A Complex Fate: Gustav Stickley and the Craftsman Movement

Book Description

The full-length biography of the outspoken leader of the Arts and Crafts Movement

During an intense period of technological innovation early in this century, a movement dedicated to simple living began to take shape. An unknown cabinetmaker, Gustav Stickley, became the most vocal spokesperson in America for this quirky revolution in aesthetics known as the Arts and Crafts Movement. This book traces Stickley's wide-ranging artistic career that sought to integrate social theory, political commitment, and aesthetic design. Stickley believed utility, simplicity, and beauty—exemplified in high quality craftsmanship—were the keys to an ideal life, and thousands of Americans bought both the product and the notion. Stickley's is a story of a movement that exerted tremendous influence on furniture, pottery, metalwork, jewelry, bookbinding, leatherwork, and architecture. But his story is also one of classic collision, when the ideals of a simple life clash with those of a complex fate.

Includes rare photographs of Stickley's works
Features Stickley's own renderings for his early designs

BARRY SANDERS (HOMETOWN?) is Professor of English and the History of Ideas at Pitzer College in Claremont, CA. He is the author of A is for Ox and co-author of ABC: The Alphabetization of the Popular Mind and The Sacred Paw: The Bear in Nature, Myth, and Literature.

Customer Reviews:

Much needed for research, etc........2003-06-12

If you collect items or information on Stickley, buy this book. It has extensive end notes and a fine bibliography, which makes it an outstanding piece of reference material. I'm an information junkie, and in my opinion, A COMPLEX FATE is worth owning if only for the doors it will open to additional information -- an outstanding resource.

A Complex Fate.......1999-12-04

This is a bad book. Not because it's written badly - it's not. It's really a good read. But you cannot tell fact from fiction. Barry Sanders was an early Stickley collector and I think this book was written in the 1970s but found no publisher. Now with the craze on all things Stickley it surfaces. His research is dated and in many cases supplanted by much newer information. The footnotes indicate he has read Mary Ann Smith's groundbreaking book Gustav Stickley: The Craftsman and yet he states as fact many things that are the opposite of what Smith writes, and footnotes, in her book. Sanders' research is poor and he does not separate fact from his own speculation in the text. Readers should refer to Smith (though dated) and to Marilyn Fish's continuing series of books for the latest accurate information. Please see my review in the Winter 1999 issue of Style 1900 magazine for more details on Sanders and Fish books.

Behind the Craftsman: Stickley the man.......1999-06-14

I have spent the last year reading much of what is available about the life of Gustav Stickley and the Arts and Crafts Movement in America. Unfortunately, there are precious few volumes that attack the subject with any hard investigation. Mr. Sanders' book is easily a step in the right direction. I was very pleased to discover a host of information that was hitherto completely ignored or missed by other authors. It is not a book about his furniture, it is a book about the man. There are too many books available that stress the former to ignore the latter. Further, Sanders does not treat his subject with the typical sentimentality of other biographers. In fact, in sometimes Sanders goes too far in pointing out Stickley's contradictions (at one one point making the tenuous comparison between Stickley and men such as Ivan Boesky and Michael Milken). Stickley is never painted in a completely pleasing light. This is a far cry from the Stickley rhetoric so often repeated by those in his new following which is always very positive. At times there are gaping holes in Sanders' research, but I would like to point out that the author's honesty at not claiming to be able to completely pin down his subject is somewhat refreashing. After all it can be very disconcerting realizing an author is leaving out all mention of certain facts and connections to save face rather than owning up to some small defeats. Sometimes what an author doesn't say speaks volumes. It must be remembered that Stickley was not a Statesman or President, he was a furniture manufacturer, publisher and businessman. Therefore, there is not a enormous treasure trove of information just waiting to dissected and interpreted by latter-day scholars. Sanders does the right thing by taking Stickley's own words (printed in his catalogs and his Craftsman magazine) to help desribe his philosophy and interests. His other research is rather exhaustive and his references wide-ranging. The book is also well footnoted. Most importantly, it is well written. It covers many years and a lot of dates and factoids but it remains very readable to the end. It should not be considered the last word on Stickley but it does fill in where others have left off. Bankrupt by 1916, Stickley's own empire crumbled and he went on to live in relative obscurity. Today, everything he created is seen as among the very best in early Modernism and his design influence can be seen in a myriad of disciplines. His furniture comands astronomical prices at auction and homes reflecting his Cratsman ideal ( "Craftsman" has even become a catchall word to desribe almost any small bunglow built during the time) are sought after in nearly every major American city. He has converted a huge new following of devotees nearly a century after his first furniture was produced. Furniture manufactures rake in huge profits by copying his older designs (just as they did in the first part of the century) and Mission furniture is again very much in vogue. All this from a poor, second generation German immigrant from Wisconsin. A "Complex Fate"? Without a doubt.

