In these final Schools’ Pages for 1994 Nonetheless, when the author analyses in- other languages at A level.
Nonetheless, when the author analyses in- other languages at A level. Furthermore, it
we introduce a new section on exhibi-
tions, “Running and Coming in Lon-
don”. For each gallery we also list the
telephone number of the education
officer so that teachers can make
direct contact to find out relevant de-
tails. We hope to extend this service
for our American readers next year.
Best wishes for 1995.
Terrail
FLORENCE AND THE
RENAISSANCE
The Quattrocento
A. J. LEMAITRE AND E. LESSINQ
PIERRETERRAIL, 1999, €12.95 $21.95
US DIST. BEGINS EARLY 1995 BY FTC NEW
YORK
ISBN 2-8793-9021-4
SUMPTUOUS PLATES and colour details of
over 170 great works of art and architecture
greeted me when I eagerly tore the wrapping
off this book. Masolino’s two smart Florentine
young men about town (yuppies?) from the
recently cleaned Brancacci frescoes adorn the
front cover and further details of Masaccio’s
and Fra Angelico’s frescoes are discussed and
examined in their own chapters. All the major
fields of art: sculpture (Ghiberti, Luca della
Robbia, Donatello, Verrocchio) ; painting
(Uccello, Piero della Francesca and Botticel-
li) ; and architecture (Brunelleschi, Micheloz-
zo and Alberti) are covered and marvellously
illustrated, and it is quite proper that the
photographer (Lessing) is given joint credit
for this book. Where possible, some works are
shown in situ which makes this book all the
more important for those students who tend
to think that the study of art is pursued only in
gallcries or museums or when flashed up on
classroom walls.
The text, as one would expect in a book of
this kind, is more general than specific but
Lemaitre makes great use of contemporary
quotations as well as later critics (the ubiqui-
tous Vasari) or historians although I person-
ally found it most refreshing to read brief
remarks by Rainer Maria Rilke on the paint-
ings of Benozzo Gozzoli and Botticelli. The
bibliography is idiosyncratic and it would
require a gifted school student to follow up
and tackle all the books in French, German or
Italian listed in it. The text is readable and
without either jargon or art historical preten-
sion, and the only small criticism that I might
make is that the major illustrations are not
referred to in the text, though the images,
great and small, frame the relevant text so that
they are easily identified and studied. I would
firmly recommend this book for a school or
general library for use by all interested read-
ers. One can even show it in class or around a
table given the size and clarity of the plates.
CRISPIN ROBINSON
MODIGLIANI
C. PARIS01
PIERRETERRAIL, 1992, €12.95 $21.95
US DIST. BEQINS EARLY 1995 BY FTC NEW
YORK
ISBN 2-8798-9005-2
BLACKLINES circumscribing orange faces
with blank eyes is how one acquaintance of
mine summed up the art of Modigliani. She
should also acquaint herself with this book
written by a Modigliani expert, the official
archivist, illustrated with over 100 colour
photographs of paintings and 16 contempor-
ary photographs, because it brings these ap-
parently lifeless creations fully to life, their
sensuality and elegance matched only by the
dividual portraits he can fall into other traps. was with some surprise and disquiet that I
To take the famous and problematic Amolfini noted that Lome Campbell’s excellent analy-
Wedding for example. Schneider uncritically sis of portraiture, Renaissance Portraits: Eur-
accepts the Panofskian account of the sym- opean Portrait Painting in the Fourteenth,
bols in the painting which some art historians Fifteenth and Sixteenth Centuries (Yale UP,
happily teach to their students. Aside from the 1990), was not listed in the bibliography. This
admittedly unusual single burning candle, all book provides the reader with practical and
the other objects - apples, rosary, mirror, profound art historical insights into this very
pattens and dog - might equally be part of the subject.
