Product Description
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world.

Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights. This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features.

Richly illustrated with the work of preeminent masters such as Millet, Géricault, and van Gogh, as well as some of today’s leading portrait artists—and featuring seven detailed step-by-step portrait demonstrations—Portrait Painting Atelier is the first book in many years to so comprehensively cover the concepts and techniques of traditional portraiture. ... Read more

Customer Reviews (19)

not what i expected
like most of these books the cover is not an example of what to expect inside. infact the paintings inside arenothing like the cover at all- why nobody can write a book explaining how the classical style is done is beyond me .there allways seems to be a reluctance for people to share the techniques .the picture on the cover should not be there its missleading

Dense and unhelpful
The step by step approach I liked, but the paintings by the author look clumsy and dead.Also this is not a survey of old master techniques.It is only the author's one single technique.She did not even paint the portrait on the cover which is a lot more beautiful than her own paintings.The writing is very dense and she uses the technical terms interchangeably when they mean different things."I scumbled a glaze of raw umber"- well which one was it, a glaze or a scumble?The troubleshooting steps at the end of the book are vague and condescending and I think also kind of misleading.I thought "Classical Painting Atelier" from the same series was a lot more useful.

A good addition to your art books for the intermediate painter
I was attracted by the cover of the book but was a bit disappointed at most of the paintings inside the book.The colors and some of the paintings are simply not that great. However, the content is what is interesting and worthwhile to spend the money. For a self taught painter, this book clarifies many aspects which are unclear and offers some useful exercises and explanations. The author of the book really explained many things in great length which is seldom found in other art books.

very good book
THIS BOOK HAS MANY PAINTINGS, TIPS,THAT ARE VERY HELPFUL FOR ANY ARTIST THAT IS A BEGINNER AND NEEDS A LITTLE PUSH.
THE IDEAS, AND TECHNIQUES ARE VERY GOOD AND VERY VALUABLE TO PUT INTO PRACTICE. I JUST LIKE A LOT,AND I KNOW I AM GOING TO KEEP THIS BOOK FOR A LONG TIME.

thorough yet dogmatic
this is a carefully written book, lots of information, many examples, color reproduction seems good. my biggest complaint is that the methodology seems dogmatic and anal.hard to be spontaneous when using this technique of painting in the old masters style. in fact, it completely inhibited me andI gave up on the canvas I was working on in utter frustration while trying to follow the program. ... Read more

Product Description
Because nature is so expansive and complex, so varied in its range of light, landscape painters often have to look further and more deeply to find form and structure, value patterns, and an organized arrangement of shapes. In Landscape Painting, Mitchell Albala shares his concepts and practices for translating nature's grandeur, complexity, and color dynamics into convincing representations of space and light.
 
Concise, practical, and inspirational, Landscape Painting focuses on the greatest challenges for the landscape artist, such as:
 
•  Simplification and Massing: Learn to reduce nature's complexity by looking beneath the surface of a subject to discover the form's basic masses and shapes.
•  Color and Light: Explore color theory as it specifically applies to the landscape, and learn the various strategies painters use to capture the illusion of natural light.
•  Selection and Composition: Learn to select wisely from nature's vast panorama. Albala shows you the essential cues to look for and how to find the most promising subject from a world of possibilities.
 
The lessons in Landscape Painting—based on observation rather than imitation and applicable to both plein air and studio practice—are accompanied by painting examples, demonstrations, photographs, and diagrams. Illustrations draw from the work of more than 40 contemporary artists and such masters of landscape painting as John Constable, Sanford Gifford, and Claude Monet.
 
Based on Albala's 25 years of experience and the proven methods taught at his successful plein air workshops, this in-depth guide to all aspects of landscape painting is a must-have for anyone getting started in the genre, as well as more experienced practitioners who want to hone their skills or learn new perspectives. ... Read more

Customer Reviews (28)

What a disappointment
Buy Schmid's and Carlson's books instead.

This brings NOTHING new or profound at all. A very shallow and repetitive book. It is also poorly edited with several blatant errors that could confuse the beginner. You get the feeling this book is written by a student trying to earn money for painting supplies, borrowing teachings (often missing the point) from people with actual skill. Most of the images in the book are paintings from more interesting artists (including the cover image).

Anyone with the slightest experience should consider this book a waste of time and money. The beginner should instead turn to richer sources (eg. by the two authors mentioned above).

A mediocre work.

Wonmderful book
This is a wonderful book.l Written in easy to understand descriptions. Service from
the sender was good, book is in perfect condition. Thanks

oil painting book
This is a very good reference book for oil painters.I have a large collection of painting books so I was familiar with some of the info.
I have been painting several years but I always find something new in each book, however this book is one of the best.It explains values,composition,color theory, simplification and massing,color mixing, underpainting and much more plus there are many color illustrations and painting examples shown.
I would not hesitate to recommend this book to anyone insterested in painting.

Landscape painting
Excellent book.Good for beginners and I like to use it for reference too, There are reproductions of paintings by him and other artists. Just missed anartshow in Coupeville, WA where Mitchell Albala was the judge. His web site is great. Discusses chapters in the book.

Essential Guide for Painter's Library
I, like several other reviewers, feel that Albala's book is the best one published to date since Carlson's classic Guide to Landscape Painting. Albala strikes a position distilling the didactic forcefulness of Carlson -- every painter needs a Carlsonian inner-voice -- and marries it to a humanist liberal arts tradition. His is a thoughtful and analytical discussion. Perhaps overly analytical to a beginning painter, but as one progresses this groundwork should pay off if you are not merely an arm-chair painter! The stunning examples taken from a myriad of plein air painters will have you ringing up your paint-buddy in anticipation of once again trying to capture the light! ... Read more

Product Description

Put a new face on fun!

No matter what your experience level, you can turn everyday faces into sweet, funny or frightening works of art that move, laugh, grow and always make people smile! The first half of this book features fun, friendly transitions, such as birds and butterflies, puppies and princesses, knights and night skies. Part Two crosses over to the dark side with strikingly horrible, downright unnerving personas, including vampires, zombies, gargoyles and other foul, freakish creeps.

· Easy-to-follow instruction from two award-winning artists

· 50 step-by-step projects ranging from simple to more advanced

· Designs include popular kid and adult themes for parties, performances, Halloween and other occasions

· Expert techniques for painting remarkably realistic textures, making human features virtually disappear, creating the look of age and other surprising, fool-the-eye effects

Full of friendly instruction for beginners and fresh inspiration for seasoned painters, this book will help you make art as original as the face that is painted!

“Face painting just makes people smile. And, after all, smiles are what we need most in this world.”

Customer Reviews (11)

Great buy
I have had fun doing a few of the face paints in the book. Well worth the minor cost for such a great book! Easy to follow.

Extreme face painting
Great book.... easy to follow,have already done several of the faces with great results!!!!!!Bring on the next book please!!!!!!!

Love this book!
I used the book recently when my 9-year-old daughter was invited over to a friend's house for a last-minute "costume party"--got a very convincing werewolf in about 10 minutes with just a brown lipstick and a black eyeliner pencil (would have been better if I'd had a couple additional colors, but in the end, it turned out great anyway). I didn't even have to read the captions to get a great result. I know having this book on hand for future use is going to be great as a mom. As I was doing my daughter's makeup, my 11-year-old son asked if there was a skull in the book that we could possibly do for him at Halloween, and sure enough, there is. With 50 easy projects, I'm especially loving this book at this time of year around Halloween, but I can also see lots of other fun uses for it in the future. My friend is borrowing my copy for some face painting she's doing at a craft fair this coming weekend (and she's also considering buying a copy for herself). Love it!

amazing as always
Great photos with great step by steps. Their step by steps are very easy to follow. I can't wait to try the designs (Just got the book).I have really cute neighbor girls that always pick the gruesome designs.
I have all their books and they are truly inspiring.

