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This is an unusually perceptive and sensitive view of the life and art of Georgia O'Keeffe. The author not only includes information about the friends of Georgia, but samples of the works that very probably influenced her development as an artist. The photographs of Georgia at various times in her life were a nice addition. I learned more about this wonderfully independent artist from this book than from the other dozens of books that I have read about her. Very readable, and highly recommended.

Most people who are in love with children's picture books are aware that the Caldecott award is given for the illustrations in picture books. This book gives the origins of the award and the guidelines for selection of the Caldecott Award-winning book.It analyzes specific illustrators/books that have been deemed Caldecott worthy over the past centuries including Chris van Allsburg, Marcia Brown, and David Weisner. Included at the end is a chronological list of every book awarded the prestigious Caldecott award. This is a great supplement to anyone's children's library. It gives great insight into the minds of these incredibly talented illustrators.

"Moure is the dean of California art historians... Here is her magnum opus. There is no single volume that even approaches this work in scope, depth and scholarship. Every high school, college and university in the State needs this book. Every serious collector of California art, the humanities and material culture needs this book." West Coast Peddler, Sept. 1999, p. 60

"California Art fills a vast cultural void in art history that has created a general lack of awareness concerning the development of art in this region. It may well be instrumental in changing long-held notions in New York that characterize California as an artistic backwater. In covering such a broad topic, author Nancy Dustin Wall Moure has taken on a daunting task, and has risen to the occasion..." Artweek, July/Aug., 1999, pp. 26-7.

"this volume is the authoritative record of left coast visual history...Miraculously...Moure has...recognized the underdogs of the realm with objectivity and democracy, including members of the school of Mexican barrio muralism." Juxtapoz, January/February, 1999.

"A de rigueur purchase for West Coast libraries and larger collections nationwide." Library Journal, February 1999.

"Her prose is serviceable and clear, the breadth of information impressive." San Diego Union-Tribune, Friday, Dec. 11, 1998, p. E-3.

Winner of Special Mention, George Wittenborn Memorial Book Award, 1999, ARLIS/NA, Art Libraries Society of North America.

Call Of The Wild: The Art Of Parks Reece is a most remarkable, 124-page showcase of the warm and often whimsical colored artwork of Parks Reece. Centered around the double themes of nature and wry commentaries or puns, Reece's paintings include "Hazards of Hunting" featuring a racoon using deer antlers to string its bow targeting an orange-vested hunter; "The One Who Learned the Words" representing a particularly exceptional hummingbird among hummingbirds; "Alien Abduction" showing a fish's point of view at being plucked out of the water, and much, much more. Highly recommended and uniquely memorable, Call Of The Wild is enhanced with essays by Tim Cahill and sonnets by Greg Keeler.

It is a shame your site is displaying this wonderfull book as an out of print item. The book is still available from the distributor : MITRA NV, Hoevenstraat 45 - B-2160 Wommelgem - Europe !

The information you are giving to your clients should be correct !!

This book is an excellent introductory tool to Van Gogh when reading with primary age children, especially in a bilingual, spanish speaking classroom. The story follows Van Gogh during his stay in France and the friendship with the son of a mailcarrier. This friendship led to the most prolific period of Van Gogh's career. The illustrations lead the reader along in discovering how Van Gogh was inspired to paint some of his most famous works. The story is a wonderful story that will inspire children to create their art!

"Campay: New Paintings" is a wonderful collection of Dennis Campay's work, with a generous number of full page color reproductions. Featured in Art & Antiques December 2002 issue, "Campay: New Paintings" provides a wide selection of his work up to his most recent pieces in 2002.

I paticularly enjoy his creative use of materials in paintings. Scenic marsh views, european architecture and southern relics seem to leap from the pages. All around an enjoyable collection from an artist that is continuing to create places you wish you were at.