furniture of a contemporary room. Art histor- The usefulness of The Art of the Portrait lies
ians are perhaps too ready to seek symbolic in superb illustrations, its details and com-
explanations, plus the inevitable quotations
from biblical or exegetical texts which suppo-
mentaries on individual portraits. Read with
care, they can be most insightful. His division
sedly support such a reading, when simpler of portraits by type, with chapters on images
and perfectly straightforward reasons would of power, children and group portraiture, as
do. Similarly, Schenider’s reading of Piero well as the more unusual topic of dwarves and
della Francesca’s famous double portrait of fools where Velazquez’s paintings, of course,
the Duke and Duchess of Urbino fails to men- attract our sympathy and admiration, makes
tion the perfectly obvious reason for the Du- the book more appropriate for project work.
ke’s face being in profile because one side of CRISPIN ROBINSON
artist’s Tuscan devotion to linear form. Many his face was disfigured in a jousting accident
of the paintings and nearly all of the drawings and, consequently, all portraits show him in
come from private collections, so without the profile. Equally, the unusual and old-fash-
benefit of recent exhibitions, at least in this ioned choice of the profile format in the
country (and my copy of the book has a portrait of Laura Battifieri, who holds a copy
lacuna in the list of exhibitions for the centen- of Petrarch’s sonnets to Laura in her hand, is
ary year of 1984), we are given the full range explained by its emphasis on her head’s beau-
of the artist’s auvre. tiful features (including a rather large nose)
The first part of the book consists of an which Petrarch praised in Laura, his ideal
engaging biography, illustrated with family love.
photographs and quotations from letters and These poetic and realistic readings are
diaries and written with a sense of immediacy supported by English-language scholarly lit-
- “current research”. Perhaps the best section, erature which does not appear in the biblio-
however, is the following extended and analy- graphy. Another problem for an English
tical essay, written by Parisot, on Modigliani’s reader would appear to be the emphasis given
art. Acknowledging the multifarious influ- to German language books and articles in
ences on his work - ethnic, symbolist, phil- both the notes and select bibliography. The
osophical, alcoholic and hallucinogenic - we few references to English authorities will pre-
are presented with an acute discussion, wide- sent problems for English students who suffer
ranging and yet focused, sensitive and sen- from a general reluctance to read and study
sual. The colour plates which accompany this
and the subsequent essays justify the small
cost of this splendid account.
The third section, written by Sylvie Buis-
son, is an historiographical account of criti-
cism of Modigliani’s work and is less
successful. When the quotations do not speak
for themselves, and very often they do, the
reader is not helped by sentences like:
”. . . both subconsciously and consciously,
their writings navigate the discrepant though
apparently logical conclusions elicited by the
paradox of Modigliani’s work. . .”. She also
thinks that Giovanni Bellini lived in the seven-
teenth century.
As an introduction and explanation this
book is to be recommended, and if it were not
for the defacing that it would inevitably re-
ceive at the end of schoolboy pens I would
love to have one of Modigliani’s female nudes
(a poster would do) on my wall to keep me
sane in class.
CRISPIN ROBINSON
Taschen
THE ART OF THE
PORTRAIT
N. SCHNEIDER
BENEDIKTTASCHEY VERLAQ € 1 1.99 $19.99
ISBN W22&9681-9
SCHNEIDER’S INTRODUCTION is written in a
typical German fashion. He discusses the
problems of portraiture, not with practicalities
in mind, but with the philosophical and aes-
thetic processes foremost in his reading of
portraiture from Renaissance to Baroque. He
certainly challenges the modern acceptance of
psychological readings deriving solely from
the physiognomic perceptions of the viewer
and also points out the pitfalls of reading a
sitter’s character by reference to contempor-
ary treatises on gesture and action.