Amazing book for any level of face painter
I was so excited to see how large the book was.I thought it would only be a few pages or magazine style.It's huge, 126 pages of awesomeness.It has amazing and original designs from basic puppy to a totally out of this world wolf.Something for all levels of face painting.The pictures are clear and the instruction is very well laid out.It even comes with a helpful DVD! It's absolutely worth the money.You'd have to buy several face painting magazines to equal what this book offers. ... Read more

Product Description
The whys and hows of the various aspects of landscape painting: angles and consequent values, aerial and linear perspective, painting of trees, emotional properties of line and mass in composition, light, unity of tone, plus information on canvas, palette, brushes and other materials and techniques. 34 reproductions of paintings by John Carlson. 58 explanatory diagrams. Index.
... Read more

Customer Reviews (56)

Must Have Book
This book is instructional, (but NOT in the "step-by-step" sense, it's not), and also a very good read.This book is not for the "learning to paint" types, but rather for the "learning about ART" types.Carlson is a Classic, a must-have book, if you're as interested in art as I am.

A basic text on landscape painting
By far the most comprehensive book I have read on landscape painting.No wonder it is the most referenced book by instructors at the Lyme Academy of Art.

Everything you've forgotten or didn't learn about painting in art school.
Everything you've forgotten or didn't learn about painting in art school is in this book. The facts and beauty of landscape painting are carefully considered and analyzed. The principles apply to all painting. John F. Carlson is emotionally inspiring as well as factual. You may also broaden your vocabulary reading his words. Sometimes you have to go back at least a few decades to find the answers you are looking for in art. This excellent book will fill in the gaps in your knowledge of landscape painting. If you are serious about painting landscapes, this book is a godsend. It is the 'last best hope on earth' for landscape painters.

A book that explains WHY you paint values a certain way
I am a novice pastel artist and particularly interested in painting landscapes.When I first got this book, I was disappointed and set it aside.All the pictures are in black & white -- not what I expected from a book about painting.But after my pastel teacher recommended it in class, I took a second look & read a few pages.This book is a real gem.I've been frustrated when instructors have told me to change something in my work, but not WHY I am changing it in a certain way. This book helped to answer a lot of my questions.The black & white illustrations are actually ideal, because they convey the information about correct values without the visual confusion of color.And I finally believe that you can use any colors you want if the values are correct.If you want to make your landscapes more believable, this book really helps.Now I have some concepts to give my landscapes depth and dimension.I think I might have avoided a fair amount of frustration if I'd found this book earlier. The language is a bit old fashioned, but it's a quick read and it contains immediately useful information.It may be too basic for some, but for beginning artists, it's wonderful.

Must-have Book For Any Artist
I bought this book based on other reviews... what a great purchase! As a teacher and artist this will be a vital book for me. This book is helpful to put vague, arty ideas (such as composition and handling of edges) into crystal clear language with visual examples. This is not a how-to multi-step book (yawn -- too many of those already!). Other reviews cite the text as a bit 'dated' for language (printed in the 50's) and only black-and-white illustrations, but that is of little concern. Color pictures are not needed to understand the ideas presented. I did not find the text too dated. This book contains ideas for beginners through advanced artists, although I think it will likely confuse the beginner who is just starting to paint. I'd still recommend getting this for the beginner however -- just know that you will only understand certain ideas as you practice painting. ... Read more

Product Description

Customer Reviews (24)

Abstract Painting
The book is great for painters with some experience. There are many abstract painting ideas, and starts to get you going, but for anyone who wants a step, by step demo this book is not for you. There are also some language difference on painting principles, and the elements of design, but they should not be a problem for experienced painters.

It is exactly what the title says: Ideas, Projects, and Techniques. I will be pulling off the shelf during those dry periods when ideas stop flowing. Rolina van Vliet does show finished paintings for each of the 60 odd ideas. Some are her work, but many are done by her students so there are plenty of illistrations to help explain the written text.

Concerning the Books for us Raw Artists
I tend towards ambivalence when reviewing such books, as on the one hand paint-by-numbers sort of structured instruction will not bring the aspiring artist to fruition creatively. At the same time, there is something to be said of the converse view, too. This ambivalence has in part to do with the fact that didactic means vary because artists especially vary so widely in their means of learning. I, for instance, found that simply could NOT study under academic conditions - deadlines, other people in the ROOM, even - the feeling that you are all there to create a product can take away the self-suggestion with whichwe state to ourselves that the problems we busy ourselves with - as unnecessary as they are to the world-within-time (the everyday rat race world) - are actually as pertinent and important as are great corporate mergers, technological breakthroughs, and political intrigues. Others, however thrived in such an environment, bolstered by competition, cooperation, convention, commerce - and, let's face it, copycatting (lol).

That being said, the art of the abstract expressionist (or whatever other nomenclature one feels comfortable with) is a very personal and private art. On the one hand, I can readily agree with the reviewers who admit to an enjoyment of by-the-numbers structured courses of instruction in a book. This attitude is admirable and not at all "wrong" - for those of us who quest alone but long for (perhaps ache for) formal instruction, these kinds of books make up for all that expensive "education" in art colleges. For these aspiring professionals, that sort of self-reliance and resourcefulness, faith and (one hopes) determination, is admirable indeed. For those, on the other hand, who decry this method of learning to paint, they too are correct, and this book would not be satisfying whatsoever. While I am of this group, I can see the perspective of the others.

I am reluctant to call the latter point of view a more advanced understanding, because there will no doubt be future successful painting careers that begin the way of this book. Yet, I myself could never be satisfied with such a book. And YET what I WOULD recommend, even for the people who desire structured instruction as given in this books - "projects" and the like - is finding a book to accompany one's learning that concerns the student PURELY with the medium. Consider Pollack's statement that "paint is paint, surface is surface". This is something to bear in mind about what abstract expressionism is all about - because this book purports to get the aspiring painter to that point. Pollack, Rothko, Morris Louis (my personal fav!), they all began not as Mondrian did - that is, they began at pure abstraction, rather than gradual deconstruction of a visual phenomenon, an object. Kandinsky is the father of true "expressionism", whereas Mondrian was more, um...formulaic, expressing mathematical structure.

The book I would recommend for the purist is simply something like "The Artists Handbook", because it gets down to the nitty-gritty, the information concerning the nature of the medium. There are others which specialize in an aspect of your chosen medium. These are even more desirable, as the best will explain the source and behavior of each pigment and its interaction with various other pigments. Why is this important? Well, you may have an intention, but you choose ultramarine over a less stringy pigment, you use it with a glaze of, say, cadmium anything, and you find that either your mixing or maybe an undesirable texture results. Now in this situation, as hack would wing it, compensating for the technical ignorance by over-painting - but note: the most masterful abstract canvases in any museum are so because the artist makes it looks easy, and the colors amaze the viewer because they didn't have to muddy up their palettes with all sorts of clumsy mixing or application. There are literally TONS of subtleties to paining in any medium. So while an inspirational book may get the juices flowing, it will still be a long way from providing much in the way of that elusive thing we call "expressionism."

