Painting-the

This book cannot replace the Michael Wilcox's Blue and Yellow Don't Make Green in terms of basic completeness, clarity, and universal applicability. It's more of an idiosyncratic look at how one artist makes use of his paint choices. You will come away seeing how Szabo does it, but its applicability in a *general" way is severely limited. That being said, the book is a great instruction book. Every painting (one every 2 pages) has step by step instruction and the ideas he has for using only 5 pigments max per painting are excellent.

I have the hard cover edition. This is an excellent color book for learning and reviewing watercolor pigments & paints. This book illistrates how to use these pigments and paints in various watercolor works of art. The properties of each color are thoroughly explained with printed samples of the color and the complementary color shown. Also the other colors that work well with each pigment are shown, along with a sample of a successful work of art containing these colors. I'm very glad to add this to my library of watercolor books.

In learning the characteristics of watercolor, this is a book I return to again and again. The author has classified each basic color as to its' transparency, its' complement, and executes a painting with that palette, and much more!

Elizabeth Prelinger's After The Scream celebrates the late paintings of Edvard Munich: haunting paintings which also reveal quite a different side of the artist. While his images of people remain striking, he painted a range of subjects and used a brighter approach later in life, and this accompanies the first major exhibition of his works since 1978 - and the first to focus on his later achievements.

munch is an artist who became so well known for an early work ("the scream") that his later work was eclipsed by it. the fact that nearly all of his later works hang in an oslo museum hasn't helped either. so it's a real surprise to browse this exhibition catalog and discover the many beautiful paintings munch created in the half century between "the scream" (1893) and his death (1944).

munch's technique is very interesting: using thinned oil paints, with direct application of single layers of color, his paintings approach watercolors in their spontaneity, light, and beautifully textured color harmonies. at the same time, his themes are very personal -- his illnesses, his large estate near oslo, his lonely life painting in the countryside, his struggle with alcoholism. technique and themes combine to give his work a uniquely poignant lyricism.

the accompanying text on munch's life and work is well written and comprehensive. this is a great gift for someone who loves painting -- even if they know art well, munch's late works will come as a happy revelation.

This is an excellent example of military artwork at its best. Gives the reader an excellent background on the thought process behind each of Trudgian's masterpieces. I own 11 separate prints of his and this book is a welcome addition to my Trudgian collection. Highly recommend this book to any WW2 historian or fan.

A great book with lots of info about the paintings and comments from the artist about the way he develloped the pictures

I remember buying my first airbrush over a decade ago. A Thayer and Chandler model. As a naive teenager, I was so eager to get stuck in, I didn't realize the paint was supposed to be diluted into liquid form first. Much to my frustration, nothing happened. That was before I bought this book, succinctly titled "Airbrush Painting".

Like most books about art technique, "Airbrush Painting" (1988)starts off with a list of materials and equipment, the tools of the trade employed by both fine artists and illustrators. This is followed by diagrams, troubleshooting and step by step projects, before finishing up with a gallery of work by the professionals, all of which are guaranteed to awe the novice. Out of the list at the back, Chris Moore was the only name I recognized.

Most people will agree that the airbrush is an intimidating tool at first, but this book explains a lot about it in easy-to-understand language. In fact "Airbrush Painting" is very similar to another book I own called "Creative Airbrushing" by Graham Duckett. Both covers show a hand holding the airbrush over a piece of highly finished artwork. In fact, the books are almost identical in content and format.

Despite the advances in desktop publishing, I like to think that airbrushing is not old hat. Airbrushing is a useful skill to have when the computer breaks down. In the past people have expressed reservations about the airbrush, believing that it's a form of "cheating". I find this amusing. Like all technology, the airbrush is meant to help the artist complete the job quickly and more efficiently. It makes life easier. Is it cheating when a farmer uses a tractor instead of a plough?

Just as the car hasn't stopped people riding horses, the computer hasn't stopped artists using the airbrush. The technique (which dates back to the time of cavemen) is just as popular today. Whether you're an artist or an illustrator, "Airbrush Painting" is a valuable book to have.

It has everything in it from basic gradients, to complex photo retouching techniques. Everything is there. If you manage to find this book anywhere, you should buy it immediately. It is INDESPENSABLE!

After having borrowed this book from the library, I just have to have it! Ning Yeh's paintings are beautiful! He captures not only the harmony, but the beauty with his inks ... the detail is fine and the reading material in this book gives you an insight of the artist at his best. Truly a book to have if you are interested in the style of Chinese Brush Art ... even if you don't want to paint/study his works, just to breeze through it is wonderful.

I own several of Ning Yeh's books on Chinese painting. This book is one of my favorites. The full color paintings are exquisite, expecially the renditions of horses, morning glories, lotus, bamboo, and peonies. Accompanying each painting is information on the specific kind of Chinese brush, paper, and paint color combinations the artist used. What makes the book especially delightful are the anecdotes on each page about Chinese culture, philosophy, aesthetics and the artist's experiences growing up in China. This is a wonderful book both for those who are interested in learning how to do Chinese brush painting as well as those who merely wish to appreciate Chinese painting.