Poor craftsmanship.......1999-01-21

Gustav Stickley, secular saint of simplicity and the prophet of an eerily durable decorative arts movement, remains just as mysterious to the reader who finishes this book as he was before. It is absolutely devoid of the kind of deep research and broad context the subject requires. To give only a few examples: The author has no idea what Stickley and Frank Lloyd Wright thought of each other, or whether they ever met. He doesn't know why Stickley went bankrupt (the theories he offers are the same speculations that would occur to anybody). He doesn't mention World War I and its world-shattering impact; he doesn't even notice Stickley's downfall beginning around ... 1914. He doesn't tell what Stickley's ethic replaced -- what WERE those Edwardian homes like? How did people live? How did they build and finance homes? If I'm not mistaken, the word "Victorian" doesn't even appear in the book. He doesn't know why Stickley abandoned Craftsman Farms, so he glibly chalks it up to a short attention span. He doesn't explore the social/ethnic implications of Stickley's wanting to hook up poor children with the manual arts. He doesn't address the factual basis of any of Stickley's odd theories: is sleeping in the open air REALLY more healthful? Do rugs harbor harmful germs? And on the other hand -- is it possible Stickley really was brilliant in emphasizing a soothing palette and natural materials? The book tells us that Craftsman designs were widely built .. but where? Which cities, which neighborhoods? The photos are random shots of furniture that never correspond to the text on their pages. There are few actual reproductions of art from "The Craftsman" and none of text. There are no graphics explaining furniture styles, no floor plans showing homes. And last, there is at least one fact in the book that fairly screams irony, but goes unaddressed: Stickley, he of the humane furniture and cozy firesides, appears to have designed one of the country's first ELECTRIC CHAIRS at a New York prison. How this could have gone thud in a book that purports to show "a complex fate" is a mystery deeper than Gus's predilection for rock-hard sofas.

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The Smartest Man in Comics
It's a keeper!

The Fate of the Artist
Eddie Campbell
Manufacturer: First Second
ProductGroup: Book
Binding: Paperback

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ASIN: 1596431334
Release Date: 2006-05-02

Book Description

In his latest graphic novel, Eddie Campbell conducts an investigation into his own sudden disappearance.In wildly comical reenactments of incidents from his curious life, his part is played by an actor. With audacious literary sleight of hand, heputs words into the mouths of those who knew him. Clues aresought in artistic blow-outs from the history of all the arts. And all the major players, even down to Monty the dog,get their own daily strip and Sunday page in yellowed newspaper sections from an imaginary long ago.In this creative mining of the rich resources of the comic strip language, Campbell gives us a complex meditation on the lonely demands of art amid the realities of everyday life.

Customer Reviews:

The Smartest Man in Comics.......2007-05-19

A pleasure to read. This book is a very clever and very funny piece of autobiography and formal (as in "form over function" not "fancy") experimentation.

I was dubious about Campbell going color, especially since he seems to favor a washed-out "dirty paintbox" palette. The excerpts I saw on the web were underwhelming, but it looks great on the page.

It's a keeper!.......2006-05-24

Eddie Campbell has been producing graphic novels for 25 years--for adults. At first glance, you see a wide variety of art styles used to tell a story.

In The Fate of the Artist, the author conducts an investigation into his own sudden disappearance. He puts words in the mouth of friends and even his dog, using photos, comics, illustrations and yellowed newspaper comics.

