Leonardo's Art Workshop by Amy Leidtke

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This is a companion to the other book I reviewed today (Leonardo's Science Workshop), and is aimed at the arts, again through the lens of Leonardo of Vinci's accomplishments, and often referring to his own art and notebooks, of which he left many - although nowhere near as many as he wrote, it appears.

Leonardo never saw any separation between the topics of science, technology, engineering, and mathematics, commonly referenced today under the acronym STEM (not STEAM, as these books term it). Leonardo always went deep into a subject if he went at all, wanting to understand not the superficial, but the integral, and this book follows his example, offering fun and delightfully messy topics like creating paints and dyes from food, as well as beautiful ones, such as working with prisms, and other aspects of using light for art, such as building a camera obscura, as well as understanding what light is.

Art of the past is explored in entertaining and practical ways such as in contour drawing, and to keep things in perspective, there's also a discussion of one-point perspective drawing. Science and art are brought together, in much the way Leonardo himself did, by exploring ideas and work by such artists as Sandro Botticelli and Paul Klee, and such scientists as Sir Isaac Newton and Leonardo Fibonacci.

There's a bad error on page 95 where an eight inch diameter circle is determined to have an area of fifty square feet! I think they meant fifty inches! Also page 109 on 'Spectacular Spans' has a color key which shows valley folds blue, but image shows them green. Whether this was just in my electronic copy I do not know, but if it's in the print version it needs correcting.

If you have time (and who doesn't?!), you can make your own sundial using information in this book, or even an infinity scope which sounds a lot more dangerous than it really is! The sundial isn't just a project. You learn in reading about it, not only how it was made, but why it was made the way it was - so please, do touch that dial! This is the approach throughout the book and is an excellent learning opportunity for any young child. I commend this book as a worthy read.

101 Textures in Oil and Acrylic by Mia Tavonatti

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

Subtitled 'Practical techniques for rendering a variety of surfaces' this book of well-over 100 pages demonstrates, with illustrated steps, how to achieve an amazing variety of realistic artistic effects, from creating skin, hair, feathers and fur to rock, pebbles, fabric, glass, copper, thatched roof, water, fruit, plants, and on and on.

To be honest, one or two of the results looked a little off to my admittedly un-artistic eye, but the overwhelming majority of them were quite stunning and highly impressive. That's more than likely because this artist teaches her subject and has been painting and teaching for some two decades, working multiple professional jobs for a variety of well-known commercial employers, and winning awards. I've seen her described as "internationally acclaimed and sought-after muralist, illustrator, painter and mosaicist." and after reading this book, I have no problem not only believing that, but also understanding why.

Each page covers a different topic, but is set up in the same easy-to-follow style, with an illustrative image from the author's own work, accompanied by detailed step-by-step instructions for achieving the end result, and I guarantee if you can follow these steps, you can achieve the same kind of result, and improve your work immensely, if these images are anything to go by.

If I were less into writing and more into art, I would definitely have an easel up and be practicing these techniques. Unfortunately, there are only so many hours in a day, so until I can move to a planet that has a longer day, I'm happy to learn something from a master and perhaps use what I've learned to bring a character into a more sharply-focused life in a novel somewhere. For those who are into their art and have the time to work it, I commend this book as a worthy addition to any artist's library of resources.

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The Little Book of Cartooning & Illustration by Maury Aaseng, Clay Butler, Jim Campbell, Dan D'Addario, Alex Hallat, Joe Oesterie

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This is a book I could only review in ebook format whereas the book is clearly designed as a print book, having prepared pages for you to practice the very lessons which are taught here. nut 'lesson' makes it sound much more formal than it really is, and much less fun!

The book begins with some simple rules for drawing and then tells you how and when to break them! Can't argue with that! The first topic is heads and faces, and all that go with them: eyes, ears, noses, expressions. After this it moves on to drawing hands and feet and then whole bodies, and adding color. It goes on to discuss animals and inanimate objects, scenes and gags, and caricatures; in short, everything you'll need to get started - assuming you're willing to take the bit between your teeth, say 'the heck with detractors', and actually get started creating your own images!

The written advice is short, simple, and broken into easy-to-follow steps, and the steps are accompanied by drawings illustrating how the drawing will progress. I found this book illuminating and instructive, and I commend it as a worthy read for anyone interested in cartooning or art in general for that matter.

En Plein Air Watercolor by Ron Stocke

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This is the second of two complimentary books, the first dealing with acrylic, this one dealing with watercolor, a medium that is often taught first to young students, when perhaps acrylic ought to be taught instead. This artist has three decades of experience in the art world and specializes in watercolor.

