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I have read all of the Apollo astronauts' accounts of their journeys, and this book adds something different. Alan Bean gives a unique view of the United States' greatest adventure. His paintings renewed my excitement for our space program. The narratives that go with the paintings are genuine and speak to every American. This book will inspire young people to be proud of our space achievements--a quality that both the news media and our politicians sorely lack these days. Bean's love of the space program is displayed by the colors and settings of his works. Many times, Bean reminds us that Apollo was an act of all of America, not just the astronauts. From a space enthusiast's point of view, we need more books like this!

With the descent of the lunar lander Intrepid, Apollo 12 astronaut Bean became the fourth man to walk on the moon. Since his retirement from NASA in 1981, Bean has devoted himself to his realist paintings; this handsome volume allows him to display both his artistic skills and his orbital experience, reproducing dozens of Bean's paintings of lunar surfaces, moonwalks, astronaut gear and so on, alongside a blow-by-blow narrative of Apollo 12, which Chaikin (The National Air and Space Museum Book of Aviation and Space Flight) has written very much from Bean's perspective. Chaikin and Bean describe the thrills and setbacks on the latter's path from naval aviator to astronaut, his first view of the blue-and-white Earth from 293,000 miles and the technical problems of making sure an American flag stays up on the moon. Final chapters track Bean's adventures with the paint and canvas he took up in 1974 ("Flying skills are so much like painting skills, it's amazing"), the exploits and close calls of other astronauts and Bean's hopes for his art and for space exploration. Short paragraphs in which Bean explains his pictures' subjects and techniques alternate with the longer segments of narrative; this format can make the whole book seem scattered, though the images, and the anecdotes, retain undeniable power. The meticulously detailed paintings themselves add warmth and a mid-19th-century softness to the photos and equipment on which many of them are based.

If you want to experience the moon through the eyes of an artist and an astronaut this book is for you! It is inspiring and educational. Highly recommeded!

I have been searching used book stores for years for this book without luck ever since I realized that my original copy was missing. I am so happy that it has been re-released. Mr. Pine's is a story that we all need to hear as a child and again as an adult. How to rise above the desire to be like everyone else and find our own path.I will be happy to share this book with the children in my life. Incidentally, purple has been my favorite color all of my life because of its symbolic meaning in Mr. Pine's and The Color Purple.

I grew up on Mr. Pine, and was thrilled to see it again and share it with my 3-year-old daughter. Unlike many simple stories for young children, this one is fun for adults, too. The text is easy and predictable (a must for pre-readers) but not monotonous. The story is fun. The pictures, although in only two colors (black and, of course, purple) are wonderful. My daughter truly understands this book and talks about it ALL the time. It's amazing that a book can appeal so completely to adults and young children alike.

This is a book I wished my mom had saved. I think Mr. Pine Fan's are a unique brand of people! My cousin and I both grew up with Mr. Pine's Purple House. It taught us to be different from anyone else. We joke about the book often, even now, when we drive down a street with all the houses looking the same. "Must be Vine Street!" It's fun to see the looks on other friends faces when they can't figure out what we are talking about. Then we have to explain ourselves, and the retell the whole story.

Linnea, a young Swedish girl has developed quite a friendship with the elderly Mr. Bloom, her upstairs neighbor. Mr. Bloom is a retired gardener who is the proud owner of a lovely book about the great French artist, Claude Monet. After hours and hours of studying Monet and his life, the pair begin the ultimate adventure: a trip to Paris, and where it all began! Linnea and Mr. Bloom visit the Marmottan museum to observe the many paintings of Monet. They study his artwork and how the genius painted. They learn about other Impressionist artists--many who were great friends of Monet. Eventually the young child and elderly gentleman make the ultimate trek to Giverny, where Monet lived and painted.
This book could almost be a 'fun' textbook. The artwork, both of the author's and of Monet's is absolutely exquisite. Becoming familiar with Monet's life and his paintings become a marvelous art history lesson. As an adult, I not enjoyed reading this lovely book but I learned a lot. In fact, a few days after reading LINNEA in Monet's Garden I was watching a Sex in the City episode where Charlotte was showing a group of people one of Monet's 'lily' murals. Being familiar with that painting because of this book was an exciting moment for me!

Linnea in Monet's Garden is one of those books which will be loved by all ages through the ages. The reader journeys along with young Linnea and her neighbor, Mr. Bloom, first to Paris and then Giverny to see the painter Monet's home and gardens. Providing the story of Monet't life with words and wonderful illustrations, it is as if the reader is standing on one of the bridges viewing the water lillies in person.