THE ART BOOK VOLUME 1 NO 5 19
 been taken by the editor to ensure that the official portrait of the pope (fig. 40 in London
JAPANESE PRINTS essays were meaty and adequately comple- and a version in the Uffbi)”. Nearly all scho-
ED. BY 0. FAHR-BECKER
BENEDIKTTASCHEN VERLAQ C l 1.99 $19.99 mented the illustrations. lars now believe the London version to be the
200PP. FULLY ILLUSTRATED In the last few pages of his essay, Zacharias original. Similarly, the Canigiani Holy Family
ISBN 9-8228-9925-0 attempts to come to grips with the response of in Munich is described in its commentary as
a selection of French artists to Japanese influ- originally having putti in the clouds above,
DESPITE ITS WEAK TEXT, this book should be ence. With little room left for anything like an which were subsequently painted over, yet the
considered a valuable resource for A level Art adequate treatment, he merely drowns in his picture opposite shows them splendidly re-
or Art History students who are involved in own descriptive language. vealed. This edition appears to be a strange
projects on design or who are just beginning E.A. ROBBINS hybrid of old and new which is unusual from
to learn about the strength of Japanese influ- so reputable a publisher.
ence in Western art. The survey of Raphael’s work at the begin-
The book follows the same format as other Tharnes & Hudson ning of the book is illustrated with black and
volumes in Taschen’s Big Art series. It con-
tains two essays (sadly, only moderately use-
Master of Arts series white photographs, some old and dreadfully
grainy and some of works since cleaned. The
ful), an excellent and compact section of forty colour illustrations generally are far bet-
artists’ biographies, a useful glossary of tech- RAPHAEL ter in quality with splendid colour plates of
nical terms, an up-to-date bibliography and, J. H. BECK some of his portraits, most noticeably Angel0
of course, excellent plates with informative THAMESK~HUDSON 1979 (REPUB. 19941, and Maddalena Doni, and interesting and
commentaries attached. C14.95 $19.95 stimulating commentaries on each painting.
US DIST. HARRY N. ABRAMS
The illustrations are all prints from the ISBN 0-SOO-058-5 As a general introduction to Raphael’s paint-
Hirako Ukiyo-e Museum in Tokyo, some of ings, Beck’s book is merely satisfactory. On
which are familiar to us like Hiroshige’s Sud- WHENI first flicked through Professor Beck‘s the whole, I feel that many readers would be
&n Shower over Shono from his series on the book I thought it most curious of Thames & better off with R. Jones and N. Penny’s paper-
Tokaido Road and Hokusai’s Great Wave Hudson (and Abrams) to republish a book back Raphael published by Yale University
from his Views of Mount Fuji. Most of the that is twenty years old without, apparently, Press. It is more discursive, informs the reader
plates are more closely related to what we comprehensively and consistently updating about more of the artist’s working methods,
usually associate with “the floating world”, all of the text and illustrations. With a cumu- and tackles many of the problems of Ra-
actors and courtesans, fashionable and beauti- lative growth of recent studies and discoveries phael’s works in all fields of art and architec-
ful ladies and illustrations to love poems. concerning Raphael’s work and techniques in ture. However, it is now eleven years old.
With such rich and splendid material to drawing, painting and architecture, my think- CRISPIN ROBINSON
use it is a pity that the introductory essays ing was somewhat confirmed as only little
(clumsily translated from German) are so account has been taken of any of the recent
disappointing. One is starkly factual and the debates. Not that there have been major Prestel
other is overloaded with too much descriptive changes of attribution with regard to any of
language, which is patronising to the obser- the paintings discussed by Beck in the second
vant reader. The writer, Thomas Zacharias, part of the book, but I do feel that more of the
PICASSO’S WORLD OF
stretches both the word limit and our patience recent discussions might have been incorpo- CHILDREN
when he allows himself to ramble on about his rated into this new edition. One or two recent WERNER SPIES
adolescent desire to avoid learning Latin vo- books appear to have been inserted into the PRESTEL-VERUQ, MUNICH, DISTRIBUTED BY and gestures. His First Steps (1943) is in a
THAMES & HUDSON AS PART OF THE PEOASUS
cabulary while gazing at a Japanese print by select bibliography but, irritatingly, there are LIBRARY, e i 4 . 9 ~ cubist vein but the intense concentration as
Sharaku. He says from that single encounter still occasional careless (editorial?)errors. For 127PP. FULLY ILLUSTRATED the child wobbles forward in one large,
=. . .the sound of the name alone took on a example, in the illustrations, the famous Por- US DIST. TE NEUES $25 clumsy step is beautifully observed.