This doesn't prevent him from conveying the important message that if you want to paint, you should learn to draw. Drawing is another way of seeing - a more concrete way in some regards, in that it captures the important details - not every detail, but the ones that made that big impression on you - on paper, so the importance of having a sketchbook to hand, of seeing what it is you want to paint, and reinforcing it in a sketch is invaluable.

Watercolor paintings start not with water or with color, but with that sketch: rough out the pictures you think you might want to paint. Paint only those you want! Keep sketches simple. This advice comes out of the first few pages of this book and seems like a sound beginning to me!

The author opens with this and with a discussion on perspective and subjects for drawing, before it heads into a discussion of equipment followed by a section on tension in pictures and how to avoid it, subject placement and so on. The details are paradoxically brief, but quite in depth and very educational.

The book contained a wealth of tips and suggestions about things people starting out may not consider much - such as how to paint windows, how to make shadows realistic and what separates a shadow from a reflection (other than the seemingly obvious!). These are the truly useful benefits of an author's long experience and while an artist is always growing into their own, it does no harm at all to pick up advice along the way and adapt it to make it your own.

As with the other book, the art is different for each person who sees it: some we feel is great, some not so great, some unappealing, some brilliant. Some of the paintings in this book are quite startling and made me see watercolor in a new way. I particularly liked English garden on page 52, Elliot Bay Marina on page 92 (the depiction of the water was masterful) and Solo in Paris on the next page, both of which were used in illustration of capturing realistic reflections.

Like the acrylic book, this one is also designed as a print book and the ebook version on my tablet did not allow viewing of the entire image on some of the images (particularly toward the end of the book) that ran across more than one page. This is a problem with ebooks. Some I have seen presented as two-page images when they should have been shown as single pages. In this case, the opposite applies: it really should have been viewable as double-page images otherwise the educational power and import of what the artist is trying to show us is diminished annoyingly.

But that did not rob this book of its value. I know a lot more about watercolor now that I did before and I find it a fascinating medium! Consequently I commend this book as a worthy read! The author's website is at ronstocke.com.

En Plein Air: Acrylic by Mark Mehaffey

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

I'm not a painter or artist of any kind notwithstanding my The Little Rattuses children's book series which is far more cartoonish than ever I'd label it art, but like they say: I may not know much about art but I know what I like, and it is a truism! Art, as a form of beauty, is very much in the eye of the beholder.

That doesn't mean we can't learn to better appreciate more of it, and to me that's why it's always useful to read a book like this one, which is not so much about art appreciation, but very much about art creation, particularly in the outdoors (the En Plein Air of the title) - and importantly how to travel light when you're on an expedition to find a locale and capture something there on canvas.

It occurs to me that there's no better way to appreciate art than to understand from an artist's perspective, what it takes to put together an eye-catching painting. This is the first of two En Plein Air book I shall be reviewing. The other is about watercolor - a medium that is often taught to kids in primary school, which is probably a bad idea, but while on the one hand it is an unfortunately cheap and favored solution, on the other, it is an introduction to art, and any such intro is better than none, I guess!

I have to say that the book is aimed at a print book audience, so the ebook version I had to review sliced up some of the paintings, and failed to show pages in juxtaposition, thereby diluting if not derailing the author's message and making it harder to compare one with another when you had to keep sliding the screen back and forth instead of sliding your eyes back and forth.

I've seen some ebooks that did present as a two-page view and I typically found that annoying since there seemed to be no reason for it, but in this case, there really was a valid reason to show the book in this format and it was viewable only as single pages, which downright spoiled parts of it. But as an amateur reviewer, ebooks are the new print copies, I'm sorry to say!

But anyway! The author starts out by briefly introducing the medium and the tools by which it is applied, talking about acrylic paints, and about canvases, brushes, and techniques for bringing all three together into a harmonious result. It's a bit like magic, isn't it?! The brushes are the wands, the medium is the spell and the painted canvas is the result.

Referring often to his own long experience, the author discusses lighting, paint hues, tints, tones and shades, paint temperature (and no it's not about freezing your butt off while sitting outdoors painting!) and about differences between acrylic and oil - and it's not just the price! There are even differences within acrylics which are well-worth knowing. There are many photographs - of paintings! - which admirably illustrate the points he makes in the brief, but highly illuminating text sections.