I'll venture here to suggest an American-born art form (some say the only) as an example: jazz. The spirit of this musical form has inspired any number of painters in the last century, just as classical did the century before. Pollack, however, was the first to really successfully attempt the same freedom. Listen to Bird's solo, one of his really virtuoso performances, and you may find it evokes a Pollack-like abstract graffiti feel in your soul. In the movie "Pollack" with Ed Harris, note the part where, at the kitchen table, Pollack beats out a Krupa drum part with his utensils. I think that's suggestive of the spirit inherent of American expressionism. My point here, however, isn't at all about WHERE you get your inspiration - for all I know, you get yours from Patsy Cline or Stone Temple Pilots or Stravinsky's Firebird Suite! BUT, to learn about painting abstracts, I think there's a key lesson to be learned from jazz. Great jazz players are the objects of many a musician's envy - WHY? Because the seem so free an ABLE to do whatever the hell they want to any song, coming up with improvisations seemingly out of thin air. Most other genres of music are constructed of and /or derived from a set number of conventional riffs and chord progressions - this is something the jazzman (or woman) knows, and they use this knowledge to add yet more knowledge of harmony to add yet more harmonic interest to an otherwise static I-IV-V structure, for instance. But this freedom comes from knowledge of music theory. Since the advent of Bebop, it is almost imperative that they are theoretically savvy. One cannot imagine, unless they actually play, the amount of time these musicians have spent going over the basics - scales, chords, arpeggios, interval ear training, etc, etc. What we hear when we listen to a wicked Coltrane solo are structures built up of just such simple elements (and let's face it, some really SICK chops!). So jazz improv, that freedom, comes from disciplined knowledge of the medium - sound - to arrive at free-flowing form. Note that tired old riffs, or doing anything over and over again just would not do and the musician that at in and did this would be kicked off the stage quickly - because that's not jazz. Similarly, the abstract expressionist, in seeking forms seemingly from think air, must use disciplined study - sometimes making s**t that looks like, "WTF???" because it looks like "something a kid could do", right?: It's that old cliche reaction of less sophisticated viewers to seeing the great postmeodernists, just as one might perceive a jazz solo (not that dentist chair, elevator, Kenny G crap, either, lol!). But in fact, such exercises are necessary - remember that addage: "paint is paint, suface is surface." That's the ONLY way to truly develop as a painter. You take deep masterful theory of art theory, and you then look within - some people meditate, some listen to music, some...the stimuli, the inspirations are endless. Composition is key, but so too is freedom. I can spot a hack or fake right away these days, so long and arduous has been my quest for understanding these past 10 years since finding myself swayed towards abstraction as my "dialect." You want a book for abstract expressionism? Not one really out there. Study instead the artists you admire instead. Find out what moved them. For instance, many studied the Eastern philosophies, some studied music. If you really search with insight, you may find that the Western insistence upon elevating figurative work above calligraphy might be your biggest roadblock. It may require a paradigm shift. In China and Japan, and in the Arabic world, calligraphy is the higher, more subtly profound work. Painting is the hand and the eye - even CIA handwriting experts know this - that the emotional state and other psychological traits of an individual can be discerned through the calligraphy. Alphabets the world round actually find their origins in pictographs first. Thus writing is the most highly evolved abstract art that there is - and the most ancient. Oddly enough, graffiti still hasn't gained the acceptance in the art world that it seems it should have. Surely Asians look at this phenomenon and wonder about this fact. So then, just as with jazz, more than with any other kind of painting, abstract work is a highly intellectual movement of last century. When one reads these painters' notes, one is left with the impression that none of these artists were ignorant individuals. And the question of whether or not they can paint "real" things is moot - when you've mastered an understanding, at least, if not a personal practice, you will be able to see in an abstraction whether or not an artist is capable of this. But does it matter? Let's say you find a musician can play "Twinkle Twinkle, Little Star" or "Old McDonald Had a Farm." Are you impressed? It's the equivalent of slapstick comedy, where the viewer does NONE of the work, compared to the more subtly wicked humor of, say, Vonnegut or Voltaire - abstract really CAN be deep like jazz or philosophy (imagine, Picasso, Jean Paul Sartre, and Miles Davis all hung out together - the greats don't get work by reading how-tos, but by living thoughtfully and richly within the intellectual world - not necessarily books, but learning and then questioning the S**T out of convention to arrive at you OWN way).

But it begins by giving up hope in books like this one, and instead learning from your world, from the things in life that really MOVE you, whatever they may be. We artists are sociopathic in that we rarely regret "blowing up the outside world" to find that source. Good luck and excuse my verbosity, folks, LOL (my passion is boundless and now it's time to PAINT!). PEACE!

Excellent Introduction to Abstract Art
This book is an excellent introduction to abstract art of all types.The problem of course is her writing which is cryptic like it was going thru a tweeter interface:Move this. Do that. Fill in here.
I didn't care for the disjointed writing style personally; but OTOH the methodology of making abstracts works though I must admit it is a lot of work.

Its true some of the paintings can be monotonous in presentation, but there are so many exercises it would be hard to believe that she would make a painting for each exercise -- instead she reuses paintings and highlights the parts that show that exercise.I think that makes sense actually as no painting is just one exercise -- its the right combination of different exercises, looks and techniques to get that look.

It really isn't much of a technique driven book.For that I would recommend Nancy Reyner's Acrylic Revolution and Rheni Tauchid's New Acrylics for understanding acrylic paint.If you don't do acrylic you could use Nancy's book in your venue for the most part while Rheni's book can easily be forgotten as it is much more specific.

If you want a more intermediate/advanced book with no rules just thoughts or should I really say guidelines but of coursestill in the tweeter style of writing, you would like her next book, which is not as precise, vague and with less steps to make the "look".Again its low on technique so for the intermediate book I would recommend Patty Brady's Rethinking Acrylic book as a companion.

So depending upon your journey into abstract art Rolina has a book for you.But I would still prefer it to be better written.

Excellent book for beginners if...
Excellent book for beginners or people with some art background, whom want to get into the abstract painting field, but required discipline and patience to do one painting after another with variations of techniques but not of designs. I am working already on page 29 and I have to push myself through it because of lack of motivation and inspiration. I got that tired feeling when you do the same thing over and over.
Maybe is just me and I will get over it by the end of the book. I will let you know.

inspiring
A great book. I follow the exercises, leave off and do my own thing, go back and do some more of her exercises.She has transformed the way I work. I moved away from representational painting in oils, but had several to finish off before totally commiting to acrylic abstract and I can see how this book has improved even those paintings, I just see things differently. I will always be thankful I bought this book. ... Read more

Product Description
Learn how to transform people into animals, monsters and clowns, or decorate faces with flowers, exotic scenes and stylish designs. The step-by-step instructions and technique tips in this title should mean even the complete beginner can be pleased with their results. ... Read more

Customer Reviews (15)

Very basic face painting techniques
I had heard that this was a great book for beginners. I didn't realize that beginner meant "has never even picked up a paintbrush in one's life." It's a great book for absolute beginners but if one has even a speckling of art experience, the examples are probably the level of face painting they could eek out on their own without instruction.

Good, but
This book is good and gives lots of step by step instructions but I had a lot of trouble recreating the looks because I am a beginner.

Great starting point
Generally speaking, ALL Usborne books are great. This one is no exception.

It is a great book to give you some great techniques.You learn step by step different kinds of faces and then you can use those ideas to create your own way of doing it.The publishers do not waste space giving you every possible example of a vampire or dog or whatever. You learn what you need quick & easy and then you make your own ideas work.

If you do not know how or have been out of practice (like me) or looking for some new ideas, this is a great book.

Reference material
The book was just like the discription and it did not take long to arrive. Had no problem.

More faces needed
I was hoping for more examples.Was disappointed in the variety and lack of faces. ... Read more

Product Description
A step-by-step handbook on painting animals on rocks, which contains 11 projects including ladybirds, turtles, rabbits, kittens, foxes and owls. ... Read more

Customer Reviews (41)

Integrity of Seller
The book I ordered did not deliver as expected.I e-mailed the seller and received an immediate and personal response to my inquiry.Seller was quick to help me with tracking information and initiated the refund of my money.Though I did not receive the book, I was impressed with the integrity of the seller and would do business with buy-you-book at any time in the future.

The art of painting animals on rocks
I think this book is better then the others in that it does a better job in the step by step process of creating the illusion, of the creature on the rock, that the book is teaching you to paint.

The Art of Painting Animals on rocks
happy to be able to purchase this book i have been looking for it for awhile
excited to learn more about painting from this resource
i like the realism I can get from following the lessons provided

Painting Animals on Rocks
I have enjoyed learning how to paint animals on rocks and this is a very easy instructional book.

As useful as it was when I first read it
I have a nostalgia for this book: I first picked it up in a library in the 90's and got so excited about rock painting that our front entry was greeted by a variety of small pebble animals. I wasn't much of an artist then, and it showed, but I was still very proud of my creations and my parents still keep the little rocks as key-hiding stones in their front yard. (Shh! Don't tell them I let you know where their key is hidden!)