ISBN a-7sia-ia7s-4
magical charisma which acted upon the same trait of Julius ZZ (National Gallery, London) is Certainly the most interesting works and
nerves as give rise to goose pimples”. described under the illustration as a copy after the most revealingwith respect to demonstrat-
One can easily agree with such enthusiasm Raphael when, hidden in the text earlier, Beck EACHTITLE (three published so far) in this ing his relationship with children are the objects
for Japanese prints but more care should have casually mentions that “he also executed an new Pegasus Library series considers a speci- tr0uv.h. The best known of these is the bronze
fic area of a well-known artist’s work which Baboon and Young (1952). Picasso gets inside
has been often overlooked by writers of the the mind of a child, working alongside the
standard books. The subjects covered provide young imagination. For the baboon’s head he
a special insight into the human relationships uses two toy cars which had been given to his
or visual encounters and inspirations which son by Kahnweiler, putting them together to
have driven a considerable part of the artist’s achieve the new, somewhat surprising, form.
work. The first three titles indicate that there In the work of the 1950s Picasso’s children
is scope for great richness in this kind of operate in their own world. They are not used
thematic approach to an artist’s career : Was- to emphasise the pessimism of the Blue period
sily Kandinsky and GabrieL Miinter, Marc nor are they portrayed as small-scale adults.
Chagall: Daphnis and Chloe, and Picasso’s One feels that the artist had come to a new
World of Children. understanding of his subject.
In his first chapter in Picaso’s World of This is a most interesting study and the
Children Werner Spies points out that most of author works hard to communicate his enthu-
the recent exhibitions and publications con- siasm for it. It is a little repetitive, however,
cerned with the artist’s late work have shown and some of the writing is unduly laboured,
the harshness and dissonance which seems to possibly because the text has been translated
mirror the mood of our really rather nasty from the German. The photographs of Picas-
world. So it is particularly interesting to con- so’s children are useful to compare with the
centrate on the theme which, on the face of it, artist’s rather formal portraits of them. The
offers a more harmonious, softer view. Some photograph which is used as the frontispiece
of the works illustrated do indeed possess a is the best of all. It shows the artist seated in a
tenderness and understanding which puts sedan chair, giving a regal wave and being
Creation’s Journey is written by American Indians. them on a par with pictures of children by camed by his children Paloma and Claude.
Velkquez or Raphael, but Picasso’s depic- The children are momentarily posed for the
By peeling away the Hollywood images of the art, every day objects and way of life of tions of children are more problematical and photographer but thoroughly engaged in their
American Indians and correctly re-ascribing their use and meaning, the history of contradictory. They occur sporadically in task. Here the artist and his children are in a
America is being rewritten. groups, “like islands”, throughout his omore special world of their own.
Artists know the compulsion of the object ‘that had to be finished’. Indians have and they reveal the complexities of the artist’s E. A. ROBBINS
acknowledged such forces and woven them into their culture over thousands ofyears. relationships with children.
Indian carvers believe they don’t carve at all, they simpbfree theform that rests within In his Blue period Picasso uses the image
the material. They see the transformation of natural materials as a creative journey in of the child to make a contrast to physical
which the artist and the object harness the spirituality of the materials to increase
their power.
disability (usually blindness) or to emphasise
the essential isolation of the figures, and even
REFERENCE
when the delicate and warmer tone of terra
A beautifully illustrated volume with 220 colour plates ofthe art and crafted objects of
cotta in the Rose period overtakes the blue
the Native Americans and many evocative black and white pictures ofthe Indians
tonality, Picasso’s children are joyless and PATRONAGE IN
themselves.
remain weighed down by some great psycho- RENAISSANCE ITALY
Creation’s Journey, Native American Identi@ and Belief is published by the Smithsonian logical ballast.