I have to say that some of the pictures did not look great to me, but many of them have an impressionistic element to them and I am not a big fan of the impressionists. I can't say how this author (who was a public school art instructor for some three decades) would describe his own work; I can only speak to how it appears to my amateur eyes, but to them, other paintings looked wonderful.

Talking of impressionism, two of these really made an impression on me. My favorite was the Morning Glow which he included on page 98 in a discussion of temperature blending. That painting was great and truly captured its subject. The two paintings on the next page, Corner in Winter and Deep Woods Violets were worthy of a special mention, too.

The other painting was revealed in stages starting on page 84, as the artist walks us through putting together an entire painting from scratch: how he does it and what his thinking is at each stage. This was very educational. The interesting thing for me though, was that I considered the painting to be perfect and highly atmospheric on only step three, and liked it less well as other elements were added to complete it in step 6.

It just goes to ask that old question: if a work of art ever really complete, and how do you know if it is? Eye of the beholder again! Another example was when I thought the pencil sketch made to assess values for a painting on page 82 was more impressive than the painting which is led to, but maybe that's just me! I'm sure you'll find your own likes, dislikes, and loves here as anyone would.

So I thought this book was well-worth the reading and if you don't find fresh inspiration and a renewed drive to go out there and do it after reading this, then it's all on you - right next to those paint splashes! I commend it as a worthy read. You can find the author's website at markmehaffeyfineart.com.

The Complete Book of Calligraphy Lettering by Cari Ferraro, Eugene Metcalf, Arthur Newhall, John Stevens

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This book is exactly what it claims to be - complete! At least as far as a rank amateur like me can tell!

It contains everything from start to finish with information about pens, paper, brushes and even chalk. It covers a variety of alphabets and gives numerous detailed examples not only of how to create a beautiful calligraphic end result, but even down to the details of how to create each letter:- which strokes to use and which direction to draw them in, in black and colored ink and in an almost bewildering variety of styles, from simple lettering (no that any calligraphy is truly simple!) to exotic stuff with all the curlicues and flourishes you could hope for. Ancient and modern, elegant and edgy, it's all here.

I am about as far from a calligraphy expert as you can get, but I was impressed by the sheer amount of example and detail - some 240 pages of it, and the hints and tips which were included frequently. My guess is that if you cannot get these skills down from reading this, following the examples and practice, practice, practice, then you never will, so I commend this as a one-stop shop for learning this fine art.

Paint Alchemy by Eva Marie Magill-Oliver

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

Be warned that this is not a complete beginner's how to. It is a how to, but it covers a specific topic and assumes you know a little bit about what you're doing. It's much more of a guide to improved technique than a beginner's guide. For me, a beginners word here and there would have been useful.

For example, the author will mention using a specific brush by name, without explaining what that brush is, and although the illustrations are copious these are more of the finished work and of an assortment of painting tools than they are illustrative of the particular tools mentioned in the text at that point. An image of the brush just mentioned in the text would have been more useful to me, but that said, the book description does make it clear that this is aimed at "Exploring Process-Driven Techniques through Design, Pattern, Color, Abstraction, Acrylic and Mixed Media." It's not aimed at baby-sitting the reader!

From that perspective it does well - talking knowledgeably and from experience about techniques and materials and explaining how to work with them to achieve certain effects. It goes way beyond simple brush technique digressing into unusual topics such as blowing through a straw to move paint on a surface, and spraying the brushed-on paint with liquid to achieve a different effect than what the brush alone can offer. There's also an interesting mention of using thread soaked in bleach to achieve certain effects, so if you're looking for inspiration of a slightly different sort - in moving beyond simple brushwork, then this book is ideal. I commend it as a worthy read for budding artists looking for the next phase in their arsenal.

Hand Lettering A to Z Workbook by Abbey Sy

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

Note that this is a companion to Hand Lettering A to Z. I didn't realize it fully at the time I requested this for review, so this is a very short review for a very short book aimed at the print book market, because though it had some 195 pages, only about 23 of these are the book. The rest is largely-blank exercise sheets where you can practice the character sets the author lays out for you. I haven't read the original volume, so I cannot comment on that.

Those twenty-three pages lay out in brief the rules and arts required to create your own hand-lettered whatever-you-want-to create! The tips and hints start before you even write the letters, beginning with information on the kinds of paper and tools you might want to lay your hands on first, and then progressing into different styles of writing and different effects that can be achieved using those tools. I commend this as a worthy companion book, but as I said, I can't comment on the book it's a companion to!