For those readers who have had the opportunity to see Giverny and the gardens in person it will be a special treat to read this book and reminisce. And for those who haven't been there and read this book, certainly it will provide a wonderful travel destination in the future. At the very least I imagine it will have most readers looking for an art book to view more of Monet's paintings or visiting a musuem which has his works.

I picked this up at the home of a friend. Her little girl scampered over and, eyeing me with suspicion, said, "That's MY BOOK." Once she gave me permission to look at it if I promised to treat it carefully, I began to wish I really could steal it!
What a treasure. Linnea in Monet's Garden is a way to introduce children (about age 6-10, I'd say) to the appreciation of Impressionist art. The book includes photographs and drawings of Monet's home and family, a story of his life, and full-color reproductions of many of his paintings. Linnea is taken to Giverny by the elderly Mr. Bloom and, as she is entranced by all things Monet, so will you be, too.
Buy two copies: one for yourself and one for a young friend.

Ross King's story of the "Pope's ceiling" is much more than the history of the painitng of the Sistine Chapel, as fascinating as that is. Spanning only four years, this book is art history, military history, church history and more all in one. Michelangelo was a renowned sculptor, who at the beginning of the 16th century was commissioned by Julius II to create the grandest tomb the world had known. But Julius, the feared and volatile ruler of part of Italy as well as the Pope, changed his mind before Michelangelo started, and directed him to paint the chapel instead. Unskilled in the complicated fresco process, and bitterly disappointed, Michelangelo nevertheless has no choice and begins the project. King details the challenging job of preparing the walls, transferring the design to the plaster, quickly painting before the walls dry. The author debunks many of the stories that have grown up over the years--Michelangelo did not work alone but with a changing crew of assistants; he did not lie on his back but painted in a much more uncomfortable position--standing, looking up.

King also offers an intriguing look at the corrupt church of the time, as we recall that the chapel is being painted on the eve of the Protestant reformation. The pope is hardly a spiritual leader, but one prince among many, with the extra power of condemning his enemies to hell or granting forgiveness and absolution for sins. Julius spends more time warring with rival kingdoms than worrying about salvation, and one cannot help thinking of the many lives lost during these useless escapades. Julius fancies himself as the successor not only of the first pope Peter but of Christ himself, and his triumphant entry into conquered cities in a fashion reminiscent of Palm Sunday are colorfully described. The clergy are uneducated, poor and hardly living a life of holiness--the vow of chastity simply means one cannot marry, and as a result Rome is overrun with prostitutes. In a wonderful aside, King quotes from the writings of the young Martin Luther--overjoyed at the prospect of visiting Rome's holy shrines, he quickly sees the filth and corruption in the city, which no doubt deeply influenced his subsequent break with Rome.

King does a wonderful job describing the fresco itself, explaining the origins of the designs in history, the classics, and earlier art works. We also learn quite a bit about Raphael, a young likeable man about town compared to the grumpy Michelangelo. Raphael was painting the pope's apartments at the same time as Michelangelo was working on the ceiling, and King does a great job explaining the differences between these two great masters. Leonardo da Vinci, the older, acknowledged master, was also working at this time, and King refers to his works throughout.

Whatever one might say about Julius and the corruption of the time, the popes did much to nuture the flowering of the Renaissance, and they certainly knew their art! This book is highly recommended--the audio version is also very well done.