From -00 to the Early Sixteenth
Institution Press in hardback, price f29.95, ISBN 1-56098-453-8, and is available His famous portrait of Paolo dressed as a
from all good bookshops now. harlequin (1924) has a tenderness about it but
century
the child is sitting on the very edge of the chair M. HOLLINaSWORTH
JOHN MURRAY e i 4 . s ~ $20

Srnithsonian Institution Press

470 L‘ENFANT PLAZA, SUITE 7100, WASHINGTON, D.C. 20560
as if posing for an official portrait. There is
little that is childlike here and little that is
observed from real life. In the 1930s and
US DIST. TRAFALOAR SQUARE
ISBN 0 - 7 i s c s a 7 a - 4 P

1940s Picasso’s images of children take on RENAISSANCE PATRONAGE is a topic pre-

new and appropriate childlike characteristics scribed by my A level exam board and be-
20 VOLUME 1 NO 5 THE ART BOOK
cause of time and the breadth and depth of
the subject I tend to restrict myself to discus-
sion of Florentine and Venetian amstic com-
missions. With Mary Hollingsworth’s superb,
information-packed book, covering not only
Florence and Venice but the courts of Milan,
Naples, Urbino, Ferrara, Mantua and the
papal court in Rome, it should be possible for
students themselves to learn far more. I en-
visage that it will be particularly useful as a
reference volume for the personal projects/
dissertationsflong essays written for A level,
mainly because of its solid information and
scholarly tone. The text is extremely readable.
Hollingsworth considers all aspects of ar-
tistic patronage - in the decorative arts, paint-
ing and sculpture - but concentrates mostly
on her area of specialisation - architecture.
Palaces, churches, chapels; form and func-
tion; liturgy and politics; economics and
society, are all shown to play their separate
and yet interlocking roles in the complex
creation of Renaissance art and architecture.
In a subject of this magnitude, the author’s
coverage is impeccable. She tells enough to
point the reader in the right direction and to
follow up in further literature.
The book is clearly designed for the stu-
dent, most especially in the footnotes where
the references are to published documenta-
tion and discussion. The endnotes are as up
to date as one could wish (indeed I found a
vital reference for one of my students that I
had mislaid) and the bibliography is excellent
in its coverage. The book ends with useful and
summary appendices of family trees of the
Medici and other rulers of the Italian courts,
and lists of doges and popes. The illustrations
are in black and white and when they show
architecture the clarity is unsurpassed. Some
were quite clearly taken very early in this
century and possess the stillness and lucidity
embodied in the buildings themselves. Less
successful are the grainy illustrations of paint-
ings, but given that the price is only E14.99
and we all know the huge cost of colour
transparencies, that sacrifice is surely worth-
while.
Patronage in Renaissance Italy is an abso-
lute must for any decent library. It is the book
that I have longed to write (60 A level stu-
dents and their essays permitting) and I can
now turn my attention to other subjects as Dr
Hollingsworth has written the definitive ac-
count.
C R I S P I N ROBINSON
HISTORY OF ART
A Students’ Handbook
m. POINTON
ROUTLEDGE. lSS4(9RD ED.) €&SO $12.95
ISBN 0-41 5 0 - S O 3 6 4 P
ADVISING STUDENTS who choose to study the
History of Art at A level or at college and
university is a precarious business at the best
of times. For admissions tutors who read this I
am afraid to say that very often the course and
its contents matters less than the structure
(modular etc.) and the city, town or area of
the country. Fashion, too, plays a strong part
and I am sure every reader can recall which
universities were “in fashion” at the time of
their own applications: it still holds true to-
day. Now it is hideously more complex with
all the new universities and the huge variety of
courses so that the small UCCA handbook
and limited courses of our own days have
been replaced with a tome which weighs as
much as an exhibition catalogue. The literal
product of choice.
