent scholarly contribution concerning the cultural influences of Phrenology. The author demonstrates the contributions of Phrenology to artistic impression, particularly in 19th century American art. Painters and sculptors such as Hiram Powers, William Sidney Mount, Harriet Hosmer, Asher B. Durand, and Thomas Cole, among others, see their works reviewed and phrenologically analysed. The work gives a good insight in the world of American art, much of which is virtually unknown in the Old World.

An original view on 19th century American Art.......1998-11-09

Cinema Verite in America: Studies in Uncontrolled Documentary

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Cinema Verite in America: Studies in Uncontrolled Documentary
Stephen Mamber
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Paperback

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Cine-Ethnography (Visible Evidence, V. 13)

ASIN: 0262630583

Book Description

Cinema verite might be defined as a filming method employing hand-held cameras and live, synchronous sound. This description is incomplete, however, in that it emphasizes technology at the expense of filmmaking philosophy. Beyond recording means, cinema verite indicates a position the filmmaker takes in regard to the world he films.

In this book, cinema verite finds a place of its own, and is not simply regarded as a mutant offspring of documentary techniques. Lingering between documentary and fiction, cinema verite attempts to strip away the accumulative conventions of traditional cinema in the hope of rediscovering a reality that eludes other forms of filmmaking and reporting. Simple and direct, it tries to eliminate the barriers between subject and audience.

Even though any kind of cinema is a process of selection, there is (or should be) all the difference in the world between the cinema verite aesthetic and the methods of fictional and traditional documentary film.

"This is an important work because it draws together, well, for the first time, both a cogent and well-exemplified definition of cinema verite and a critical history of the flowering of this sub-genre of the documentary film.... Mamber is outstanding in his ability to describe cinema verite conventions as they appear on the screen, rather than just locating them in the abstract... The film-by-film methodological treatment is particularly helpful since it concentrates and makes concrete. The book is exceptionally well illustrated with sixty stills that invariably bring back to mind the films. The documentation is excellent as are the filmographies and the bibliography. A two-page suggested course schedule for classroom utilization, and an index included." -- Film Library Quarterly

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HORRIBLE; Basically one long Critique by Three Authors.

Modern Art, Third Edition Revised
Sam Hunter , John Jacobus , and Daniel Wheeler
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Paperback

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Theories of Modern Art A Source Book by Artists and Critics (California Studies in the History of Art)

ASIN: 0131830570

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HORRIBLE; Basically one long Critique by Three Authors........2006-06-28

I would NOT recommend this Book. Hunter, Jacobus and Wheeler are very critical and often lend their opinions intrusively with lack of reason / explanation. I had this book for Two Art History classes, the Instructor rarely referenced it, because of the Authors. If you are new to art or want to learn more this is NOT the book!
Example at the end of Chapter 13: "Later, the new style would be used more literally, even daringly, in the "development" of the new city, a process that would also bring with it the wasting, if not complete destruction, of the undervalued heritage of the recent past." Note the Authors spend most of the paragraph bashing the Rockefelier Center in New York. They never explain why it is "bland" or how the effort becomes "pallid". You will literally read chapters over and over, finding little tangible support for the authors conclusions. Imagine the Snobbiest / Know it All Person you know then think about how they would write a book.
MINUSES:
The pictures: Are way to dark, Some are discolored and Stretched to fit the page. Not enough pictures of Architecture.
The chapters are not well organized.
The book over concentrates on Language and Voice: Therefore becoming inconclusive gibberish.
It Fails to bring meaning to its own Title; Modern Art. By the end of the book the reader has No Idea what Modern Art is in a whole: where it has been, why it changed, stylistic elements, political context, and etc.
Very few Revisions from the previous edition.

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