Quirky. Very quirky, but very interesting format and diverse styles that appealed to the closet artist in me.

I was laughing out loud on page 1, giggled through most of the book because of the fun uses of unique ways to fill a page with everything needed to tell a darn good story--including typeface oddities, cartoon characters, etc.

For example: The artist disappeared and left a drawing--not a note. The investigating detective said, "Not much of a drawing if he makes his living as an artist," to which the reply, "What are you? A detective or a critic?"

Another place one character said: I found myself stepping backward down the ladder of opportunity.

This is a book I'll carry with me for when I am waiting, and especially when I need a good laugh and something to think about other than "why am I waiting here?"

Armchair Interviews says: The Fate of the Artist feels like a keeper, like something one would collect for its humor, message, beauty and uniqueness--so don't ask to borrow it. Adult fun without adult responsibilities.

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Shamefully underrated
120 of the artist's fantasy images
Great artist, great book, great price!

The Art of Richard Powers (Paper Tiger)
Jane Frank , and Vincent Di Fate
Manufacturer: Paper Tiger
ProductGroup: Book
Binding: Hardcover

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ASIN: 1855858908

Book Description

“More than any individual author, Richard Powers showed the public that science fiction could be written by intelligent adults, for intelligent adults. His superior aesthetics...still overshadow most rivals....I am delighted his talent is again on splendid display!”—Michael Moorcock. “I am happy to see this collection of outstanding work.”—Sir Arthur C. Clarke. “Enlightening....Valuable.... Capable of evoking that fabled sense of wonder.”—SFRA Review.

Customer Reviews:

Shamefully underrated.......2003-05-22

The best cover artist of all time. No exaggeration. Some of the later work becomes, unfortunately, exceedingly literal--it's as if someone forced Powers to put Boris-Vallejo-like human figures into his abstract scenes in order to satisfy some PR/marketing goal. They don't make 'em like this anymore.

120 of the artist's fantasy images.......2001-11-11

This highly recommended introduction covering the life of the artist Richard Power opens to a full-page color-embellished survey of 120 of the artist's fantasy images and contributions to the world of paperback illustrative art. An outstanding survey of images is created in an excellent keepsake edition for fans of science fiction and fantasy art.

Great artist, great book, great price!.......2001-06-21

Finally, a book dedicated solely to the works of the late Richard Powers... a dream come true. I was tired of always seeing him presented as one of many entries in books of sci-fi artists, shoved between others who were obviously not as talented as he. This is a true deal.... page after page of his beautiful/haunting/otherworldly art (yes, all 3 adjectives, and more, exist in each painting!). The reproductions are of a very high quality and clarity, some taking up 2 pages, allowing you to see the textures within the images. The text gives some very good insight on Powers' inspirations and personality, with some very funny stories. My only objections are - 1. There are a number of works produced in a fairly small format (4" x 4" or less) , and I would've gladly paid more if the publisher had enlarged them and expanded the page count. 2. No photos of Powers at work, just two self-portraits. 3. The text tends to ramble a bit, especially the first chapter, and I would have loved to see more art in place of it.

The Fate of the Artist, Collector's Edition

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The Evolution of the Artist

The Fate of the Artist, Collector's Edition
Eddie Campbell
Manufacturer: First Second
ProductGroup: Book
Binding: Hardcover

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ASIN: 1596431717
Release Date: 2006-05-02

Book Description

In this pseudo-autobiography, the subject of the memoir has vanished without a trace. Through six separate threads, each on typographically and stylistically distinct, a private investigator tried to discover the artist's fate through false trails, family and daily life reenactments, and even an imaginary Sunday comic strip. As the narrative threads intersect and colllide in surprising ways, the reader is carried along on a fantastic journey through the life of the artist.A master comics artist, here Eddie Campbell offers a complex, caustic, and surprising meditation on balancing the lonely life of the artist with the demands of everyday life.

Customer Reviews:

The Evolution of the Artist.......2007-02-23

Campbell's previous Alec endeavors- I won't dare to broach any term classifying medium, involve Eddie Campbell first and foremost, and his supporting cast second. It's the nature of autobiography to focus chiefly on the individual writing it, and the supporting cast only in relation to the main character. Fate of the Artist, though, doesn't involve Eddie Campbell's presence at all. The character focus of the book, salvageable as it is, showcases his family life, and the quirky domestic tension that living with an artist produces.