Collage Workshop for Kids by Shannon Merenstein

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

Not to be confused with College Workshop for kids (which I just made up), this is collage workshop aimed at a young audience! Kids love to do this kind of thing and it was interesting to me because I've been toying with an idea of doing a collage episode of my Little Rattuses series (which I'll then of course have to photograph since I'm not going to create a score of original collage books to sell! LOL! So while you never always know where you'll get good ideas and tips - which is why it's a good idea to read lots and keep your eyes open, you do now, because this book is full of them!

The book contains everything you need to know - the supplies you'll have to bring yourself! But once you have them, this book will tell you - and your kids - in easy, illustrated steps how to turn them into some pretty cool collages that any young child would be thrilled by and proud of. You can create anything in collage, and make it look pretty darned real by choosing the right materials, and once you get the bug, you can move on to creating your own entirely original collages. I commend this book as a fun adventure which will teach kids to be creative and leave them with some nice art skills and a wealth of confidence. Plus who knows - maybe a new hobby, too? Or even a career!

How to Think Like an Absolute Genius by Philippe Brasseur, Virginie Berthemetv

Rating: WARTY!

This is from an advance review copy for which I thank the publisher.

I have to say up front that I wasn't impressed by this book. For one reason it was overwhelmingly white male - as though there are so few examples of other genders and ethnicities that the author couldn't find them. I call bullshit on that. He simply didn't look, and instead of finding a diversity of modern cutting-edge exemplars, it seems he took the lazy route and fell back on historical figures.

The book is divided into three sections, the first, 'Be Curious', is all white males. The second, 'Be Imaginative', is all white males. The third, 'Be Determined', is all white males save two token people: Martin Luther King and Agatha Christie, but what is the point of being determined if authors determinedly exclude you in books like this? Each individual section had up to half-a-dozen 'also-ran' names listed, but again these were overwhelmingly white men - around sixty of them, and white women - around forty, with a literal handful men and women of color. This book needs to be shunned on that basis alone. I'm surprised the publisher allowed it to be published like this in this day and age.

Even with the white folks, the author talked only about the positive, like every one of these people was a paragon. He never brought up anything negative about his heroes, such as that Einstein made a major blunder in his calculations precisely because he did not have the courage of his convictions, or about Charlie Chaplin's predilection for juvenile females, or America's darling Edison (barf), who cruelly electrocuted animals for no other reason than to try to 'prove' that his rival Tesla's AC power transmission system was dangerous and Edison's own limp DC current was the only intelligent way to go. Guess who won?

Edison was not a genius. A genius does not blindly try out hundreds of filaments to figure out how to make a light work. In fact Edison wasn't actually the one who tried all those - he had his more than likely underpaid workforce do all the work. Maybe that was his genius: getting others to labor for him while he took all the credit? But the real genius was the guy who invented the light bulb before Edison 'did': Sir Joseph Wilson Swan. Can we not find better inspiration and better, more diverse people to seek to emulate than these? I refuse to believe we cannot.

The short response to this title is: No, you can't teach someone to be a genius. The problem is that part of it is nature, which is really hard to change unless you become the scientist who does figure out how to change that. The other part though, is nurture and it's highly malleable, especially in young children.

In short you can encourage people to think in ways that might lead to important insights and inventions, but just as with a horse being led to water, you can only do so much. That doesn't mean you can't be inspired by those who have gone before, but it's a lot easier to be inspired by someone who is in some way like you, and the majority of people on this planet are not white males - they're half female and largely non-white! I cannot commend this book at all. It's entirely wrong-headed, unless the author really only wants white male children to be moved by it.

Anna at the Art Museum by Hazel Hutchins, Gail Herbert, Lil Crump

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This was an amusing and entertaining Canadian production written by Hutchins and Herbert. It's also educational story for young children, with an enterprising young main character who is on a trip to the art museum and is not onboard with this idea at all!

She's bored in the foyer before they even start looking at these classical paintings and sculptures, and she's constantly finding herself getting berated by the security guard for being too noisy, or for touching the exhibits, or for eating in the museum. It's enough to make her scream (and I really enjoyed the page featuring Edvard Munch's Der Schrei der Natur) but then something changes and Anna gets to see a little of the inner workings of the museum.

For me this was a bit of a stretch that this would bring about a magical change, but art is in fact magical so I let that slide without any problem. Now Anna sees art in a new way and relates it to nature and everything is sweet! Finally she appreciates these things she's been seeing, but not really seeing before, on the walls all around her.