Michelangelo & the Pope's Ceiling by Ross King tells the story of four years, 1508-1512, in the life of three larger than life personalities: Michelangelo, Pope Julius II, and Raphael. Mr. King's latest nonfiction historical "thriller" is, however, more than a story of the four years that Michelangelo spent laboring over the twelve thousand square feet of the vast ceiling of the Sistine Chapel. In Mr. King's able hands it becomes an early 16th century soap opera, starring Michelangelo, Pope Julius II, and Raphael, and featuring all the intrigue, passion, violence, and pettiness of a Sopranos' episode. What's so astonishing is that all that is told actually happened -- it's history.
Ross King's gift is his ability to bring us, his readers, back through the maze of time and lead us to an understanding of all that coalesced -- politically, socially, and artistically -- to create great art, great history and, for us, great reading.
According to King:
"Pope Julius II was not a man one wished to offend.... A sturdily built sixty-three-year old with snow-white hair and a ruddy face, he was known as il papa terrible , the 'dreadful' or 'terrifying' pope.... His violent rages, in which he punched underlings or thrashed them with his stick were legendary.... In body and soul he had the nature of a giant. Everything about him is on a magnified scale, both his undertakings and passions."
Michelangelo and Raphael as portrayed by King:
"Almost as renowned for his moody temper and aloof, suspicious nature as he was for his amazing skill with the hammer and chisel, Michelangelo could be arrogant, insolent, and impulsive....If Michelangelo was slovenly and, at times, melancholy and antisocial, Raphael was, by contrast, the perfect gentleman. Contemporaries fell over themselves to praise his polite manner, his gentle disposition, his generosity toward others....Raphael's appealing personality were accompanied by his good looks: a long neck, oval face, large eyes, and olive skin -- handsome, delicate features that further made him the antithesis of the flat-nosed, jug-eared Michelangelo."
The stories of these three men during this extraordinary four year period and the art they produced is the story embodied in Michelangelo & the Pope's Ceiling. The confrontations between Julius II and Michelangelo are legendary. "The major problem seems to have been that Michelangelo and Julius were remarkably alike in temperament. Michelangelo was one of the few people in Rome who refused to cringe before Julius."
For almost the entire four years Michelangelo was shadowed by the brilliant young painter Raphael, who was working in fresco on the neighboring Papal apartments. This rivalry the Pope seemed to enjoy and encourage. To help us better understand the friction between these two great artists King introduces us to Edmund Burke's treatise on the sublime and the beautiful:
"For Burke, those things we call beautiful have the properties of smoothness, delicacy, softness of color, and elegance of movement. The sublime, on the other hand, comprehends the vast, the obscure, the powerful, the rugged, the difficult -- attributes which produce in the spectator a kind of astonished wonder and even terror. For the people of Rome in 1511, Raphael was beautiful but Michelangelo sublime."
For me, reading a book like Michelangelo & the Pope's Ceiling is the way to read history. Mr. King transported me back to those four years during which Michelangelo and Raphael created art both beautiful and sublime. I was there with and among the players, engrossed in the anecdotes King skillfully wove into his narrative. This is history -- up close and personal -- and yet far, far away from the pain, anguish, anger and turmoil that pervaded so much of the lives of Michelangelo, Pope Julius II, and Raphael. As I read, I learned, I felt, and I understood. Isn't that what reading is all about? I certainly could not ask for anything more.

As a chemical engineer by training and an amature historian by choice, I found King's book to be hard to put down. His explaination of the chemical aspects of creating a fresco were both poignant and detailed. Those explicit details were important in understanding the difficulty an artist faced in creating a fresco. I only wish more script was spent on detailing the mechanical problems in producing a fresco vs. a canvas painting. Nonetheless, the book was fascinating and would have appeal to a wide audiance. I "loved" it.

Jim Albus

Any painter who wishes to see the light through the eyes of the impressionist masters will most certainly want to purchase this outstanding book. Written by Lois Griffel, Director of the Cape Cod School of Art, founded by Charles Hawthorne and continued by his disciple, Henry Hensche, PAINTING THE IMPRESSIONIST LANDSCAPE will gratify both the beginner and the advanced student. In her book, Lois Griffel, herself a master teacher, provides a theoretical framework for simple, practical exercises designed to develop in the student an understanding of how light affects the world of color around him. Of special interest are the block studies from where the artist begins his journey, first observing the effects of light on simple rectangular forms on sunny and cloudy days; then on to the rounded half tones of still life; on to the nuances of the portrait; and, finally, to painting out of doors where the artist is gradually empowered to see and understand the dazzling effects of light on the landscape. PAINTING THE IMPRESSIONIST LANDSCAPE is an outstanding book, profusely illustrated with Lois Griffel's own beautiful work as well as the work of other fine painters of this school. I treasure this book and am grateful to Lois Griffel for having written it. Bernice Ruth Winston

Lois Griffel's "Painting the Impressionist Landscape" is the most important book ever written for learning the techniques to use to create paintings that glow with light and color. It is a far, far better book than others that purport to be similarly useful or helpful. It's sole intent, I believe, is to detail, really detail, what you must do to accurately *see* colors in natural light, and then to apply pigment to mimic those colors. This is not a self-evident task; hence, the book's reason for existence. In fact, I have been using the techniques in this book for several years, with wonderful effect (inluding selling many paintings made with it), and I am still seeing new, often subtle variations of color in unexpected shadows or highlights. Be warned, however: this book is like a cheesecake-- tasty, yes, but really, really dense with information. More packed with useful information than most any other art technique book. You cannot successfully get everything out of it in one sitting, or even one year. Keep using it, and don't give up. Thank you, Ms. Griffel, for giving us this book!

This is a wonderful book. Lois Griffel is a gifted artist and teacher. Every page in this book is a feast of beauty for the eye and a feast of knowledge and understanding for your mind. For anyone who wants to learn to paint in the impressionist style this is the book to own. You will study it over and over, as I have. If you are a beginner or a seasoned painter this book has much to offer. It will teach you how to see and paint light which is the great gift to the world of art from the impressionist.