In any case, when I stumbled across this book nearly a decade later, I absolutely had to have my own copy. Thankfully, the book was popular enough (and it should be, it's a great book) that finding used copies is quite easy. I was also delighted to know that there are several sequels to these books with new ideas and great photos.

In any case, you're probably wondering why I'm writing more about me than the book, so... back on topic.

This book (as well as Lin Wellford's other "Painting on Rocks") is the master of its genre, all other books I've seen have been small in detail, depth, and variety in comparison to this one. While it does follow the standard "Step 1...", "Step 2..." style of direction, i.e. learning by direct imitation, Lin Wellford also goes into variations and shows pictoral samples of alternate versions of her works. In fact, you could probably buy just one of her books and have all the knowledge necessary to create an indefinite amount of other animals and objects on rocks as long as you had the inspiration. For those of us who like to imitate some (all) of the time, directly following her step-by-step instructions is great, particularly considering how many different types of animals are included.

In "Painting Animals on Rocks", there are step by step instructions listed for:
- Ladybug
- Snake
- Turtle
- Rabbit
- Cat/Kitten (Calico)
- Cat (Persian)
- Cat (Tabby)
- Raccoon
- Deer Fawn
- Fox
- Owl

There is also a brief photo-gallery at the back of the book which includes double-animal rocks, as well as a general rock painting instruction in the front that is quite comprehensive (even to the point of suggesting the type of outdoor craft acrylics, paintbrushes, and suggested tools (either homemade or purchased). I've found the instructional section to be better in some of Lin Wellford's more recent books, so if you're looking for a single rock painting book and you're not picky on patterns, it might be better to try one of her books that was published after this one.



... Read more

Product Description
For the beginner or experienced painter, this book provided inspiration and insight into the art of watercolour.Learn how the unusual techniques of pouring paint and masking give a glowing quality to the picture.Pouring causes the colour to tint rather than cover the paper while masking allows more freedom in applying colours. ... Read more

Customer Reviews (40)

Clear, informative and beautiful
My painting teacher recommended this book to me as one of the two best books she owns. I have used it to study light and dark spaces.I love the book so far.

A master teacher - but this is not his best book.
Got both Landscape Painting Inside & Out and Fill Your Oil Paintings with Light & Color from the library. Landscape Painting Inside & Out is awesome. This one, not so much. Missing plates, confusing structure, it looks hurried. I'd unequivocally recommend Landscape Painting Inside & Out (I'm buying a copy for myself), but not this one.

Brilliant color, brilliant book.
This book is excellent, particularly for the beginner oil painter, such as I am. The chapters are well laid out and easy to read. MacPherson makes painting seem so easy! Of course, it isn't, but he sure breaks it down easily enough so that you feel reasonably competent. The book includes simple exercises and focuses on the main ingredients of a good painting - lights and darks, simple subjects and shapes, etc.

raises your level of painting
this is a great book to help beginners get started and those who have gotten 'stuck' get through some basic exercises to make it easy to start painting again. I like the clear instructions, humble tone, and great pictures as examples. A good substitute if you aren't going to lay down 1000USD for a workshop.

Great book!
An important source of information on the process of oil painting and the planning for a successful process. The author is well known in America and the world, an accomplished figure in the fine art of very successful oil painting. ... Read more

Product Description
In Word Painting, Rebecca McClanahan guides readers through an intriguing examination of description in its many forms. Through her thoughtful instruction and engaging exercises, readers will learn to tap into their senses, develop their powers of observation, and uncover the rich evocative words that accurately portray the images in their mindis eye. She includes dozens of descriptive passages written by master poets and authors to help readers develop their own descriptive writing style, and she also teaches how to weave writing together using description as a unifying thread. ... Read more

Customer Reviews (41)

Inspirational and thought-provoking
I could not disagree more with the reviewer below who describes this book as a "waste of time". I suggest that person just didn't get it. Every page of this book left me with a new idea of how to look at my characters, situations, themes. This book, together with one or two others of all the books on writing I have read, stands out as a truly useful guide to making your prose come alive and your story memorable.

Word Painting: a must for every serious writer
The best book I've studied on the mechanics of creating excellent similies, metaphors and other ingredients that make writing enjoyable for the reader. I checked the book out of the library two or three times, but then had to buy one.

Worth the money
The book is well worth the money. I've been writing for over ten years now and though the book didn't really teach me anything I already knew, it was a fun refreshing read, that made me a remember a lot of techniques I had forgotten about. This book is perfect for any aspiring writer, or even a long time writer that want's to refresh their skills or need help breathing life into their imagery.

Mostly a waste of time
I admit there are some useful advice and exercises, but after about page 100, it loses focus and starts to ramble on about topics that are MUCH better dealt by other books, such as characters, point of view, setting, and plot. It actually made me angry and frustrated to be reading about something that, to me, had little to do with "description" per se.

In my opinion, the useful advice contained in this book can be summarized as follows:

1) Use concrete, multi-sensory details instead of explanatory labels ("amazing" "great")
2) Describe an object in motion; if not try using active verbs (e.g. "her chin jutted out")
3) Consider describing something by negation and try to find something surprising about the object you are describing

That's pretty much it. Yes, this book is chock-full of commonsensical information, which CAN be useful for review, but I doubt it's worth the price of the book.

The first four chapters are the most relevant and useful in my humble opinion. The 5th chapter on metaphors is interesting depending on your interests, but downright impractical(try finding your "constellation of images"). The subjects of Chapters 6 and 7 are much better treated by Orson Scot Card in his CHARACTERS AND VIEWPOINT so you can skip that.

Chapter 8 is mostly useless. Thankfully, Chapter 9 finally presents a few useful techniques (quickening the pace by adding sensory details, sprinkling details for effect, and delaying revealing details to increase tension).The last Chapter is a sustained ramble on mood, tone, psychic distance, and "The Big Ear," which we are encouraged to cultivate, whatever it is.

Another minor yet personally important grievance involves her absurd claim that "physical description of a character is such an important element of most fiction" (p.119) and I must say that, au contraire, physical description is the LEAST important element. Who the hell cares what the main guy's nose looks like (ahem, Maltese Falcon) or the color of his or her eyes or hair? Those are the LEAST memorable, too.

I'm more of a believer in showing characters through action (Orson Scott Card seems to think so too). Another example: Heinrich von Kleist, a famous German writer/playwright and contemporary of Goethe, does away with physical description altogether and reveals them exclusively through their action. And his stories are simply riveting.


Don't waste your time or money on this.

Good help for writers
this is a good product, the writing is easy to follow and hte exercises are helpful. ... Read more

Product Description

Customer Reviews (11)

Fantastic!
I've purchased so many artbooks since I've been painting and taking classes at COCC for five years. This is by far the best one I've purchased.
I keep it in my car so, when I'm waiting for class to start or just sitting and listening to music, I'll open any page and read it for inspiration!!! I learn something every time!!!!

Paintin Techniques
This product is very valuable to someone teaching them self oil painting. The book gives you awsome techniques to try so you can explore how you want to use you're painting tool brushes pallet knives what ever you ude to paint with.

good book
lots of information, not so in depth but if you're a painter like me, it's a small book that doesn't clutter your work area, a handy reference piece.

Great instructional book!
its worth its money. Good and easy to understand instructions. Learned a lot of new things.

