Painting-the

It's a beautiful little book that sums of the wonderment of the cat. The illustrations are great. I'd like to find out more about the illustrator, Derold Page. His cat paintings are fabulous.

Parts of the person's heart and spirit, along with very personal ideas, find their way into THE ARTISTIC TOUCH. Artist Christine M. Unwin organizes artists' commentaries on their works in acrylic, collage, mixed media over monotype, mixed water media, oil or watercolor. This nicely illustrated book gives great ideas for painting abstract; animals; boats; buildings; flowers; land, sea or sky scapes; machines; Oriental themes; people; pictures with a message; the Southwest; still life; and travel. The quality is high on every page, such as the author's "Cappuccino" and "Roman wall"; Virginia Blackstock's "Copper & brass II"; Mary Braukman's "Down under"; Al Brouillette's "Dimensions VIII"; Jeanne Dobie's "Lady Gullah"; Nita Engle's almost photo precise "Beachy head"; Marsha Heatwole's "Punda milia kuja na kwenda"; Danguole Jurgutis's "Starry night"; Lena Massara's "Really spring"; Lorraine Chambers McCarty's "Departure"; Edward Minchin's "Japanese landscape"; Carlton Plummer's "Haitian light"; Joan Ashley Rothermel's "Spirit"; Susan Vitali's batik resist painted "Orchid series #2"; and Donna Vogelheim's "Tea & fruit with old bags," with her hallmark painting in some of her son's marbles. The entire book is hands-on applying what readers find in Angela Gair's ARTIST'S MANUAL, Carole Katchen's 200 GREAT PAINTING IDEAS FOR ARTISTS, and Ralph Mayer's THE ARTIST'S HANDBOOK OF MATERIALS AND TECHNIQUES.

Brown County is a place I dearly love. Midwesterners flock to Brown County to enjoy the beauty of nature and of art. This book celebrates those artists and their spirit. Anyone who loveas art, nature, or spirited adventurers will appreciate this book. The book is beautiful and makes a wonderful gift(if you can bear to part with it).

This is a fantastic book. It's a must for any wildlife artist and it even makes a great coffee table book for anyone who likes wildlife. The book is just full of great photographs and the step by step paintings are very usefull.

Excellent pictures of the art is included. Well written for children, but interesting for adults also.

This the second of the National Gallery's series on the history and science of pigments. The histories of each pigment are well thought out, and unlike many older books on this subject, the collective authors have not neglected the non-western world. From the perspective of someone who is active in living history groups and calligraphy societies, the lists of who used these pigments, along with when and where, is a welcome feature. As someone who hunts down minerals to make them into paint, the information on IR and X-ray diffraction data, along with color plates of the pigments examined with polarized-light and scanning electron microscopy are a welcome change compared to most other books on historical pigment use. As a scientist, the analytical info is worth the price of the book all by itself, from my point of view. Much of the discussion on the occurence and art history of the mineral pigments has found its way into geology and mineralogy classes I have taught.

Some of the material in this volume can also be found in Gettens and Stout almost word for word, though in the articles where this is most conspicuous, Gettens is always first or second author. To be fair, the editors of this series have never pretended that the articles were new material - though much of it has been new to me - but rather revised and updated material from the journal _Studies in Conservation_. Since the venerable Gettens was deceased by the time this volume was published, he may not have had the opportunity to revise his own material. Gettens was one of the instigators of the Artists' Pigment series, and since most of his research has not been superceded as far as I can tell, it's a small complaint and certainly not grounds to avoid this book. Don't avoid this book! Out of the three volumes in this series, this volume (Vol. 2) is the one I like best, probably because it covers most of the mineral pigments and some of the artificial pigments that I find or make. And unlike some other books on pigments, written by armchair scholars, it is obvious that the collective authors of this volume got down and dirty and played with the paints. The hands-on experience really shines through.

As someone who barely has time to keep up with the literature in my own field, I found the Artists' Pigments series a welcome addition to my library - a lot of well-researched and well-written material all in one place. I must admit that my favorable opinion of this series is partly based on the wealth of scientific analyses therein, which may not help a non-nerd evaluate this book, but I will point out that all my art-fiend friends, some of whom make their living in the fine arts, are constantly trying to borrow it.

I fell in love with this book first. I wasn't sure if my 19month-old child would like the book but she Loves this book. This is the first book we have to read during reading time. I have recommended this book to many friends and relatives. I sent this book with my daughter to the babysitter one evening - the next day the babysitter bought the book and she doesn't even have children. How wonderful for children to know that Mama is praying for them all the time. At the end of the book I tend to get tears in my eyes. This book has even inspired me to make a quilt with angels for my daughter so she will always remember the message in this story. Thank you Bonnie for writing such a wonderful book and thank you Nan for the great illusrations!

This book by John Boardman covers an essential period in Greek Art. The Black Figure style takes place from about 580-500 BC, though it is overlapped by Attic Red Figure about 530 BC. This book gives you the names, dates and vases of more than 50 Attic Black figure artists. John Boardman knows his material, and it shows, he gives a full array of differing views about the authorship of some vases showing that his opinion may not be the only opinion. I really learned a lot from this book, and truly recommend it to any Art or Classics student, as well as the person looking for general knowledge. A Good Buy!

Spanish translation of a lovely little picture book which tells a story about Renoir - represented by a toy bear. The pictures are beautiful for children - very bright and interesting, each done in the style of Renoir (Mr Bear is in each picture). The translation seems to be well done.

It's a very nice story for young children who like bears, but not very much information about Renoir. Most useful as a story book or to give children a taste of "art."

This book was published in 1987 and knowledge of the history and significance of Austrailian studio pottery has increased since then. However this is the most useful work for identifying studio works and to obtain short bios. on the artists. It is highly sought by collectors of Australian pottery and is a worthy addition to a reference collection. Note a new book covering Australian Studio potters will be available SHORTLY through the Shepparton Art Gallery, Austalia. The Author is Greg Hill.