This artists work is fun to see and gave me lots of good ideas on what to do and what not to do when painting my rocks. Thanks!

I loved to draw animals and nature ever since I could remember. I draw what I see. I'm not a Lin Wellford or even Bev Dolittle although I admire both of these people very much. Because I loved to draw and paint I knew I just had to have the book " Painting Animals on Rocks " when it came out... I was not disappointed. She shows each painting techique step by step. There are illustrations that ranges from easy to do to the more challanging. I'm no expert but following Lin's direction I was able to produce some awesome animals. I even entered a couple in the local fair and got first and second place ribbons. My grandchildren and friends who are the recipients of my animal gifts heap praises on me whenever they receive one of my creatures. Sometimes I feel like I'm cheating and all the credit should go to Lin whose work I copy from looking at her examples. But I sit back and graciously accept the praises. I'm looking forward to another purchase of more of Lin's work. If painting animals is not your cup of tea, then by all means try painting houses and/or flowers on rocks. If you are a self made artist like myself you will not be disappointed in your purchase. I appreciate the time allowed to submit my views regarding this lovely, caring,and sharing lady..

This book is awesome! I am a novice to the world of painting. I first got the book about 3 years ago, and have since painted many, many rocks. My family will often call and request that I paint a certain animal for them. The instructions are easy to follow and are written in such a way that once you have mastered one animal, you can easily see how you could adapt it to another. I am anxious now to try the sequel to this book and indeed start painting more animals on rocks.

I received this book last week, and had time over the weekend to enjoy a lot of it's contents.
Matte Paintings have always been my favourite aspect of SFX, so this book was one I have been waiting for. The price put me off, so I spent longer than I should deciding to buy it.
I diddn't need to worry. If you love the art of the Matte Painting, this is the one book you'll need, and the only one you'll need. From interviews with the Matte Artists themselves, and a complete history of the Matte painting, it simply covers all you'd want. A CD rom is included which compliments the book perfectly.
A beautiful book- Well written, and with the quality of layout that a subject like this deserves. Well done to the creators of this excellent publication!

This book is a unique collectors item. Many recent films have come out with a companion "Art of ____" book. There have been many special effects books that focus on one company or another (ILM, Digital Domain, etc). But the content of Invisible Art spans the entire history of film itself.

The focus of the book is matte painting, a specific branch of visual effects. It is a technique that has been used in films from the beginning. Over the last 10 years, matte painting has been transformed by the digital age. Before computers, many of the most stunning and beautiful effects were hand painted. Sadly, most of these paintings have been lost or destroyed. At the time of their creation, the paintings served a practical function. Looking at the pictures in this book make you realize that these paintings should have been saved and displayed in museums.

This is an outstanding document of art, film history, and some of the personalities involved in this branch of visual effects. It follows the history of film through artists working in the industry. In the last chapter, it bridges that history into the digital age. A major achievement.

I grew up in L.A. in the 50's and 60's when it was not OK to discuss matte painting as the studios did not want people to know that they really didn't go on location to film in exotic places. When people asked what my father did for a living, I said he was in "special effects." Then they would say "So, he blows up things?" "No, he paints in things that aren't there..."

Now, everyone can see what it is that he did for so long. He paints in things that aren't there. The authors did a fantastic job of explaining and demonstrating the incredible art of matte painting. Now I have the book to show my kids and others who never quite understood what it was that my father did. Also, this book has a great picture of him dancing with Betty Grable!

Montague Mad-Rat lives in the sewers of New York City with his family. Every year the rats pay a man not to poison them, but when his nephew takes over, they decide to raise $100,000, instead of the usual $50,000. Montague and his uncle play a huge roll in donating the money, just by selling some tiny shells that Montague had painted. Montague also likes a she-rat, Isabel, who's father is at a high place in the rat-goverment.