Average
For beginners, but you could find the same on the net without buying the book! ... Read more

Product Description
Did you ever wish you could go to a really good art school and learn how to paint in oil?Or perhaps you have painted for years and are still struggling with color mixing and wish you could find a good teacher to help.In the Oil Painting Course You’ve Always Wanted, author Kathleen Staiger gives you a complete painting course you can take at home.Crystal clear, step-by-step lessons build from learning about light and shadow, brush control, and foolproof color mixing, to still life painting, landscapes, and portraits—every topic is covered in clear text, diagrams, illustrations, and demonstrations, with guided projects in every lesson. Tips and extra help sections appear throughout the book to help with common problems.Staiger has taught oil painting for more than thirty-five years; many of her students are now exhibiting and selling their paintings.Every painter from beginning hobby painters to BFA graduates has questions.Here atlast are the answers! ... Read more

Customer Reviews (26)

The Oil Painting Course You've Always Wanted
I purchased this book several months ago and think it is about the best oil painting book I have in my collection.I think the author is a gifted painter and teacher.Her use of color theory is wonderful.I have done a lot of color study and her use of warm and cool primary colors is great.The fact that she has introduced this concept to beginners probably goes over their heads, but once a beginner has become a more advanced painter,the realization of what she has introducedwould have to hit home.I have spent years and lots of money on paints.Sometimes I got lucky and actually painted something that didn't look like mud.I was so excited the day I spent working on the exercises set forth in the book.For me, it is a great book.It will be in my collection of books until I bite the dust.I can't wait for Christmas to come so I can give one or more as a gifts.I am still working my way through the chapters, taking my time and repeating exercises if need be.I only wish I lived close enough to take a regular class from this author.Hope she puts out a DVD.I'll be the first in line to buy it.
PJ

A break thru text-book

This is a wonderful instruction-book - the first book which gave a real boost to my ability to paint. I am painting on my spare time and have no opportunity to attend regular lessons.
But moving slowly through this book I feel like finishing one class after another.
Thank you Kathleen Staiger.
Felix Aranovich

Informative step by step
This book was very interesting and I still use it as a reference.Not everything in it appealed to me but the basics were there.I had no prior painting experience and just followed the instructions.In combination with other things, I now paint okay enough for friends to suggest I sell my paintings.They certainly are not that good yet but the book has been helpful.

Affordable and fun to do
I have always been interested in painting but didnt really know where to start.As I learned more about painting I also went back and re-read this book and did the suggested practices from front to back and everything became much clearer. I hope you get as much knowledge and enjoy this book as much as I have! I am still crafting my painting skills and knew very little about oil painting before I bought this. . I purchased this and other books along with taking some workshops and this is the only book I now use for reference in a somewhat advanced stage that you can pick up on as a beginner if you really try and are a bit intuitive.

Perfect for the left brained aspiring artist
As a major left-brained individual who has often felt lost bridging the understanding gap in art classes, this book is perfect. It presents the elements of painting theory and technique in a structured, clear manner. I've purchased and borrowed many art books in my quest to paint, and this is the best I've encountered. If you can't quite grasp value, brush techniques, or seeing creatively, this book will definitely help! ... Read more

Product Description
Collected from notes taken by students at famous Cape Cod School; hundreds of direct, personal aperçus, ideas, suggestions.
... Read more

Customer Reviews (23)

Hawthorn on Painting
This is not your typical art book. No pretty pictures, no diagrams.
It is a text, if you will, given by a professor, on how to paint a
successful piece of artwork. If you are willing to read Hawthorn's
book,(91 pages...c'mon, you can do it!) and put it into practice,
you will definitely become a better artist.

small gem!
Painting is something that it can't be learned from books. And if an artist write an "instructional" book about the subject, spontaneously Iam losing my respect for him. But this small book its not about instructions, its the conclusions and thoughts of a great painter and artist, Charles Hawthorne about painting and art generally.. Very good book if you are serious about painting.

THE definitive book on color
"Hawthorne" is to painting what Strunk and White's "The Elements of Style" is to writing. Authoritative guidance--vigorous and concise. Best read as a companion to "Hensche on Painting" (his assistant, who continued his teaching) Hensche on Painting.

--Note to reviewers unhappy with the lack of illustrations in the book: Search "Charles Hawthorne" or "Henry Hensche" (in addition to illustrative images, you will find quite a few artists who have studied directly, currently practice, and continue to teach this painting approach).

In Between My Brushes and Paints
Painters: you will love this book. It's like the Cliff notes of our medium.The title says it all because this book is not about that ephemeral thing called "art", it's more like a pocket tutor on the 2-D medium of painting, minus the usual explanation of what types of paints and brushes to buy. Hawthorne had a gift of simply putting into words what is so difficult to teach. The book is made up of notes kept by his actual students directly quoting things he said to them over his prolific career as a teacher. He is talking directly to you like he is in front of your easel, guiding you on your journey to proficiency. I've underlined every page. I read over the highlights and every time, it gets me focused and recharged ready to face the blank canvas. Painters are known to cherish this book and I count myself as one of them. I keep my copy of Hawthorne stashed away right next to my easel, in between my brushes and paints.

THE VERY BEST !
Every painter needs to read this book AND keep it close to them.By reading it over and over, one gets a more thorough understanding of the act of painting.

It's a fabulous book. ... Read more

Product Description
Now available in paperback! After a century in which the lexicon of artists' materials expanded from the classic oil, canvas, stone and plaster to include photography, film, performance, found objects and concepts, the spotlight has finally swung back. A new generation of artists--as well as some who never abandoned figurative painting in the first place--is relishing the solitary, slow, subtle set of processes involved in not just painting, but painting people. They are choosing paint's unique ability to distill a lifetime of events rather than photography's glimpse of a frozen moment. Painting People, edited by the prominent London art historian and critic Charlotte Mullins, unites and contrasts the work of a key group of artists from around the world and investigates their richly varied accomplishments in lucid text with detailed commentaries accompanied by more than 150 reproductions. The list of contributing artists is stellar, ranging from photo-based painters like Luc Tuymans, Peter Doig and Marlene Dumas to Pop artists like Sigmar Polke and Alex Katz, photorealists like Chuck Close and Gerhard Richter, Neoexpressionists like Cecily Brown and comics-inspired painters like Yoshitomo Nara, Inka Essenhigh and Takashi Murakami. There are erotic grotesques from John Currin and Lisa Yuskavage, meditations on the muse by Elizabeth Peyton and Lucian Freud, "Repro-realistic" work from Neo Rauch and of course self-portraits by Philip Akkerman and Marcel Dzama, among others. ... Read more

Customer Reviews (20)

Stirring the Pot, but a bit Slight on Ingredients
Charlotte Mullins is a highly respected British art critic and historian and her contribution to the milieu of figurative painting today is a major one. This book, PAINTING PEOPLE: FIGURE PAINTING TODAY, manages to give enough information about various approach to the figure, including the fusion of vision of artists with societal atmosphere at present to make it an immediately indispensable volume for students and art lovers and collectors.She writes very well and manages to stay comfortably away from the Artspeak that so often alienates the casual viewer.For that she is to be heartily congratulated: this book is readable even without images!

The best part of Mullins' writing is the segments she places beside the many images that generously flood the pages of this finely designed and produced volume. Readers who know the artists well may take exception to some of her 'diagnostic thoughts' about the meaning of some of the paintings, but at least she is making the attempt to pull the viewer into the paintings rather thansimply posting images.Unfortunately the sizes of the paintings in this book are not listed, a factor that many seem unimportant to some, but when discussing the potency of standing in the presence of, say, the works of Cecily Brown, Jenny Saville, of Lucien Freud, size matters: the impact of the figures that are larger than life makes a difference on how they are perceived.

Anyone involved even tangentially with the artists who paint the figure may take exception to many of the artists included in this selection and be even more amazed at the paucity of the many giant figurative artists from the USA: listing the artists not included here would be an entire other book.And on the other hand, while it is informative to be exposed to the myriad types of artists Mullins does include, the quality of many of them beg indulgence with the company they keep! But here is an opportunity to study the thoughts of a well regarded critic about the current status of figurative painting, and for those of us who have been champions of figurative art for decades, this book is gratifyingly comprehensive.At least the Figure is being discussed in depth, even if too many of the artists who have devoted their lives and careers to the figure on canvas are ignored.Grady Harp, May 10

Painting People
Nice book with a good look at the contemporary portrait painting.It does tend towards the more abstract look at portraiture under the influence of Francis Bacon, for example.I thought there would be more realists representated such as Michel Glass.The print quality of the book is very good and there are ample descriptions and reviews of the pictures and their artists.Nice addition to an art book collection.