Marcia Pointon’s small but informative
book “introduces sixth-formers and under-
graduates to the kinds of practices, challenges,
questions and writings that they will encoun-
ter” in studying this discipline. The third
edition is up-to-date and extensively rewrit-
ten. No longer is connoisseurship (Courtauld
courses of yesteryear) considered the only
aspect to art history. New methodologies are
derived from related humanities disciplines
which challenge students to take into account
social, economic, political, sexual and semio-
tic readings, as well as stressing their own
enjoyment and understanding of art and the
reasons for it.
In a practical, non-prescriptive and unpa-
tronising manner, Pointon challenges stu-
dents to take stock of what is available to them
in courses and how they can best prepare and
learn in this discipline. She does not discuss
individual universities but rather stresses the
different options within art history, the chal-
lenges to “old masters” from feminism, gen-
ders studies, theories of consumption and
production. Usually the author’s analysis is
disinterested but the tone occasionally be-
comes personal, for example a plea for the
study of non-western art (echoed by this
reviewer) or gently sarcastic towards local
government which administers museums and
galleries in the same departments as confer-
ence facilities, sports and local parks. ”How
art historians work” is perhaps the core of the
book and it should be compulsory reading for
A level and beyohd. Pointon illustrates her
arguments by analysing works of art from all
periods or by quoting other Hters.
I did not find the promised careers guide
but the reader may prefer to study the subject
for itself because the discipline of art history
and this book‘s account of its now multifar-
ious perspectives is most definitely one of
growth, intellectual challenge and promise.
What more can one ask of a subject?
CRISPIN ROBINSON
A HISTORY OF WESTERN
ART
LAURIE SCHNEIDER ADAMS
HARRY N. ABRAYS € 4 0 $55
5 12 PP. 266 COL I 922 MONO ILLUS
ISBN 0-8109-3425-6
THIS APPEARS to be yet another textbook with
a familiar grand title. It sets out to cover
western art and architecture by emphasising
the cultural context and individual circum-
stances which gave rise to the works of
art.The intention is to discuss a limited and
representative number of examples w$h’-a
depth and directness not often found in sur-
veys of this kind.
The author bravely, and somewhat inno-
cently, plunges in at the deep end in the early
chapters when she embarks on a brief discus-
sion of the use and value of art. This leads to a
more satisfactory section about the language
of the visual artist : h e use of light, colour, line
and so on, and the expressive properties of
these things. Some of the stylistic terms are
unfamiliar to English readers and even some
definitions, like those for “realism” and “fig-
urative” which remain unclear after discus-
sion. The author’s monumental effort to relate
the language of art to everyday speech is not
always very effective. A line, we are told, has
the innate quality which relates to a ”lined-
rive” in baseball;’ a “hardliner” is someone
who takes a strong position on an issue. But at
least an effort is made to clarify the usual art
history jargon.
The general approach is the normal chron-
THE ART BOOK
ological one with some additional or supple-
mentary information about artistic techniques
in a special place on the page. The layout and
typography is that of a schoolbook. The text is
very straightforward, rather simplistic, in fact,
but appropriate if used as an introduction to
art history at GCSE or AS level. In keeping
with this, the author steers clear of all matters
which might require technical or phil-
osophical remarks; the sections on Roman-
esque and Gothic art, for example, cover
simple structural features rather than the
spiritual context which generated the build-
ings in the first place.
The writer’s other profession as a psycho-
analyst leads to references to Freud’s explana-
tion of the Mona Lisa smile and to parallels
between Henri Rousseau’s visionary dream-
world and Freud’s mechanisms of dreaming.
Much of this is overblown and unnecessary.
Donatello’s David is labelled “smug . . . nar-
cissistic [and] homosexual” reflecting, the
author adds, the sculptor’s own homo-
sexuality.
