Appreciation Books

Great Book. If you like or want to understand the subject.
Kat Von D. is an Excellent Artist. I feel it a tragedy that more of her Art is not in a more lasting medium. She is truley an interesting person.
And the TV shows that she has been involved with have had a great influence
on PoP Culture. Those interested in the art of the 2000's should get this
Book. Darrin Manuell

I have to say this is one fascinating book. The mini autobiography on Kat von D herself is nicely done and gives us a great background on her life and how she ended up with her tattoo obsession. The pictures alone can be looked at for hours.

I really liked this book!! Not only it is a great book for those who like tattooing themselves, but for those who appreciate a great artist!! Kat is amazing!! The book is really good!! It really inspires me to continuing drawing!!! I'd like to say too, that the book came really quickly!! I live in Brazil so I tooth that it will take more than a month to get my book!! Surprisingly it took less than one month!! I recommend!!! =)

"Celebrities" often have ghost writers create books to cash-in on their fame. The books often lack substance or purpose -- neither is the case with this entertaining, well-constructed book. Clearly she did not delegate the task to anyone else, and this book screams Kat Von D on each and every page.

I imagine she fought more than a few battles to have an end product of such uniqueness and quality. The book looks great and surprisingly feels great with its embossed padded cover. The artwork, like her tattoos, is stunning. The book is a light history of her art and touches on recognized tattoo artists in the past and the heroes of today. She explains tattoo equipment and briefly shows old and new machines. There are detailed pages of her tattoos and the art on friends and celebrities. She explores popular tattoo styles and designs and touches on their classic appeal.

This is not my world. I have no tattoos and if not for LA Ink would never have heard of her, but make no mistake, this is a fascinating woman and a terrific book. If you've never heard of her but are curious about the art and history of tattoos this book is perfect.

High Voltage is an accurate reflection of the person we see on her show -- a feat in and of itself. Kat Von D defines the word genuine and that honesty about who she is comes through every page of this book. High Voltage is worth the time to read and is money well-spent.

This is an very good book. Was way more than I expected it to be. Acutally got it as a gift for hubby and he loves it. We both thought the outside of the book was cool and how its made to look old was nice to.

This book was easy to read and mostly easy to identify to. I can't express enough how it changed my outlook on life immediately during the 2 days it took me to read it. I reccomend this book to anyone out there struggling with relationship issues, negative feelings, or simply just wanting to find peace in their life and thought process. Thank you Byron Katie!!!
P.S. I had previously read Byron Katie's book on Accepting What Is, and although I found that book to help a little, following it up with this book really brought it all together!

I titled this review "Instant peace", which is quite a claim. When aching for or feeling stress about something/someone - this book, and "Making Your Thoughts Work For You" with Byron Katie and Wayne Dyer, bring me back to peace the fastest. *Highly recommend in Audio*.

Just when I thought Loving What is & Thousands Names of Joy are great wisdom written from Byron Katie, this one helped me put The Work Inquiry completely Alive in me.

After I read "Loving What Is", I start questioning my own thinking. I am thankful I read enough and have done enough meditation to start being aware of all my habitual thinking and not drawn into the stressful ones. I experience a lot less stress than my prior life (Thanks to Eckhart Tolle's teaching and many other books I read). However, there has always been one arena of life where I find a lot of anxiety and I could not drill down to why. This arena to me is "public speaking". When I saw the title of this book, I know this will be one to help me work through my anxiety combining Eckhart Tolle's teaching of being aware of ego, pain bodies and emotions.

I am a Toastmasters Member because I felt very passionate (yet very anxious) about speaking in front of others. I am aware of that ego in me and have stopped feeding that ego. However, it was still there when I do public speaking that will start talking right before I do a speech. I felt passionate about public speaking because I think I can offer a lot of learning to others (without wanting to be special). Yet, my anxiety towards public speaking impairs me to express things freely when I am at the podium.

However, this particular book helps me examine my unconscious approval seeking I have every time I stand behind a podium. This book shined the light of my unconscious thinking that I need to do great emotional back flipping in order to win their approval. When I get to the podium, I did not realize until I read this book that I pretend to be someone else (pretend to be a competent speaker) in order to win what I thought was approval. This book helped me learn that when I pretend because I believe in my anxious thoughts, I could not even appreciate others praise because I refuse to give any to myself! I second doubt their appreciative comments because I doubted me whether they would like the real me if I were on stage.