Nicer Edition
I ordered this for a friend overseas. She said that this is a nicer edition than the one she had seen there. She's very happy with it.

painting people: Figure Painting Today
A must read for artists, collectors and art lovers! The diversity of styles is astounding!

One of those good and rare books on contemporary painting
It is so weird how someone that probably has a truly limited knowledge on contemporary painting can review a book with such a pompous complacency. If you judge the book by its cover - I am not talking about whether it is a good thing or not- you'll find that Currin's painting is quite good at representing the rest of the works inside the book when they are considered thematically. If you pursue categorizing contemporary art by considering merely its formal qualities then you'll have a hard time understanding what it's all about (probably that's why people can't find any correspondence between Currin's work and the rest). Probably that's also why this book (also as almost every other book on contemporary art) is divided into chapters on the basis of works' thematic tones. Besides all of these, a book's cover is largely designed in regard to its commercial appeal; is Currin's work "figure painting today?" yes; "is it quite sensational for being a cover?"; yes, because it is Currin.

Also a book does not have to cover the entire range of artistic production taking place in any defined period (whether it is contemporary, classic or whatever it is). So judging a book that targets such an extensive subject with reference to the absence of Steven Assael, Jeremy Lipking, Robert Liberace(whom I personally think that quite are out of the league of the artists that are presented in this edition) or anyone of your liking seems a little bit erroneous.(For instance, if it was a book on Neo-Dada I might understand someone making such a fuss if there is no Rauschenberg in it, but in this case it seems to be plain nonsense.)

Anyway;
This book does not have comprehensive writings on the artists that are included but it is quite successful in assembling a wide array of contemporary painters that gets more recognition each day by juxtaposing them to already widely admired ones. There is not so many books on contemporary painting that serves as a collection of this sort which deals with artists that otherwise might be overlooked; furthermore there are not so many books that focuses on contemporary painting at all (except the ones that concentrates solely on one artist, such as Doig, Dumas, Saville.) So I dearly appreciate any initiative in publishing on this subject even if it truly (which in this case it is not as such) sucks. Strongly recommended. ... Read more

Customer Reviews (19)

Right to the point...
There are many books that talk about composition, but Margaret Kessler goes one step further.She explains how lines and compositional movement, as well as the SPEED of the movement affect your viewer.She puts you in control as an artist by teaching you how to guide the viewer to see what YOU want the viewer to see, and at what speed YOU want him to see it.This is just one chapter of many that are informative, easy to comprehend, and well written. I love the way she doesn't just use terms, she uses painted lines to emphasize her point of view.Her chapter on things to avoid had me running around my house looking at my paintings hoping that I hadn't made any of the fatal errors. When I buy clothing, I remember what I saw on the television show, "What NOT to wear".From now on whenever I paint I will think of her chapter on WHAT TO AVOID.Excellent book. Beautiful color plates of her paintings. High quality paper and print.

great book
This is one of the best books on techniques of oil painting and landscapes.Has many good ideas and examples. I cant's recommend it enough for landscape painter.

Best landscape instruction book I have ever had
This is the best landscape instruction book I have ever had. I am now doing a painting using her step by step process. I have already learned so much even before I started painting. Someone who has never painted or had instruction from a teacher or workshop may not find it as helpful. If you have ever painted a landscape but are not satisfied with your painting, buy this book! I am using her palette and had a very hard time finding her colors (esp. the lemon yellow hansa-still haven't found it but did find light yellow hansa)

Lots of valuable information for beginners/pros alike
Good solid information and examples. Value scales, color harmony, and composition are discussed in a way that makes sense and is demonstrated visually. Very happy with this book and the ideas it helps to bring to fruition.

Detailed Art Book
The best book I have bought. Goes into visualizing,planning,etc. Covers the guidelines for compositions as well as values and mood. Highly recommend. ... Read more

Customer Reviews (17)

Useful, but flawed
Payne's observations, although awkwardly stated in many cases, are well-worth reading and practicing.His finished works are stunning, in spite of their small reproduced size.Perhaps the most valuable contents are Payne's numerous black & whitesketches analyzing the works of others and explaining various principles of composition; they are exceptionally enlightening studies.Unfortunately, the overall "digestability" of Payne's important lessons is seriously marred by gross editorial flaws.There are literally dozens of heinous, inexcusable typographical errors, that in some cases force the reader to work hard to understand the author's actual message.Important material is presented out-of-order:Significant concepts are referred to in the text and in captions that are not actually described until many pages later, again creating extra work and confusion for the reader.There seems to be no apparent rationale for the position and order of the illustrative plates.They seem to be arranged to demand the maximum amount of page-flipping for the reader, continuously interrupting the flow of information.It's too bad DeRu Fine Arts didn't have enough respect for Payne's work to publish a book with the quality that his work merits.Never send an artist to do an editor's work . . .

classic treasure
I am pleased to have my own copy of this classic.I am a hobby painter interested in painting outdoors, and choosing what to include is a challenge.There are not many instructive books that seek to develop the reader's judgment, and I hope this is one of them.Many painting books are like copy books, how to copy the author's paintings, which can be instructive but not what I am seeking this summer.I am also pleased that Mr. Payne is disciplined with verbiage; too many modern writers go on too long.I believe this book will be part of my permanent reference collection--the books I never loan or give away or consider selling.

a must have for the landscape painter
A must have for the serious landscape painter.The thumnail sketches and notes on composition are worth buying the book alone.This book will be very beneficial to professional and serious amateurs alike.A bit on the expensive side, but this is probably the best book on landscape painting ever, and is well bound in the hardback and will last for generations.Payne is an aknowledged master, and the high quality color reproductions at the back are inspiring. All the topics are covered in depth- color, composition, tone, drawing,and the technical aspects on essential equipment.He also discusses how to approach the subject, having the right motives, and the value of simplicity and more.If you only want to buy two books on landscape painting get this and Jonn F. Carlsons book, but get this first.

A Lifetime Hero
Edgar Payne, one of the "California Impressionists" was 'the one to emulate and learn from' according to my high school art teacher. Several of his paintings were in her home and studio. Now my daughter is a member of the "Plein Aire Painters of America" and developing her technique, I was delighted to find this 'tutorial' for her.Page after page of composition examples and challenges.
I do wish it had more color pages--judging from the price I expected it to be a 'coffee table book' rather than a 'how-to handbook'.

Arcane but relevant and useful
"Composiiton of Outdoor Painting" by Edgar Payne was first published in 1941 and uses illustrations that go back further than that.But Payne was one of the great landscape masters of the early 20th Century and has plenty of useful advice to give contemporary painters.Taste and harmony were two basic tenets that Payne swore by, and these elements are stressed over and over again in his book.His language here is on the academic, even literary side, but his principles and suggestions are clear enough once you wade a bit through the formalized verbiage.


"Composition..." is well illustrated with drawings and paintings by the author and other painters of the time.Definitely a valuable addition to any art library, and certainly useful for anyone interested in oil painting as a hobby or profession. ... Read more

Product Description
An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.

The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.

Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.

Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.

Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review


"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The EconomistAmazon.com Review
In 1992 a young art student uncovered a clue in an obscure Italian archive that led to the discovery of Caravaggio's original The Taking of the Christ, a painting that had been presumed lost for over 200 years. How this clue--a single entry in an old listing of family possessions--led to a residence in Ireland and the subsequent restoration of this Italian Baroque masterpiece is the subject of this brisk and enthralling detective story. The Lost Painting reads more like a historical novel than art history, as Harr smoothly weaves several narratives together to bring the story alive. Though he does not provide an in-depth examination of the painting itself--the book is not aimed specifically at art experts--Harr does include many details for lay readers about restoration, the various methods used to track artwork through history, how originals are distinguished from copies, and an inside view of the art world, past and present. He also discusses various forensic approaches, including X ray, infrared reflectography, chemical analysis of the paints and canvas, and other modern techniques. But most of the book is focused on more primitive methods, including dogged research through dusty archives and meticulous attention to detail.