Lil Crump's artwork is amazing and skillful and if that doesn't win over a kid then I don't know what will! Her depiction of the actual classical paintings is wonderful. She definitely beats my parodies in The Very Fine-Art Rattuses so if I had a hat, I'd take it off to her! I think this book was wonderful. It teaches a valuable lesson and makes for some fine entertainment. One of the real joys of this book is that Anna is not only depicted as a person of color, but as part of a mixed race family, and this is very rare in children's books, so the story is to be commended on that score too. Now that I've commended it, I can recommend it as a worthy read!

Essential Art History by Paul Duro, Michael Greenhalgh

Rating: WORTHY!

Now back to some books I can get behind! I recently published the sixth in my own Little Rattuses series for children and insane adults like myself. Titled The Very Fine-Art Rattuses, the book aimed at teaching a smattering of fine art to young children. Arts are all too often forgotten in our ridiculous addiction to sports in the USA, and it's important not to lose them or lose sight of them, especially in young impressionist...er...impressionable children! A book like this, while not itself aimed at children, is useful for anyone who wants to know more, or, like me, seeks to include art in a novel, and make it look like they know what they're talking about! Now you know my secret! I don't paper over the cracks, I paint over them!

This three-hundred-some page paperback is a literal A-Z of art terminology, a virtual encyclopedia of everything from Abbozzo (not to be confused with a bozo) to Zola, Émile (not to be confused with a bozo). I recommend this for anyone who wants a handy art book to hand, but note that this book is text only - it carries zero illustrations. This book may know a lot about art, but it doesn't show what it's like! This may strike you as odd, but it would be ten times as thick if it had illustrated the terminology, and imagery is all over the Internet these days anyway for reference purposes. I recommend it.

The Night Dragon by Naomi Howarth

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

I recently favorably reviewed this artist's book Tug of War. I had slightly mixed feelings about that, but this book is not so much an order of magnitude greater, as it is in a different universe. It's a pure pleasure to read.

For some reason, this book did not want to download from Net Galley, but I'm glad I persisted. After three attempts it finally came down - dragons are like that! - and it turned out to be one of the most gorgeously-illustrated children's books I've ever read.

The cover looks like it's lit with neon lights, and the interior is one breathtaking image after another. Maud is a rainbow joy especially when compared with the earth tomes of the other dragons. I read this in my iPad, but out of curiosity I downloaded it to my iPhone too, and it still looked good on there although the text is too small to read without stretching the image on the screen, but the pictures are worth having in your pocket!

Maud is a very shy night dragon and while her four colleagues (they're not really friends) launch every evening to spew out soot and darken the sun for night time, Maud sits and dreams. Her only true friend is the mouse who urges her to fly, but Maud is shy.

One afternoon the other four dragons have a party - Maud isn't invited it needles to say - and afterwards the others are so sleepy that they fail to awaken to start the night. It's all up to Maud! It turns out that Maud really isn't like the other dragons after all. Instead of sooty, dark sunsets, she breathes out the most fiery orange, startling yellow, deep red, heliotrope, and gold sunsets you ever saw. She flies all around the world delivering this brilliant bounty of beauty, and finally comes into her own - as any artist will given sufficient encouragement and support!

I loved this book and I recommend it as a worthy read for children young and old.

Drawing Cute with Katie Cook by Katie Cook

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This book is an awesome introduction to illustrating, aimed at younger children. And even adults for that matter who might want to get into the fun business of creating a cute children's book. I had never heard of Katie Cook, but despite looking barely older than a teen herself, she's a mature illustrator who has worked on a variety of projects for, for example, Marvel comics and on My Little Pony, so she's well-known in the business for her illustration skills.

She should also be known for her writing skills since she's also a writer and her comments throughout this book were hilarious and it was worth reading it just for those. The illustrations are really the cherry on top though, because in a handful of steps she shows how to create a bewildering variety of images of animals (would that be bewilderbeasts?), assorted inanimate objects, sports and hobbies, and food - which seems to be a special favorite of hers despite her trim figure. Maybe Cook isn't just a name?!

The steps are easy. As she says, if you can draw a potato, you can draw anything, and anything and everything populates these pages. The chapters cover Animals, Foodstuff, Hobbies and Sports, Holidays and Seasons, and Handy-Dandy Objects. There's getting on for a hundred thirty pages of illustration, and each page contains about two things to draw, including domestic and wild animals, flying and swimming animals, cute and scary animals, and even fantasy animals. And insects and arachnids are animals, remember, no matter how much you might want to dissociate yourself from that end of the family.