I questioned every anxious thought (most of them are approval seeking) I have about public speaking and I read my turnarounds often (almost daily). I found that I was not anxious in my last 2 speeches! Because whenever I have the thought, "I'd better to a good job here otherwise they won't like me." I would go to an auto-pilot saying, "Is that true? How do I feel when I think this thought? Who would I be without this thought? What is the turnaround?" The turnaround combining with deep breathing helped me be myself when I am out there.

Byron Katie's work helped me stop beating myself up after each speech. No matter how great my previous speeches were, I was never quite able to give the credit I deserve to me. However, I now always tell myself, this is perfect. Perfect for who? Perfect for me. I feel good because this praise comes from the place deep within me and not from that inflated ego. I am happy I am no longer at war with my own performance. I am actually no longer at war with me! :)

Thank you for reading my review

I Need Your Love - Is That True?: How to Stop Seeking Love, Approval, and Appreciation and Start Finding Them Instead
Tis book is amazing! This book can help you heal all the devastating pain you feel from painful relationships! MUST READ!!!!!!!!!!!!!!!!!!

This, along with Byron Katie's other book, Loving What Is, have definitely changed my life forever. I also highly recommend reading A Thousand Names for Joy by Byron Katie, and The Power of Now and A New Earth by Eckhart Tolle. They are very compatible.

I too found this book charming, cogent, concise, and funny. I will therefore not repeat what others have so well said. In reading it, I was reminded of an experience I had while reading another wonderful book, Suite Francaise by Irene Nemirovsky. There, a Jewish writer wrongly takes for granted the enduring power of classical music in the midst of a heinous invasion.

My father, born a poor man, was blessed with a college education as a benefit from serving during World War II. On hearing classical music for the first time in a college dorm, he raced up several flight of stairs, pounded on the door of the room from which the music came, to ask a fellow student what was that magnificent sound? He made sure his children should not be similarly deprived by surrounding us with that treasured music. Yet, like Shakespeare, it is now puzzingly gone, save perhaps among those foreign born or gay.

Here, the author points the blame to a mass culture determinedly aimed at selling to children as that market which, at least at one time, offered the highest profit. I am not entirely convinced of this explanation as both Shakespeare and classical music still survive among a small but delighted audience of mostly amateur players. Yet, it does seem that the mainstream no longer values wisdom or its fountainhead, serenity. That both were venerated after the cataclysm of world war and are now forgotten in an age of immediate gratification does make me wonder if Burt isn't onto something when he calls the result unfinished mourning. In opposition to trendy cultural critics, setting the record straight by carefully examining what was once treasured, an integral task of mourning, may yet turn out to be the most political work.

One doesn't usually expect to find oneself laughing when reading a book of criticism written by an academic, much less a book on Shakespeare. But Burt's book is frequently just that, funny to the point of making me laugh out loud. Burt has a refreshingly off-beat sense of humor, and the materials he has discovered--such as an adult movie version of Hamlet--aer themselves often hilarious as well, though not always intentionally so. But far from being just a laugh riot, the book is also a serious, critically sophisticated analysis of Shakespeare's fate incontemporary mass media, where much of hte lnagugae is cut or confined to well-known quotations. Burt's final chapter on films about teaching Shakespeare is quite moving, and Burt has the courage to raise difficult questions without pretending he is able to answer them. He is right to think that the questions are more important than the answers. Burt is to be congratulated for writing his book in a clear and engaging prose style without sacrificing the complexity of his thought.

In his wonderful and fascinating book Unspeakable ShaXXXspeares, Richard Burt, the leading scholar of Shakespeare and film studies, pioneers research into the manifold ways Shakespeare enters into American popular culture. Concentrating mostly on film but attending as well to television sit-coms, Burt offers penetrating insight into everything from mainstream adaptations of Shakespeare to "low" spin-offs in which Shakespeare's language almost entirely disappears. Burt explores both what film and mass media have done to Shakespeare and also what Shakespeare enables our culture to do trhough film and other electronic media. Readers intersted in this book will be happy to know that Burt has since edited a related collection entitled Shakespeare After Mass Media and has co-edited Shakespeare, the Movie II.