Surprisingly, amidst all the experimental storytelling Campbell uses, Fate of the Artist is a funny book before it approaches any of the "collective human wisdom" literature enriches that Campbell cherishes in a comics journal interview. The titular protagonist arranges his CD's neurotically in chronological order, after replacing the standard CD labels with his own uniform slips of paper scrawling geometric location and composer only. And even then, he compulsively checks to ensure the order is maintained when rushing around his house looking for his passport. Needless to say, the effect of the artist's idiosyncrasies weighs heavily on the family.

This is best seen in the fumetti section showcasing Eddie Campbell's actual daughter, Hayley (those artists, always coming up with crazy spellings of normal names) Campbell, as seen in the legal indicia. The tone towards the artist in the interview, however, is not mere toleration of his neurosis, but love despite. Even though Hayley's eyes constantly shift, and her posture alternates between apathetic and interested, she bemusedly tells the story of how her crayon drawings as a kid were used to evoke God, as well as Campbell's workspace being the unused end of the dining room table. She reminds me of one of the iconic characters mentioned in the beginning, the spunky Lolita, in her escaped freedom from an oppressive domestic situation, at least as superficially as Campbell himself reminds me of Svengali, and I'm assuming as much as Mrs. Malaprop would remind someone of Alec's wife.

Of course, what good would the autobiography of an artist be without samples of his art? Campbell provides this in newspaper strips illuminating various aspects of his fictional autobiographical life: his family situation in "Honeybee," his daughter's implied rebellion in "Angry Cook," and his sense of humor in "Theatricals." They jut in the plotline often as a reminder of the artist's work, but aren't very good by themselves. The humor isn't humorous, and the emotions much better explored in the graphic novel, a representative of the artist's life. But the strip's evocation of a time and place at the expense of honest emotional exploration seems to be the point in a main character who despises his art and his life.

The interlude, then, makes a lot of sense. A ghost cartoonist covers Alec's missing days and weeks with strips, and the result is art that isn't terribly different from what's gone on before. The only striking difference is the presence of a new strip, "Monty the Dog," that suffers the same non-humor of the other strips. More subtly, though, the "Theatricals" strip concerns a teenage problem, whereas before Alec highlights the ridiculousness of his life around him. The "Honeybee" strip shows the lead characters outside, interacting and commenting on other people whereas Alec concerned the strip mostly with the annoyances of domestic life. "Angry Cook" even has a new (to the reader) roommate compounding her problems instead of her appliances causing problems, although there's still the trouble of spaghetti. There's no obtrusive point the interlude struggles to convey, but the subtle subversion of the strip is a remarkable feat for Campbell.

The next odd piece of the work's multi-media puzzle is the text narrating the plot. Campbell begins each page using an item, be it bottle, nut, or artificially heightened high heel shoe. Here, he's explicitly using his everyday items to make his art instead of the tacit utilization he subjects us to in any other part.

The prose is, for the most part, first person from the point of view of the detectives searching for the artist lost in other people's works, and works to maintain the playful atmosphere in which Campbell relishes. However, the prose is never given large enough room to develop, and acts mostly as a transporter of the project to its more exotic locales, the loveliest of which is Campbell's comics, drafted with a beautiful disregard for detail and solid lines, but capturing the curves of people and locations perfectly. This is also, besides the cause for many deliciously well researched historical digressions, the location of many hilarious family stories, although many of the latter are caused by the former.

Campbell has a preoccupation with other artists. An undercurrent running throughout the work, the historical digressions begin to reveal where Campbell disappeared to. The lucky devil, he's been inside art, ensconced! Unfortunately, he's been trolling in his own work; surely a poor place for one to find anything of value, and his prison is his retelling of his own life, not even someone else's life story. The escape happened the morning after he awakes "with the disquieting feeling that all ahs gone wrong." He begins to despise his art and self, almost interchangeable in this case, and so he fashions this graphic novel.