There are cakes and ice creams, teapots and milk cartons, pineapples and avocados. You'll like her grapes a bunch! When you see her apples you'll say "Core!" Drawing peppers will no doubt ring a bell. The broccoli looks very cubby, but it's with the sandwiches that you'll earn your bread. Okay, enough pun-ishment! There are also kayaks and racquets*, knitting and football, jigsaws and books - enough to keep you busy making variations on a theme until before long, you're launching into your own original drawings in short-order Cook style! (Okay, I lied about the puns).

I really liked this, the drawings are good and simple enough for anyone to follow and create your own. The results are very cute, just as the title promises. The supporting text is, well, supportive, and funny, and this book makes for a great gift! If there's one thing we really do need, it's a lot more talented illustrators, especially of cute, and from a diverse background. This book is a great way to encourage that and I recommend it.

*Isn't racquet a weird word? Seriously? Who would even think up a word like that? Just sayin'.

Imagine a World by Rob Gonsalves

Rating: WORTHY!

This is volume four in a series. I have not seen the others, but if this is anything like the previous three were, then it's an epic series and an awesome book to give to a child. The only problem with it is that it is not very ethnically diverse.

Each page consists of a large double page image, all of them done in the manner of Maurits Escher. If you're familiar with his work, you will know the kind of thing to expect here, but this is aimed at younger set, and will definitely draw children in so much that they might not wonder why a person with a wonderfully diverse name like Rob Gonsalves doesn't incorporate more of it into his illustrations. Among the author's influences were Dali, Escher, and Magritte. I recommend this for the artwork.

Why Cats Paint by Heather Busch, Burton Silver

Rating: WORTHY!

I'm not a big cat fan, that is, I am not a big fan of cats, but when I saw this book I had to take a look at it. My conclusion is that either these two authors are either high amongst the most tongue-in-cheek authors ever, or they're dangerously delusional. I shall be charitable and go with the first of those options, mainly because I share their evident opinion that the art world is just as bad as the fashion world for being puffed-up, vacuous, and ridiculous.

Seen in that light, this book, subtitled "A theory of feline aesthetics" is brilliant, and I salute the authors. The tone is pitch perfect, the images gorgeous, and the overall effect hilarious. Cats are not the only animals that paint. By 'paint' I mean daub a surface with color. Chimpanzees and elephants do it, rhinos and meerkats (Google's idiot spell checker wanted to change that latter to 'marketeers' LOL!), raccoons and pigs, goats and lemurs, parrots, and even seals, and not just at Easter (or estrus)!

Employing the word 'paint' suggests a purpose. Do they have a purpose? Clearly it attracts them, but what exactly is going on in their sub-human brains remains to be seen. Something does however compel animals to daub the paint, yet no one can possibly know what's going on in the animals' mind, except, of course, these two authors who deliberate over it and quote references, and have a high old time extolling both art and artist!

I recommend this not only because it's intriguing that animals do this, but because of the images of the artists, which are charming and adorable, and also the art itself, which is inspiring for anyone who, like me, who all to often thinks he can neither paint nor draw. I recommend the book as a coffee table book, a reading book and a guaranteed conversation-starter.

The Ghost Of Gaudí by El Torres, Jesús Alonso Iglesias

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

This was a Net Galley offering which was in the 'Read Now' category. That Category can be a mixed bag, but I have found some real gems there, and this was another one - an award winning comic which seems to have been sadly under-served primarily because it was not an American comic. Or maybe people simply have not heard of Antoni Gaudí, architect of the Sagrada Família, the most-visited monument in Spain?

So what was refreshing about this was that it was not set in the USA. Sometimes I think writers in the USA forget there is an entire planet out there, most of which isn't USA. This was set in Barcelona, so not only did we get to visit somewhere that was well off the beaten path (in terms of story settings we commonly see in graphic novels in the US), but also which told an engaging and intriguing story.

In Barcelona, murder victims begin showing up and a problematic investigator is having trouble convincing people that the murders are somehow tied to the architectural creations of Gaudí. As he tries his best to track down the perp on his side, a woman who saves an old man from being hit by a vehicle in the street and becomes injured herself, finds she is somehow now involved in these crimes. Did she save Gaudí's ghost? Is there even a ghost? If not, what was her experience all about, and who is committing these crimes - and why?

The story is just the right length, with just the right amount of freakishness and normality to blend into a great story set in a beautiful-looking city. The artwork is wonderful, and I really enjoyed this. I recommend it as a worthy read.