Every cowboy story has a canyon . . . . . or so it seems. Yet, only one is a world famous tourist attraction -- the Grand Canyon; one is a World Cultural Heritage site due to its religious significance -- Chaco Canyon; one, deservedly, inspires great art -- Canyon de Chelly. None, perhaps significantly, has much association with cowboys. Cowboys may need canyons, great canyons deserve original artists more than they need cowboys.

Like the "Taos Artists" who created some of the best original American art, Canyon de Chelly has inspired its own "school" of painting and photography. Hagerty has done a masterful job of summarizing the "Canyon de Chelly School" (my label, but it should become official) of art for the past century. It's unfortunate he mostly ignores Native American art from pre-historic to modern times if the Canyon -- but that topic may well deserve a separate analysis of its own.

First of all, Canyon de Chelly is far more believable than the Grand Canyon, which is so huge and so deep that it defies belief. It's possible to stand on the rim and see people and buildings at the bottom of Canyon de Chelly, where the greatest depth is about 1,000 feet. The Grand Canyon is a mile deep, its vistas simply melt into infinity.

The almost 100 illustrations range from the sublime (Ansel Adams 1941 photo of White House Ruin) to the silly (Woody Gwyn's 1994 painting of the parking lot next to Antelope House ruin). If the most beautiful thing we can experience is the sense of the mysterious, as Albert Einstein once described the true source of all art and science, then these artists did capture the essence of Canyon de Chelly (the name is adapted from the Navajo "tse" -- meaning rock, which is pronounced "shay").

One great advantage is the inclusion of recent artwork, showing how the non-Navajo perception of the Canyon has changed. Art a century ago featured Navajos in the Canyon -- just as Taos artists emphasized people; today, Canyon paintings are mostly empty landscapes, as though today's Navajos are an oddity . Navajo artists, of course, still include people -- but then, the Canyon is their home and not a distant mystery.

Many artists, in Hagerty's words, see "Canyon de Chelly as solid and eternal, a place of solace and escape from pressures of modern American culture." Personally, I think of it as a place of living people, and the beauty which surrounds their lives. Chaco Canyon is the vast empty ruined cathedral from people who have vanished into the mists of time; the Grand Canyon is the window into eternity.

Each locale generates a unique artistic depiction, which really hinges on living in the place, or it fades from artistic consciousness. Be that as it may, and Hagerty doesn't delve into such esoteric speculation; he does offer an informed, relevant, intelligent and ongoing look at a truly original element of American art.

The Taos school seems frozen in time even though gigantic in its own legends, the "Canyon de Chelly School" is continually evolving and experimenting with new forms. Taos artist Barbara Zaring is interesting but unreal in her 1980s paintings; Phoenix artist Ed Mell, despite his overlooking the Navajo inhabitants of the Canyon, offers a fresh 1990s view.

There is no "best" portrayal of the Canyon -- though my favorite is Adams 1941 photo -- and Hagerty doesn't imply that one exists. He simply and eloquently offers an excellent overview, giving artists, patrons, collectors and viewers alike an intelligent insight into a very original and significant element of the American art scene.

Suffice to say, no serious collection of American art should be without a portrait of Canyon de Chelly. Hagerty provides a wonderful introductory service, which makes his book perfect for all artists, viewers and people with an interest in the beauty of America.

This book is inspirational, educational, informative, and funny. Any artist wishing to capture the essence of personality in a portrait will be truly enthusiastic to have this book on their shelf for reading and reference.

Although the cover of this book didn't excite me, the artwork and information inside certainly did. Jessica Zemsky focusses mainly on gouache paintings, but also has a sufficient sample of watercolor, pencil, oil, and pastel work. I especially love the poses she uses for the children's portraits. They are full of life and much different from the traditional "posed" look. The book is full of great ideas, from the expressive color of her gouache and oil painting to the sensitivity and softness of her pencil and pastel work. She includes color recipes for mixing various colors, using combinations you would not normally think of. This is a wonderfully inspirational book for those wishing to paint children.