E. A. ROBBINS
THE ART BOOK
PHAIWN cis.ss $as
5 12 PP. MH) COL ILLUS.
ISBN 0-7148-PS844
THISBOOK is amazing value and most
schools will want a copy on hand in the class-
room. An illustrated dictionary, it is an alpha-
betical compilation of the work of 500 great
artists from the middle ages to the present
day. Images, the reproduction of which varies,
include altarpieces, installations, books of
hours, oil paintings, frescoes, sculptures,
water-colours, prints and ready-made col-
lages. Every image has specific information
about each work and its creator.
Glossaries of movements and technical
terms, and an international directory of gal-
leries and museums listing the works on view
to the public, are also included.
This is a fun book and one that students
will want to own themselves. The simplistic,
childlike cover tells you what it is trying to do
- to make art accessible to all and at a realistic
price. Congratulationsto Phaidon.
SUE WARD
THE SOCIAL HISTORY
OF ART
ARNOLD HAUSER
ROUTLEWE; US DIST. ROUTLEWE
ISBN VOL. 1 0-41594578-9;
ISBN VOL. 2 0-41504579-1;
ISBN VOL. 3 0-4150-45800;
ISBN VOL. 4 0-4150-4581-0
EACH C l 0.99 $20.50
ROUTLEDGE HAVE reprinted Arnold Hauser’s
Social History of Art in four volumes, the same
as an earlier version published by Routledge
& Kegan Paul in 1962. The book, which first
appeared in 1951, now appears hugely old-
fashioned and out of date.
When we read Hauser’s opinion, that
‘modern art” (by which he means post-im-
pressionist, or the art following the impressio-
nists) is “ugly” and denies all pictorial values,
we recognise not only the great gulf between
his critical stance and our own, but also just
how much has happened in the forty years or
so since the book was first written.
The publishers have reissued it because it
is a fine old example of art history treated as a
part of the social milieu, an approach which is
again popular. It is a pity that the illustrations
are so poor; even classic and out-of-date texts
deserve the best possible visual help in this
day and age.
E . A . ROBBINS
PRACTICAL
CREATIVE DRAWING
AND SKETCHING
R. BOLTON
BATSFORD PRESS C12.99
ISBN0-7 1a4-7 1514 P
LINE,SHAPE and tone are the main elements
of a drawing, whether it is working out ideas
for a design, producing a preliminary drawing
for a painting, or illustrating. They can be
used in so many ways to create wonderful
textures, patterns and dramatic spatial effects
on a two-dimensional surface. Bolton’s book
illustrated in black and white throughout,
demonstrates the importance and power of
drawing. He shows how by simply changing
the” tool and medium an artist can create
better effects. It is so easy for students to rely
on the pencil when it comes to producing a
monochrome drawing. How much easier it is
to render skin with chalks and pastels or to
capture movement with a pen, and what
wonderful effects can be created by mixing
pen and ink with brushes. The skill lies in
choosing the appropriate tool and medium for
the subject and also in possessing a willing-
ness to experiment. It is the latter that the
book so successfully conveys.
SHEILA LEES
COLOURS
L. WORTH, J. BURRIDGE, R. BOLTON,
J. BLOCKLEY. S. J. COLERIDGE
SEARCH PRESS PS.95 $1 9.95
ISBN 0-8553-2704-9
PAINTING IN WATER-COLOURS, l i e so many
books today, has lavish colour reproductions
on every page, enabling the reader to under-
stand more clearly the artists’ comments. It
may not be as diverse and inspirational as
Painting the Four Seasons, reviewed in the last
edition of The Art Book, but as a cheaper
guide to similar techniques and processes it is
an ideal companion for those who want a
much simpler and less abstract approach.
This book is directed towards the more
illustrative artists, giving clear step by step
instructions on how to create a picture. It also
explains what is vital to the amateur painter;
how a successful water-colour painting can be
created from a very simple palette and a wide
range of subtle, transparent washes. Armed
with this knowledge, an amateur artist can
produce a wonderful, luminous effect and
gain instant confidence in the medium.