Park Bench by Christophe Chabouté

Rating: WORTHY!

This is from an advance review copy for which I thank the publisher.

I had never heard of Christophe Chabouté, but after "reading" Park Bench, I am a fan! I put reading in quotes because there's nothing to read! It's all art, all pictures, no interpretation necessary - a truly international work in some senses (see caveat in penultimate paragraph). Almost all the action takes place around the titular public seat in a park. Just by watching this one locale through the lens that the author provides us, we see a microcosm of life.

We see people who use the bench and we see those who don't even see the bench. We see friendship and antagonism, love and abuse, and a persistent dog which is determined to claim this territory for its own! I particularly loved the scene in the snow where we don't even see the dog - only its footprints.

That's the genius of this. At first, when I started to look through it, I kept wondering if this was it, and then I realized it's not only it; it's everything. Naturally, the first impression is that speech is missing, but that's intentional. The one thing that was truly missing is the sense of the passage of time. I don't know if that was intentional or not.

Yes, we see the occasional season now and then, but do we see years? Are we meant to? That's the only explanation for the remarkable phenomenon which slipped right by me, mesmerized as I was by the images, until the author hit me over the head with it at the end!

I loved this, I thought it was brilliant, amusing, engaging, and really, really well done. The artwork is exquisite and detailed, and evocative. The French cop actually looked so French it rather removed it from its cosmopolitan flavor for those few frames, but everyone else could have been anywhere else - anywhere that's largely white and western that is, because there were few people of color visiting this park. That, I think, was an omission, but no doubt there are parks like this. Donald Trump probably lives near one.

But I am not going to quibble over that when the rest of it was so perfect. Not this time. I recommend this.

Rogues' Gallery by Philip Hook

Rating: WORTHY!

This was an advance review copy for which I thank the publisher!

It was also a fascinating study of art dealership over the centuries (yes, centuries!), focusing on some of the main characters of the last two or three hundred years, and their modi operandi. It's also, in parallel, a study of greed, avarice and capitalism at its worst. I found it engrossing, and was pleased to see that one of my pet peeves about scholarly works like this: that they have margins far too wide, and text lines far too widely-spaced, and are thereby abusive to trees, circumvented in this case, because the margins were not ridiculously wide and the text was quite finely spaced, so you see? It can be done! Kudos to the author and publisher for achieving this.

Of course, none of that matters if the book is only to be released as an ebook, but usually these works are not, so this is important. In fact, one of only two complaints I might make is that this book it did not work as an ebook because it was in PDF format which is not ebook-friendly unless you read it on a reasonably large tablet or on a laptop or desktop computer.

On a smart phone, the text is far too small to read comfortably, and if you try to "stretch" the screen to enlarge it, it takes forever to get the fit right, and then you can't swipe to the next screen without reducing the text again! It was a real irritation. Another issue was that the PDF format did not lend itself to reading in "night mode" wherein the screen colors are inverted so the text is white and the page is black.

This is actually my preferred mode to read, and it's a great way to save energy (by reducing battery use so recharges are required less frequently), but it doesn't work with this because what happens is that the screen colors are quite literally inverted - not just the text, but also the images, so instead of looking at gray-scale photographs of people or art works, you're looking at photographic negatives. I think publishers have a long way to go before they can say they're in the ebook book business - and have that claim sound intelligent!

The other complaint I originally had was circumvented in one away but exacerbated in another! It was initially to be that the biggest problem with the book was that, for a work which talks about paintings, it was curiously lacking in pictures of them! In fact there are pictures, and in color, but they are set together in the middle of the book rather than appearing close to the text that references them. Again this is because the book as designed as a print book, not as an ebook.

There are also pictures of some of the characters brought to life here, but these are in gray-scale imagery. When I also saw a couple of pictures in that format too, I had feared this was all I would get, and not even at their best because of the lack of color, but I need not have worried because between pages 160 and 177 there is satisfaction to be had. It only served to leave me wanting more though.

If there is to be an ebook version of this, then it would have been a real joy to have had links directly in the text to an online source for color images of the paintings which are discussed. This would be a perfect use of an ebook, especially since I am also greedy when it comes to wanting to see everything that's talked about. Again this leads me to believe this was produced solely with thought to the print market and not to the electronic market, which begs the question as to why the review copy is being distributed in electronic from? It made little sense to me and did no justice to either the print version or to the e-version if there ever is to be one. But I have to blame the publisher, rather than the writer, for this! it did make me decide not to request any books of this nature for review in future. I don't think it's possible to adequately review a book designed for print by means of an electronic version of it when it contains art work as this one does.