All of this culminates in the author's genuine appearance in the work, and he still isn't himself, acting out O. Henry's short story Confession of a Humorist. The story portrays a humorist that begins mining his life for his art and both begin to suffer, so he decides to stop being a humorist. The vintage has all been squeezed out, anyways. Campbell playing the lead part could lead to a reading of the book as a rueful excommunication from art, as but in the historical digressions, people act out parts they aren't entirely suited for as well, from some guy off the street being H. H. Fowler to Siegrist playing Eddie Campbell. People in the story play as many parts as Campbell changes styles, making any character in the book a possible victim of being lost in another character's work, and Campbell discovers the key to art by experiencing O. Henry's short story by showing his intimate relation to the titular humorist. Campbell literally places himself in art to find meaning in it instead of placing himself in art to create meaning, and the incensed soliloquy performed by Siegrist before this story's retelling reveals Campbell's metamorphosis that occurred during the project: he's picked up and thrown by undiluted artistic expression, a children's crayon drawing, or God, whichever euphemism you prefer, and hurled towards the vision of life as paper-clipped together watercolors, and Campbell wants his readers to accomplish the same feat of interpreting meaning from a chaotic jumble.

Look at the cover again, propping Campbell up with his differing styles, then look at the back cover. This Alec isn't real at all, but only a wooden construct, reducing everything to an exposed magic trick, the wizard is shown behind the face, and this is the real accomplishment of the work: to reveal the differences between his fictional character and himself, and what has happened to him because of autobiographical expression, but not through any author-character exposition but in even more art.

The fate of the artist (and how could such a title not inspire such exhorting generalizations) is to discover how wrong-headed something they've been doing is. This makes Eddie Campbell's next project, an adaptation of a screenplay The Black Diamond Detective, a fitting evolution for the artist, where an entire project is tried on for size instead of mere mediums.

The Science Fiction Art of Vincent Di Fate

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John's read
Fine illos by one of the Old Masters
Di Fate is a modern master

The Science Fiction Art of Vincent Di Fate
Vincent Di Fate
Manufacturer: Paper Tiger
ProductGroup: Book
Binding: Hardcover

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ASIN: 1855859491

Book Description

From images in black and white to inventive gadgets, the golden age of SF film, and pictures from the flying saucer era, these paintings capture the range of Hugo Award-winner Vincent Di Fate’s achievements. More than 100 color artworks complement a vigorous, vivacious text by the artist himself. Space chases, futuristic supermen, machines born of dreams or nightmares, and more: each illustration is a voyage of the imagination.

Customer Reviews:

John's read.......2007-08-12

The artwork was done too small. No variety in the book including the artwork. Larger artwork was didvided by the bindings over multiple pages, that gave the artwork a divided look. Far too many sketches and not enough finished products.

Fine illos by one of the Old Masters.......2006-02-09

___________________________________________
Vincent di Fate's baroque "star castle" spaceships, forex http://www.vincentdifate.com/image23.html are instantly recognizable to any regular SF reader -- he's known as a 'gadget man', and rather laments his typecasting -- especially since he doesn't get to paint as many pretty girls as he would like.

Di Fate started illustrating for Analog some 30 years ago, and it was a real trip down Memory Lane to see the old magazine illos....

Lots more samples at di Fate's nice website: vincentdifate[dot]com

Recommended for SF art fans.

Happy reading--
Peter D. Tillman

Di Fate is a modern master.......2004-07-27

Not only is Vincent Di Fate an excellent illustrator, he's also a great historian of science fiction illustration, from the time of Verne through today. This book shows off Di Fate's stunning art to perfection. He gives honest and relevant commentary about the individual works, revealing his thought processes at the time. Another treat is some superlative black and white illustrations that he's done for sci fi magazines over the years. This is a stellar book.