This entertaining book boasts an engaging cast of characters, all of whom are inflicted with the "Caravaggio disease," including some of the foremost Caravaggio scholars in the world, persistent students, obsessive restorers, and most of all, the artist himself. Mercurial, supremely gifted, and prone to violence, Caravaggio lived like an outlaw and a pauper most of his troubled life. Yet even when he attained wealth and fame--and briefly, respectability--he was still hounded by the law (for murder) and numerous vengeful enemies. Harr does an admirable job of bringing the man alive in these pages while keeping his long-lost painting at the center of the action.--Shawn Carkonen ... Read more

Customer Reviews (93)

History as mystery...
Fascinating story about the diligent archival research and coincidences involved in the search for a lost masterpiece. Very well written, very well supported with historical data. Maybe a little heavy on the personal drama side, but that's what takes the "dry" out of the historical account and gives life to the research. Caravaggio is portrayed as a bit of a mystery himself, a "bad boy" artist who painted earthy images of religious characters. Almost reads like a mystery novel. The lost painting itself, the centerpiece of the story, is a moving, dramatic scene of the betrayal of Christ...will they find it?????

A Brilliant Painter re-emerges
You'd never know this was a work of non-fiction.It reads like a great murder mystery--without the murder.A student of Art History in Rome is on a hunt for a missing Carravagio, a picture of Christ's betrayal in the Garden.It's beautifully written and will bring you up to date on Art History, tho you might not notice you're being educated.

2 and a half stars
I was glad to have read "The Lost Painting" because it was so informative about the world of the art academy, restoration, and to some degree, the world of Caravaggio, but (and perhaps others have mentioned this) WHERE are the illustrations? No St. John, no Emmaus, and the only reproduction of the "lost" painting is on the cover--highly irritating in a book of these pretensions.Many others have mentioned the fact that young Italian art student Francesca Cappelletti and her associate had nothing directly to do with the actual discovery of the painting's location.Perhaps Harr meant to connect us with the history of the painting this way, but it creates a very curious, and negative effect.

Worth reading (especially if you have access to reproductions of the art), with reservations.

Great story, but not much of a book
As a photographer and great admirer of Michelangelo Merisi di Caravaggio's mastery of light, I was eager to plow through Jonathan Harr's book "The Lost Painting."And to be sure, there is something here.Just maybe not enough for a book length.The core story is interesting, but the book itself isn't.

Walking down cob-web stone steps by candle light is all well and good, but it feels as if Harr used over descriptive language and really stretched the word count to accommodate publication. The book needed a deeper parallel story accompanying the search for The Taking of Christ, one we don't find in this book.I think after reading the dust jacket, you'll probably get most of the story than reading the whole book.

This is a great five page article for the New Yorker, but this is by no means worth the word count in the book.

The lost chance
There's nothing terribly or conspicuously *wrong* with this book, but there are several things that prevent it from being the wonderful read it could have been, being, as it is, based on a great story that should have ensured an absolute page-turner.

The first thing (which other reviewers have pointed out before me) is that Mr. Harr seems undecided on whether he wanted to write a novel or a work of nonfiction. He has written the latter, but trying (unsuccessfully in my opinion) to infuse it with some of the typical trappings of fiction thrillers, i.e. ending chapters with adrenaline-charged sentences or 'revelations', including a love affair, etc. This is unfortunate, because nonfiction, when presented in the right way (and not 'dressed up' as something else), can be as compelling as fiction. The example that comes most readily to mind is Deborah Cadbury's harrowing account of how the quest for Louis XVII, the boy king of France who went missing after the Revolution, was solved with the help of a DNA investigation. Unlike Mr. Harr, Ms. Cadbury didn't try to make the people in her book sound like characters from the Da Vinci Code.

This approach forces Mr. Harr to try to make the people in his book (who are all real) 'interesting' in the way that a writer of fiction tries to make his characters interesting. I couldn't have cared less about the love life of Francesca Cappelletti, the sexy Italian scholar on a motorbike --- whose affair with Luciano, by the way, must be the most boring 'romance' to have graced the pages of a book in decades. Neither did I care about the personal frustrations of art restorer Benedetti, or English scholar Mahon's aversion to being hugged by women. Most of these people actually come across as being rather petty (e.g. the two young female scholars' unkind behavior towards the aged Marchioness at whose residence they make their discoveries), but even with these human failings exposed they just don't seem to be very interesting.

The interspersion of a couple of chapters dedicated to Caravaggio's life felt a bit artificial, as if Mr. Harr was trying to fill up space. More substantial information about his life, or a better distribution of it throughout the book, would have been better.

The other problem I had with this book was its lack of passion. It doesn't sound as if Mr. Harr is in love with any of his subjects --- Caravaggio, Italian paintings, the world of art scholarship. This is a rather dull read, as if the work had been commissioned --- a view borne out by Mr. Harr's admission that he had originally written an article, but needed a book project in order to avail himself of an invitation to the American Academy in Rome. I didn't feel the passion that seeps through the pages of, say, Antonia Fraser's biographies, or Thomas V. Cohen's wonderful account of 'love and death in Renaissance Italy' (which covers roughly the same period in which Caravaggio lived).

Many reviewers have expressed disappointment in 'The Lost Painting' as compared with Mr. Harr's previous work, 'A Civil Action'. I can't comment on that, not having read it. All I can say is that 'The Lost Painting' is an informative read about a very interesting historical find, but don't expect an unputdownable book --- you'll be disappointed.

... Read more

Product Description

Customer Reviews (35)

Let Down
I bought this book hoping it would help me improve my painting skills. I was disappointed to find it's more of a coffee table book for those interested in the idea of the classical atelier. It tells you plenty about what happens in an atelier, but nothing about how to do it yourself.

75% advertisement 25% information
Classical Painting Atelier is almost useful. Unfortunately, far too little space is devoted to real information on practical methods and techniques. Aristides primary focus is in self promotion repeating again and again that the information she mentions in passing here is discussed more fully in some other of her books.
Some pretty reproductions of other artists' works who may or may not have ever set foot in her classes. Interestingly her own paintings, though pleasant enough are among the weakest examples shown.
Unimpressive didactics, uninspiring, with thankfully brief allusions to studio life, limited value to a student of painting...you're better off watching someone on You Tube.

Only an overview
I am a fan of realist painting so I had high hopes for this book. There is so much information that is just Art 101 and no demonstration of the method of starting, working through and finishing a painting. It really is a huge pamphlet for painting atelier programs with not much information to improve your painting. It describes atelier programs without imparting much practical knowledge. Daniel Greene has some DVDs on painting that are really good and there are other realist artists making DVDs now as well. I'm losing faith in these books.

Good for those starting out
The quality of the prints are solid and her explanations are quite good.If you have already have classique atelier training or had some classes similar, then this will serve to consolidate those experiences.

Pretentious book with very little actual info
The issue with this book is that it is filled with classical works and references to it, but very little practical info.

Anyone who has studied a minimal amount of painting could have written this and the info you do find in it is scattered within pretentious bla bla bla about old masters and contemporary artists. About their style, their work, their life, the school they went to, you know the drill, but 0 practical info you can use.

Calling this a "guide" is ridiculous. It read like an encyclopedia of arts, nothing to do with studio practice. ... Read more

Product Description

Customer Reviews (62)

A lot of talk, not much action
From reading the reviews, I must say my expectations for this book were high. I was sorely disappointed after reading it, though. First of all, from the title, I was led to believe this book would focus on the development of landscapes, but surprising little of the book was devoted to that subject. Secondly, I felt the author was fairly contradictory, especially when it came to the discussions about tonality and color, and about shapes and atmosphere.It seemed to me that a hundred pages of unnecessary verbiage could have been reduced to a few paragraphs that simple stated that impressionists used the natural tonality of pure pigments and the juxtaposition of color strokes to accentuate the vibrancy of light without having to resort to tinting. I feel this author likes to here herself talk, but when it comes down to it, I didn't feel confident that she understood how she creates her paintings, or at least does a pour job of relating that in a coherent and consistent manner. It's a shame too, because her paintings are fine works of art that she unfortunately explains very little about. Of course, all of painting is about light, duh!It seems what sets the Impressionists apart is their focus on not being bound by literalism so that the painting becomes an experience of light beyond everyday reality, but to say they reject form is, in my opinion, incorrect.
The color plates were beautiful, but some of the exercise illustrations were not printed accurately or were just plain incorrect, which made the few lessons harder to understand.
The author is obviously a talented painter.If she chooses to write another book on this subject,I would suggest she dig deeply into technique and let us worry about the best way to use that knowledge, or do you really want to keep it all to yourself and make us pay for a riddle?

disappointed
Was looking for inspiration and new insights into painting with oils.This book did not provide me with either.