But let's look at the writing because to me, that's typically far more important than anything else. This book focuses on the last four or five hundred years, becoming more detailed as we get into the twentieth century, but it reaches even as far back as ancient Grecian times, so it is very wide-ranging.

Art dealing is nothing new, but those dealers from yesteryear can scarcely have imagined the kinds of sums that modern art dealers routinely deal in, not when a dealer sells a picture in the USA and immediately claims $300 is the highest price that will ever be paid for a painting in America! LOL! Even in Victorian times, there were large sums of money exchanging hands in one direction as paintings moved in the other. Some of these characters, such as Joe Duveen, were both notorious and well-liked, others were merely notorious. For at least one character, his love of his partner's wife evidently exceeded his love of art, and this queered his pitch in a serious way in time.

Another dealer, Paul Durand-Ruel, who almost single-handedly brought Impressionist works into the spotlight when no one else gave them the time of day was an intriguing guy. The names of the people he personally knew are impressive: Degas, Monet, Manet, Pissaro, Renoir, and so on. It's pretty odd to think someone knew all of those guys and such a relationship would be a lot harder to have today, when artists names are not so legendary as those past masters.

There are controversial issues discussed here, too, such as how maligned should be those art dealers who dealt with the Nazis? On the one hand, they rescued paintings that would probably have been destroyed, since the Nazis considered them deviant. On the other hand, those who rescued the paintings by buying them from the Nazi art dealers (and others), were helping to fund that evil cult even as they preserved the paintings. Were they good or bad or were they, like the pictures of the people featured in this book - in a gray area?!

The author makes some fascinating observations and interesting points, and he's not afraid to ask awkward questions about dealers or about dealing in general. Does it really make it better to say that pictures are sources and placed rather bought or sold, for example?! It may rob the transaction of its 'filthy lucre' connotations, but does it really sanitize those transactions?

I should probably say before I close out this review, that I'm not widely knowledgeable about art, nor do I consider myself even remotely an expert on the topic. I'm not an artist either, but that doesn't mean I can't appreciate a book like this or learn something from it.

So while I can very much enjoy works of art, I can also see both sides of this world - the appreciative side, and the cynical side. What I think is that art is a very personal thing, and its most personal for all of course, for to the artist. Anyone beyond that artist who talks about art is doing it purely from their own perspective, not from any objective and authoritative position. Anyone who wants a laugh at the expense of art critics (not the same as dealers per se, but definitely in a parallel line of "business", they should look up Pierre Brassau in wikipedia.

On a related note, When we have a director of a state museum of art, Katja Schneider, mistaking a painting done by a chimpanzee, for a work by the artist Ernst Nay, it serves only to highlight how very personal a world this is, and sometimes i honestly have to wonder if any of these people really have a clue what they're talking about!

That Impressionism, which is today renowned, had to be kick-started against opposition for example, poses questions about what is art, who determines this, how the quality of one picture over another is to be honestly and fairly judged, and how some works get to become all but priceless, whereas others which to someone like me, seem every much the same, cannot even command a price. This book helped with some of those questions (it comes down to trust as often as it does dissimulation it would seem!), but it also raised others, and that's fine with me; ideal in fact!

Overall, I do recommend this for anyone interested in art and art history. It makes for an engrossing insight into the past, and into the world of the dealer, As well as into artists and dealers themselves, and the shifting, often contentious, yet at other times endearing and heartwarming relationship between them, and into people struggling to make a living, and those with more money than sense!

Trick of the Eye by Silke Vry

Rating: WORTHY!

There's not much to say about this book with a poetic title except that it's an awesome example of illusion and inventive art. Subtitled 'Art and Illusion', the book demonstrates handsomely that deceptive imagery in art is not anything new: it's been done for years - centuries, even.

This book has some eighty pages of examples from works by people like Giuseppe Arcimboldo, Robert Campin, Salvador Dali, MC Escher, Hubert and Jan van Eyck, Lucas Furtenagel, Vince van Gogh, Hans Holbein, Samuel van Hoogstraten, René Magritte, Francesco di Giorgio Martini, Andrea Pozzo, George Seurat, Jan Vermeer, Paolo Veronese, and Leonardo da Vinci as well as a host of more modern artists, including Banksy.

It covers not only works of art, but also objects, including the Acropolis of Athens, and offers some do-it-yourself illusions in the end pages. I recommend this for anyone who enjoys illusions and art