The Fate of a Gesture: Jackson Pollock & Postwar American Art

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Very insightful book
Please...
Follows post-world war two american art after Jackson Polloc

The Fate of a Gesture: Jackson Pollock & Postwar American Art
Carter Ratcliff
Manufacturer: Farrar, Straus and Giroux
ProductGroup: Book
Binding: Hardcover

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ASIN: 0374153817

Amazon.com

Jackson Pollock's paintings capture the essence of movement and challenge typical notions of representation. The Fate of a Gesture argues that Pollock's work overshadowed and directed the course of postwar American Painting. Not to be confused with a survey of this era in art history, Ratcliff deals specifically with the boundless and infinite quality of the influential gesture as a symbol of America itself. Avoiding a common aggrandizement of the artist, Ratcliff's thought-provoking text allows readers to draw conclusions of their own.

Customer Reviews:

Very insightful book.......2007-06-11

If you have any interest in Abstract Expressionism and New York school of painting, pick up this highly readable and well written book. The book traces the origins of American modern art to the expressive gestures of Jackson Pollack in his drip paintings. In some ways this gesture is replicated in the book, as chapters seem to jump/ merge from one subject or painter to another without reason, yet, in fact, is building up a glorious picture of the New York artists world at a particular point of time. Highly recommended.

Please..........2007-04-16

Give me a break. This mish-mash of secondhand information is little more than easily readable. With little regard to chronology, Ratcliff separates the various artistic trends of postwar America using representative artists. All of the stories in this book have been told before, and better, by the artists and critics themselves. This kind of 'art journalism' (not unlike Calvin Tomkins' work) is informative, to be sure, but in quite a superficial and unsatisfying way. I suggest reading Irving Sandler's 'American art of the 1960s' for something as informative and enjoyable but with some opinions and insight.

Follows post-world war two american art after Jackson Polloc.......2001-03-14

Jackson Pollock is seen as the greatest American artist ever, because of his poured paintings of the late 40's and early 50's. Dying in a drunken car crash in 1956, he left behind a legacy of American artists who weren't driven by European art tastes. The Abstract Expressionist movement, large canvases, and Pop Art are all traced back to Pollock.

Book Description

Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. A wealth of documents chronicle his life, but because very little of his work has survived, he remains an enigma and his art continues to be as elusive as it is compelling. In this collection, leading
scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and
literary sources and his painting techniques.

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Fate
Korsig , and Bodo Korsig
Manufacturer: Hard Pr Inc
ProductGroup: Book
Binding: Hardcover

General | Arts & Photography | Subjects | Books
ASIN: 1889097330

Fate Magazine, January 1969 Psychic Artist's Changeling Paintings (Volume 22, No. 1)

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Fate Magazine, January 1969 Psychic Artist's Changeling Paintings (Volume 22, No. 1)

Manufacturer: Clark Publishing Co.
ProductGroup: Book
Binding: Paperback
ASIN: 0276569016

GREAT LOVE STORIES OF THE WORLD: Launcelot and Guenever; The Boots at the Holly-tree Inn; Mrs Johnson; A Dill Pickle; The Fate of the Sons of Usna; Miggles; Carmen; First Love; The Eternal Husband; An Artist's Story; Of a Dancing Girl; The Faithful Wife

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Forget Harlequin .... read this!

GREAT LOVE STORIES OF THE WORLD: Launcelot and Guenever; The Boots at the Holly-tree Inn; Mrs Johnson; A Dill Pickle; The Fate of the Sons of Usna; Miggles; Carmen; First Love; The Eternal Husband; An Artist's Story; Of a Dancing Girl; The Faithful Wife
Robert (preface) (Sir Thomas Malory; Charles Dickens; Alice Meynell; Katherine Mansfield; P. W. Joyce; Bret Harte; Prosper Merimee; Ivan Turgenev; Fyodor Dostoyevsky; Anton Chekhov; Lafcadio Hearn; Xenophon) Lynd
Manufacturer: Chancellor Press
ProductGroup: Book
Binding: Hardcover

Customer Reviews:

Forget Harlequin .... read this!.......2006-09-26

I remember when I was given this book as a surprise in college because I was the one deemed a hopeless romantic. Anyways, I was 17 and it was my first year away from home in Toronto spending the summer working three jobs for tuition. I must say that this was a great read in between shifts because it helped my mind drift away from worries of money and school at the time. And after all these years ... this collection is still the best one...despite all the paperbacks churned out by Harlequin.

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