Excpetional Book
I have read quite a few books on drawing and painting.Few other painting books that have actually excited me enough to do the exercises! This one is exceptional:well-written, beautifully illustrated (especially with the author's paintings), clear exercises presented in a well thought-out and detailed manner. If you like color, like I do, this is the book for you. I learned a great deal about the impressionist use of color, how to create atmosphere in a painting, light and shadow, and other important elements related to painting plein air.

buy the book then take Griffel's workshop
First I bought the book and after reading it went online to see where I could take a workshop from the author.
I got very lucky that one was scheduled about an hour away so I could commute (well I had to wait a year for it). Others in the class flew and drove many miles to spend a week with Lois Griffel learning the basics so that we could all become better painters. I won't go into exact details (take the course/buy the book) but it was a fascinating step-by-step process.
One of the great advantages is that she painted along side us, first starting the painting, giving us the beginning, then we spent the morning working in fantastically beautiful locations. It is a great privilege to watch a nationally known painter paint a landscape from start to finish, what a learning curve.
My workshop was in Sarasota FL sponsored by [...]. We painted at the Ringling Estate gardens and Crosley Powell mansion. Trees, vintage buildings, Sarasota Bay, perfect weather, what more could we ask for.(Saw a famous actress stroll through too).

Monet is my favorite artist (Griffels also) and she teaches how to paint in that style, in a way that is learnable.
My classmates were some of the nicest people ever, many highly talented and well-trained. I am not but felt just as welcome.

If you can't afford a workshop BUY THE BOOK. Plus she has a new one coming out soon (summer 2010).

Inspiring. I couldn't put it down.
Lois Griffel introduces and explains the color theories of Charles Hawthorn which have been passed down since 1899 through his Cape Cod School of Art in Provincetown, Massachusetts. The color theories and approach to painting presented in the book are exciting and Lois demonstrates the concepts through a series of simple exercises. Throughout the book Lois presents beautiful color images of impressionist landscape paintings and pastels to illustrate the techniques through multiple examples. I bought this book because it sounded interesting even though I was looking for a book on Henry Moore. It was one of the best impulse purchase I have ever made and I highly recommend it to any student interested with the Impressionist techniques of light and color and wanting to advance their knowledge and improve their style. ... Read more

Product Description
Nobody ever said that oil painting was easy. But it gets much easier and a lot more fun when you follow a step-by-step approach that starts you off on the right foot, helps you build your skills one at a time, and gives you plenty of exercises to develop your craft. That’s what you’ll find in Oil Painting For Dummies.

Completely free of arty jargon, this full-color guide has all the hands-on instruction you need to master the basics. You’ll see how to plan a painting, build an image in layers, mix colors, and create stunning compositions. You’ll also find everything you need to know about oil paints, solvents, and pigments; brushes, palettes, and painting surfaces; and how to keep costs down at the art supply store. Discover how to:

• Choose the right supplies
• Set up your studio and care for your equipment
• Handle your materials safely
• Develop your design and composition skills
• Make practice sketches and studies
• Use broken stroke, dry brush, glazing, scraffito and other brush strokes
• Try out different compositions
• Mix any color you want
• Simplify tricky still-life subjects
• Paint landscapes and common objects out doors
• Paint portraits and the human form

Complete with handy color chart, basic materials list, and a very useful viewing square, Oil Painting For Dummies is the fun and easy way to discover your inner artist! ... Read more

Customer Reviews (17)

Oil Painting for Dummies
Didn't care for.Typical for Dummies Book.Lost interest and never finished reading it.

Oil Painting For Dummies
This is the first time I've ever read a book related to Art, I have taken online cources, I have being in art school before. Everyone goes at it very roughly with their own ways of teaching. This book is great, If you want to learn the proper ways in simple steps at a time!!! Nothing is left over, She'll walk you through all the way to the end. Very good book.

A Perfect Start
This book should be everyone's first instructional text regarding oil painting! I can't think of another "how to" book on the subject that is even close to offering as much, and in such an easy to understand manner. Granted, once you have "mastered" this issue, you will need to go deeper somewhere else. The only downside is the title and humiliating cover that everyone on the street recognizes (you don't want to walk in the front door of your local Museum of Modern Art with one of these beauties under your arm!) - if you are a beginner, amateur, or it has been a long time since you picked up a brush....buy it, you'll love it, it is probably exactly what you have been looking for.

Oil Painting for Dummies
Have never ever had a chance to use oil paints...It was very informative, however, at times I was getting confused when reading (terminology)!Have yet to buy the paints but do have some sort of clue what to buy and what to do when I get them.It's just like drawing I would guess!The more you practice the better you'll get!!

Great oil Painting technique book
I have purchased many teaching books on oil painting, but certainly like the way this one is written.It teaches step by step and doesn't leave out the information that is (suppose) to be understood.It was a great purchase.

I purchased this through Amazon and found it to be a great source. ... Read more

Product Description

Radiant Oils

Glazing Techniques for Paintings that Glow

Bring new life to your paintings using transparent glazing. Step by step and layer by layer, this book will show you how to use this classic approach to infuse your work with radiant color, exquisite texture and a breathtaking sense of light.

· 5 simple studies focus on using glazes to evoke a wide variety of realistic still life textures—fruits, flowers, silver, glass and more

· 5 full-length demonstrations show the creation of stunning still-life paintings from start to finish

· Features expert instruction on everything from prepping painting surfaces and selecting colors, to artfully composing light and shadow

· Plus an entire chapter devoted to painting strong complementary backgrounds for realistic, fluid compositions

Radiant Oils is perfect for oil artists who want to explore the beauty of glazing, watercolor artists who want to try their hand at oils and any painter wishing to achieve stunningly realistic effects using classic, straightforward techniques inspired by the Old Masters.

www.artistsnetwork.com

Ideas. Instruction. Inspiration.

Customer Reviews (10)

Radiant Oils by Arleta Pech
The book was shipped in excellent condition and was well worth the money, felt very lucky to have it! The books is wonderfully illustrated and gives in depth information on how to paint using the glazing techniques for the advanced painter..Radiant Oils: Glazing Techniques for Paintings that Glow

WOW!
Arleta doesn't leave anything out! It's going to take a while to get through it, there's so much packed in this book. I don't paint Realism but find her techniques VERY helpful in my own style. Something she says early in the book that truly hit home and caused me to reevaluate my focus on my art, it reads; "The key to success as an artist is time management. It's not so important how many hours you spend painting, it is that all parts of your day support the painting process." Very well put, thank you Arleta for sharing your talent, wisdom and beauty with us. This book is a gem!

Offers step-by-step instruction packed with color photos
RADIANT OILS: GLAZING TECHNIQUES FOR PAINTINGS THAT GLOW tells painters how to create eye-popping still lifes by using transparent color in oil painting. Her focus on layering over mixing colors offers insights into increasing luminosity and texture and offers step-by-step instruction packed with color photos of every step.

Great book on oil glazing
Excellent book on oil glazing technique.Perfect for an artist looking to transition from watercolor to oils.Very inspiring.Very easy to understand her technique and apply on your own.

Great oil glazing book
A great oil painting instruction book!If you like realism & flowers, you'll love Arleta Pech's new book.Pictures & step-by-step instruction are easy to read & understand.Can't wait to get started on my own painting with her guidence & glazing techniques!Her advice on photography & drawing from photos were also very helpful ... Read more