A Rat's Tale is about a young rat named Montague Mad-Rat, or Monty. He lives a boring, solitary existence in the sewers of New York City. His family is almost considered a bunch of criminals, as they've broken almost every major rule of society, like making things with their own paws. Rats should scavenge for things they need, not make them. But nevertheless, his mother makes hats out of feathers, and his father makes sand castles. Neither of them have much time for him. He is very lonely and bored. The only things he has to do is gather feathers and berries for his mother's hats, and paint the seashells his aunt brings him. Then, one day, he meets the girl of his dreams! Her name is Isabella. She is the daughter of the governor of the rats, and she lives in old abandoned Wharf 62, where only the rats of the highest-class live. He can't stop thinking about her! Then he realizes that a rich, sophisticated girl like her could never love a sewer rat like him.
Meanwhile, the humans want to poison the wharves. The rats had stopped them every year by finding loose change and anonomysly offering it to the owner of the wharves. Every year they had collected $10,000. And every year, it had been enough. but this year it wasn't. So their leader (Isabella's Father) decides that they need to double the Rat-Rent (as they call it). But there's no way they can gather $20,000 worth of pennies, dimes and nickels! Then, Monty figures out a way to impress Isabella. He thought the shells his aunt had brought him might be of some value. After all, everyone said they were great. So he brings the shells to Isabella's father. He says they are great, but they need money, not shells. Dismayed, Monty tells Isabella's father to keep the shells. Isabella gets a90=hold of them, and at first she just hangs the shells on her bedroom wall. But then she has a great idea. her mother told her that Montague Mad-Rat (Monty's uncle whom he was named after) was infamous for doing the unthinkable--dealing with humans (it's like making things with your own paws). He, like Monty is also an artist. He decorates rings and sells them to an art dealer. Isabella decides to team up with him to sell the shells. She knows that dealing with humans is a huge disgrace, but she'll do anything to save her beloved wharves. Together, they are able to get $20,000!
Monty is hailed a hero! His little shells saved the wharves! Monty finally got everything he wanted. He saved the wharves, he's a hero, and Isabella finally likes him. Then the worst happens. What is that? You'll just have to read the book for yourself.
Monty significantly changes. He becomes much braver and he learns to do his best and try his hardest, even when things look hopeless.
This is a great book, and I recommend it to anyone age 9 and up.

Montague Mad-Rat is a rat born to a family he is ashamed of, he goes on a jorney to save all of rat kind!On his quest he meets many unforgetable characters, and uncovers the secret of his long lost uncle who's name has tortured Montague all his life. This is my absolute favorite book, I have read it three times. It is wonderful! If you enjoy this book, you will enjoy "The Wainscot Weasle" another book by the same author also about a determined little creature. If I could give this book more than five stars, believe me I would!

This is yet another great book by author/illustrator David Wiesner. This is a story about a boy who goes on a field trip to the Empire State Building. As a result of complete cloud cover the boy makes friends with a unique character, a cloud. The cloud takes the boy to "Sector 7" where all clouds are made by boring, uninspired beings. The boys spices things up by creating factastic shapes for the clouds. The boy is kicked out of Sector 7 by those beings who do not appreciate his artistic ability. After the boy is gone the clouds revolt and what follows is a delight for the eyes! This almost wordless picture book stretches the imagination and keeps you guessing page after page about what you will see next.

David Wiesner's Sector 7 illustrates an artistic young boy's adventure on a school field trip to the Empire State Building, where he meets a "friendly cloud-man." The "friendly cloud-man" takes the boy to "Sector 7," (the place where clouds are formed and placed around the globe). The boy uses his talents to give the unhappy clouds an eye-opening makeover. Wiesner's illustrations create an expressive story. His detailed pictures work together to make the story understandable and interesting. To enhance the mood and atmosphere of the story, Wiesner uses the choice of bold, friendly watercolors and unique frames throughout the book. The frames are presented in chronological order either top to bottom, left to right, or back to front. Sector 7 gives the reader's mind a chance to unwind and expand beyond its imaginable limits. It is definitely a book that will attract those of all ages and test their imagination.

The graphics are incredible in this book. I have 3 children ages 7, 5 and 5 and they were absolutely enchanted with this book as was I. Highly recommend this book for all ages.

I concur with the sentiments of most of the reviews mentioned here. Jeanne Dobie's book is fabulous. Her emphasis on limited pallette and how to make colors 'vibrate', how to make your own neutral (but vibrating) colors, how to create fabulous browns and blacks....invaluable stuff. I'm ready for another book by Jeanne, where she shows more examples of her work and explains how she achieves effects.

Her abstract landscapes are dreamy and beautiful. She's a goddess of watercolor painting.

As a beginning watercolor student I took several classes and was always disappointed with my results. My last class used MAKING COLOR SING as the reference book. I'm finally starting to make progress. Jeanne Dobie's book is one of the best books on how to paint with watercolor I've read.

Like the brilliant hues in her examples, Ms. Dobie's book is outstandingly clear and strong. Her logical, step-by-step examples give the lie to the notion that creative people can't explain their gift. She doesn't need to write another book because this says it all, but such an inspirational work makes you want to hear more. This book has prompted me to cull from my library books by other authors that now look dull after experiencing Making Color Sing.