One of the many strengths of Burt's truly excellent book is that it not only discusses Shakespeare adaptations but uses Shakespeare, or of ShaXXXspeares, to discuss post-war American popular culture. Burt's theory of the loser as critic has ramifications for all criticism, not just Shakespeare. This is a profound, original, and engaging book.

Whatever you think about Shakespeare, it is impossible not to agree with the points Burt makes in this book. His analysis is right on the money and you will never be able to look at Shakespearean movies or literature in the same way. A fantastic book and a must read.

I never heard of this book before seeing it on Amazon. I bought it just out of curiosity, and I was blown away! It is so simple, yet since I started reading it and being more aware of how appreciative I am, my family is responding in ways I never would have expected. All I can say, is if you have found this book, just buy it! You will only benefit yourself and everyone you interact with! LOVED IT!!!!!

Mike Robbins has written a great self-examination book focusing on appreciating and being appreciated, especially from one's self. Anyone who thinks they could do better in those categories, or have a more pleasant life, should find Focus on the Good Stuff very worthwhile reading.

Buy this book, learn the methods and take action, and you will certainly bring more happiness and fulfillment to your life. I wrote pages of notes, and I use these methods everyday! Relationships are crucial for happiness and fulfillment. Learn to treat others and yourself better with "Focus on the Good Stuff."

I had the pleasure of seeing author Mike Robbins at his recent appearance at the Learning Annex in NYC. I left the event impressed by the power of his message and the manner in which he delivers it. I then read this book and felt so good about the message the author is conveying.

So many new authors and speakers have jumped on the bandwagon of the "Secret" and/or the "Law of Attraction." It is refreshing to see a new star emerging with a unique, basic, implementable message that could change the world if implemented. And, refreshing to see someone who seems so committed to walking the talk!

Recent terrific books by Deborah Norville ("Thank You Power") and Robert Emmons ("Thanks") have similarly sounded the trumpet for the importance of gratitude, the cousin to appreciation. Mike's book is equally terrific with his strong point being the specificity of his wisdom on how to express appreciation in a manner such that it penetrates the thick skins hardened by a world of negativity.

I highly recommend the book and I equally recommend that you partake in one of the author's workshops or speeches. As excellent as the book is, in person the author's message resonates even more strongly.

Mike Robbins is a former professional baseball player. In 1997, he blew out his arm, thus ending his career. A minister's locker room sermon about staying positive inspired Robbins, who now is a busy motivational speaker. Robbins' basic message: People should appreciate what they have and not dwell on the negative. Though Robbins' proclamation that it is better to concentrate on the good rather than the bad makes sense, many of his concepts are just that obvious. This fluffy book is a compilation of feel-good reminders of reliable verities, like the need for gratitude. getAbstract recommends it as a warm, comfortable overview for newcomers to this upbeat self-help genre.

I loved every word printed in the book. I am a big fan of Victoria Johnson's and I can not wait for her next book, I will buy that based on her love and appreciation of the romance field.

The author put her love of writing in this book It is obvious to me that Author Victoria Johnson did tremendous amounts of research and cares deeply about the romance genre and about human beings.

I laughed, I cried, I enjoyed this book. The research and the information that I recieved from this book was awesome.I am recommending the book to all of my friends. All I need to Know in Life I Learned from Romance Novels is a must read for Romance Lovers all over the World!

All I need to know in Life I learned from Romance Novels by Victoria Johnson was a pleasure and a thought provoking experience. The things that the author talks about are the things that interest me. I can not wait for her next Book!

I was amazed with all the positive comments from other readers regarding this book. I want to join in praise for Victoria Johnson's book All I learned in life I learned from Romance Novels.I loved the how to book on successful relationships.I loved the quotes from the famous Romance authors. Her advice is genuine and you can tell that the author knows her subject matter.Her book is positive and uplifting.