I was trained in art history at Smith College, so I thought I had some notion of the world's greatest art monuments. NOT!

Alchi is every bit as sophisticated, refined and important as the Sistine Chapel, the Pompei frescoes, etc. that we in the West are already familiar with.

Seeing Alchi in person blows you away - you're amazed that something this precious and beautiful exists, and, miraculously, has survived so many chances at oblivion. Go to see it - or, failing that, buy this book. You can't take pictures inside anyway, so either way, buy this book. An astonishing and deeply moving masterpiece (both the place and the book).

Upon the northern edge of the Indian subcontinent, in the hilly folds near the Himalayas, east of Kashmir near the Tibetan border south of the Indus river is Ladakh. Its valleys have long been a great trade and invasion route to the north of India. There is Alchi, a distinct daedal of Buddhist temples with splendid wall paintings and clay sculptures that have survived for the past eight hundred years to reveal some of the best preserved and unaltered images, an iconography of a flourishing Varjayana Buddhism. This sumptuous limited edition offers a detailed photo survey and archaeological description of one of the most impressive of the temples at Alchi, the Sumtsek (Three-Tiered) Temple. The building itself is a composite blend of Tibetan and Kashmiri elements that demonstrate some central Asian components. The wall paintings are in an elaborate and delicate Kashmiri style. This style is known to still exist only in a few other temples in Ladakh and western Tibet. The minuteness and finesse of the form and style of many of the paintings appears to be a transposition of techniques developed for miniatures in manuscripts onto the larger surfaces of walls. The adept vision of the monk artists of the Sumtsek combines a lavish display of tantric teachings, with still evolving artistic styles and methods. These are blended with the requirements of a donor's personal vision into structural possibilities of the building's interior design and access to light. All this culminates into a integrated sanctuary, one of the great gems of early tantric iconography. It is a treasure in its own right as valuable as the Sistine Chapel or Saint Marks Basilica. The wooden panels of the ceilings are painted with a rich variety of textile motifs, some deriving from Greco-Iranian and Sassanian sources, others similar to those found on the pantheon figures of the Buddhist wall paintings, pointing to the international character of the northwest Indian and Kashmiri medieval civilization. The text provides a full introduction to the icons and historical social religious context of the building as best as that can reconstructed through archaeological and scientific methods. In many ways the volume is also a plea for the international preservation of these treasures of Buddhist art due to of the recent rapid deterioration because of changes in climate and rainfall. The paintings reveal early forms of iconographic cult that offer important means of interpreting the evolution of the ritual use of painting. The book ALCHI contains over 300 color plates, maps, and plans. They are beautifully integrated into the text and are important evidence of the development of the cult meditation Buddhas of the Varjayana tradition. This volume is an important documentation of some world class art on the verge of extinction.

For those who like figure painting in oriental style, this book is a must, for it contains a well-selected array of wonderful painting, which should appeal both to the connoisseur as well as new comers to the art form. The layout and printing, which is so important for a book of this type, are exmplary.

Highly recommended.

This can be an excellent gift for people who admires Chinese Art. It's a very well produced book with wonderful photos and appropriate explanations.

Loved the uplifting message and illustrations.
Curling up in front of the fire, sharing this fun book with my children will be a Christmas tradition for years to come.
Very warm and charming. Perfect for gift giving.

This is a wonderful Christmas book. The illustrations are fresh and stunningly beautiful. Makes one ponder the true meaning of Christmas.

This is a significant book! I recommend it highly. It is especially helpful when wanting to teach young children about POP ART that existed in the early and late 70's. Andy Warhol is an inspiration because he is the first person be begin depicting "everyday life" into his works of art. He modeled the "Campbell's Soup Cans" and the "Marilyn Monroe" icons in order to make a strong point. He believed that much like we consumed mass produced products such as soups we were also "mass consuming" pop icons such a Marily Monroe. He brought out his ideas through many works of art. This is a great way to show young children about POP ART and about Andy Warhol's great accomplishments. Another pop artist that could be correlated with Warhol is Lichtenstein he also depicted "mass consumerism" but with comic books and neat techniques to acquire his pieces of art. GREAT STUFF!!!

This is a must have book for art teachers if your teaching
kids about POP art or Andy Warhol himself.If your an art
teacher and you have the 'getting to know the worlds greatest
artists' series and you don't have the Andy Warhol book than
the first thing you should do is buy this book from Amazon.com
or from your nearest book store.

Nobody has understood the work of Andy Warhol like Gidal. It is not filled with gossip about Andy doing this and Andy saying that like 90% of all Warhol-books. This is about his art, and it's damn good!

At the end of a century where the primitive has finally begun to be understood as complex, and the complex has been revealed quite often to be primitive, Gidal's searing analysis soars above the all-too-common self-adulatory art criticism. Gidal truly understands art and 20th century culture (as Warhol did!), and his book deserves repeated reading.