Received the book promptly and was received in the condition described. Thank you. V. Santana

The Art Spirit is a classic. No artist should ever be without a copy. This book invites reading time and time again. It brings us back to the principles. The value of things. Right thinking. Relationships. As a practicing artist, I can think of few books that have meant so much.

The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
"Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well. It is not an outside, extra thing.
When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
"Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."

"There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."

"(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."

While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding

Any artist who does not have this book in his or her library is being cheated out of great insights:

"There are mighty few people who think what they think they think."

"Be willing to paint a picture that does not look like a picture."

"...pictures which do not represent intense interest cannot expect to create an intense interest."

"Effects of perspective are made or defeated by sizes of strokes or by their tonality."

And this is just the teaser.

George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.

thank you for sending opera for dummies. it helped me write an
installation of officers for an Opera Guild. it was well-received.
it supplied the opera terms that were appropriate to my installation
and the title added a light touch for members who are well-versed in
opera. written by pat scofield, spouse of george

As you see in many of the other reviews, this is a great guide that will introduce you to opera without overwhelming you. I am new to opera, and this book gave me what I was looking for - a great understanding of opera terms, a history of the composers, and best of all, a scene-by-scene overview of 70+ operas (I didn't even realize there were that many operas!). The writing is informal, easy reading, and full of witty comments and references to the modern era. And don't forget the music CD (which I only played on my car stereo, not on my computer). The music and singing is really gorgeous, and a real treat when paired up with what you learn in the book.

If you are just stepping into the wacky, wonderful world of opera, you can't go wrong this book and CD combo to jumpstart your learning.

This book has a different "dummies" approach to opera, which is very entertaining. This is excellent, easily readable and very comprehensive. The "50 big cahunas" gives a good introduction to these operas.

Pogue and Speck provide a wonderful, humorous, and accessible text in "Opera for Dummies."

I just wish they or IDG (publishers) would stop pumping the "free CD" on every page. Readers don't need reminding, after the dozenth time, that a CD is included with the book ... besides at [$$] (retail) for book and CD, it's NOT free, we paid for it. Also the multiple reminders of their "Classical Music for Dummies" is nearly as annoying.

That said, I found the book highly entertaining and educational.

This is a great book. But there's nothing "dumb" or "for dummies" about it. Any person who is bright and has a sense of humor and who is just beginning to be interested in opera will find this funny, clever, irreverent book to be fascinating. Plus, the included CD is of high quality and has a great selection of tracks.

In sum, this book (while being not as hefty or as chock full of information as competing introduction-to-opera guides) is an intelligant, useful, user-friendly welcome to the universe of opera. The genuine passion of the authors shines through, a trait not found in many of the more traditional guides. All in all, "Opera for Dummies" is not at all for dummies, and is a "must-have" item for the opera beginner.

I love this book!! It has already proven to be a great resource for my high school English Language Arts classes. Excellent collection of classic art along with detailed annotations.

I always used to think: "Why do other people stare at those paintings? Why is painting X considered more special than painting Y". This is the book which completely opened me up to paintings and gave me a solid footed approach towards looking at them. I now know what paintings were drawn in what generation, what the masters of those generation did and why those paintings are so great. The book dwells in the minutiae as well as the overall painting. I totally love this book. I study one painting a day - it makes my day!

This was a great book to just leave around the house, pick up whenever and learn a factoid or two about great works of art. The details given here are varied, from both historical and artistic perspectives. And the selection of art chosen was good as well.

This is an excellent book that can be used to teach art history, art appreciation or an introduction to art. The photos of the artwork are excellent and there are a vast array of subjects covered.

This is a fine book for the novice who wants a quick review of what the paintings are about, some of the symbols that the masters have suppied for the deeper meanings, and a little about the masters themselves.

Excellent collection of non-rock pop music from 1900 to 1975, after which the authors say the kind of music they have collected has pretty well disappeared. They feature a short bio of each writer or team of writers,interesting, but nothing you couldn't find with a quick internet search.

They do not include country, rock, folk or "world" lyrics--strictly pop Americana, heavy on musicals, show tunes, cabaret and torch songs, songs that went with the big-band swing era, etc.

It can be a little hard to find songs in the book--they are arranged in roughly chronological order by author--and the index contains first lines, but no "trademark" phrases that might help you track down a song whenyou have a fragment of a lyric caroming about in your head.

It gives the lyric that we usually remember, but also includes the short preludes that these songs usually featured. "Stardust," for example, starts out with "And now the purple dusk of twilight time. . .etc." that precedes "Sometimes I wonder. . . etc."

fun to read,just to get a fix on the various eras of American musical pop culture. Occasionally it makes you wish that more of our current lyricists had the skills that the Cole Porters and Yip Harburgs posessed.

I bought this as a gift for a friend who enjoys knowing all the lyrics of songs. In this book, he discovered some intros and verses he hadn't known.
He has enjoyed the book so much that I am going to buy one for myself.

It is usual that books cover the music side of those classic songs. This one, instead, focus on the lyricists, that's the way it is organized. Chronologically, but in the writers order. A thousand songs! It covers almost the whole 20th century but,of course, mainly the 30s and 40s, the classical years for American Popular Songs. It is beautiful to follow those wonderful verses - keeping in mind always the melodies that come behind. What a powerful combination.
One more thing: if you, like me, loves books as much as music, this one has a particularity: it smells divine! try it!

Highbrow collection of the best lyrics. Creme de la creme! My 3rd copy.

This is an excellent compilation, as every other reviewer has said (and with more eloquence than I can muster). Yet, I came to the book, apparently, with an entirely different set of expectations--reading this book, you'd think the 50s and 60s and even early 70s didn't happen. Bob Dylan, not included. The Doors, not included. Joni Mitchell, not included. Marvin Gaye, Paul Simon, Bob Marley ... The Beatles?? Not included. And I'm only scratching the surface. The list of omissions begins here and goes on and on--if, that is, you think these musicians are great lyricists/songwriters (and I do). Admittedly: this should come as little surprise. The introduction states that in the process of editing, "A more painful decision was to limit the field to the song as we know it from shows, movies, and pre-rock pop. Partly this was a matter of logistics: No single volume could stretch to include folk, country, blues, and rock. And though a collection of lyrics that excludes, say, Bob Dylan or Hank Williams is obviously one that is far from complete, their stories are not the stories we can tell here (or are equipped to tell)." Fair enough. But, given the room these editors give to some more obscure songs and songwriters, it's clear that a single volume could successfully stretch to include other genres. That single volume would be outsized, but it would be invaluable.

I loved the movie, loved the book. Buy it. Don't hesitate. In years to come this is going to be a classic movie and the book will be valuable as well.

lots of storyboards, beautifully colored concept art and cool character sketches. It's definitely a great art book.

This is another great addition to the Pixar library, great for colour andlighting reference too for artists.

Watch Video Here: http://www.amazon.com/review/R52EG2F6D2TTZ This cover is the most beautiful one of all the Pixar artbooks I've owned. That pastel drawing was done by Ralph Eggleston, production designer.

This book will only enhance that feel-good feeling you have after you watch the movie, probably several times if you have kids.

There are a lot of pastel storyboards drawn for lighting studies. They are incredibly beautiful and you can almost feel the texture to them. The colour theory used for the movie is explained to you by Ralph Eggleston.

The pages are filled with character studies, set designs and lighting studies. Most of the panels were captioned to explain the art direction behind. You'll feel as if you're going on a tour at the Pixar studio, looking at art with artists talking to you.

This book gives you the movie.

This is almost a required purchase if you like Finding Nemo or just beautiful art.

There are more pictures on my blog. Just visit my Amazon profile for my blog's link.

This book does a beautiful job of showcasing the concept art behind the movie. The majority of the art uses pastels as a medium, but there are also examples of pen and ink, pencil sketches, sculpture, digital wire frames, and more. But, if you're looking for actual frames of the finished movie, this is not the product you want.

The thing that sets this title apart from the other "Art of" Pixar books is the quality of the narrative text. All the "Art of" books have wonderful imagery. But, in this book, the text truly immerses the reader into the world of concept art. Conversely, the text in The Incredibles book often goes off on tangents about the director's personal life and events at Pixar. I like how this book keeps the focus on the art.