For the student who requires a more logi-
cal and defined approach to water-colour, this
book is still a good companion. My only
criticism from a teacher’s point of view is that
it lacks a range of style; it mentions great
water-colourists such as Turner and Cotman
but there are no illustrations of their work to
highlight the comments.
For this reason, Painting in Water-colours
would be useful as one of several in a studio as
a source for the study of water-colour
techniques.
SHEILA LEES
VOLUME 1 NO 5 21
THE COMPLETE
DRAWING COURSE
S. SMITH
COLLINS 6 BROWN €1 7.00 $25
ISBN 1-855&5212-X
ONE OF the chief reasons I enjoyed reading
Stan Smith’s book was the way he explains
everything as if he were there in the studio
giving a lesson. His words of encouragement
have stayed with me since I was one of his
students. Reading his book, I have suddenly
discovered the roots of all my teaching meth-
ods and I confess that I feel slightly overawed
at reviewing it. The book is full of top-quality
drawings and sound advice and, as the title
states, it is a complete drawing course.
I was always impressed with Smith’s teach-
ing and the fact that he was a practising artist.
He saw teaching as a two-way process - the
teacher learns from his students’ experiments
as much as the student learns from the de-
monstrations and advice of his tutor. His love
of sharing his breadth of knowledge through
teaching and his keen interest in drawing,
especially the figure, as the basis of a good
painting, comes across clearly in this book.
Furthermore, the lavish illustrations and
beautifully designed pages present a format
which is both encouraging and tantalising.
Definitely a professional book for the serious
and committed student in a class.
SHEILA LEES
The Schools’ Pages for this issue have been
edited by Crispin Robinson of Tudor Hall
School, Oxfordshire and Stowe School,
Buckingharnshire.
Contributors: Sheila Des, Tudor Hall
School, Oxfordshire; Michael Mack, Zelda
Cheatle Gallery, London; Robert O m e ,
Latymer Upper School, London; Eleanor
Robbins, Wycombe Abbey School, Bucking-
hamshire.
RUNNING AND COMING
EXHIBITIONS IN LONDON
DECEMBER 1994-MARCH
THE TATE GALLERY
Millbank, London SW 1P 4RG
Education Dept. 071-887 8765
James McNeill Whistler
13 October 1994- 8 January 1995
Rebecca Horn
27 September 1994-8 January 1995
(Also at Serpentine Gallery)
Turner Prize - Shortlisted Artists
2 November 1994- 4 December 1994
Willem de Kooning Paintings
16 February 1995-7 May 1995
THE HAYWARD GALLERY
The South Bank Centre, London SE1
8”
Education Dept. 071 921 0951
The Romantic Spirit in German Art
29 September 1994- 8 January 1995
Yves Klein: Leap Into the Void
9 February 1995- 29 April 1995
NATIONAL PORTRAIT GALLERY
St. Martin’s Place, London WC2H OHE
Education Dept. 071 306 0055 ext 21 2
Christina Rossetti 1830-95
A Centenary Exhibition
18 November 1994- 12 February 1995
The Sitwells and the Arts of the 1920s
and 30s
14 October 1994-22 January 1995
Gyorgy Gordon, Portraits and
Figurative Work 195693
3rd March 1995- 25 June 1995
Richard Avedon - Evidence 1944-94
24 March 1995- 11June 1995
THE NATIONAL GALLERY
Trafalgar Square
Education Dept. 071 389 1744
The Young Michaelangelo
19 October 1994- 15January 1995
(The Sainsbury Wing)
Spanish Still Life from Velizquez to
Goya
22 February 1995-21st May 1995
Themes and Variations - Sunley
Room
Exploring the theme of allegory
28 September 1994- 4 December 1995
THE ROYAL ACADEMY
Piccadilly, London W 1V ODS
Education Dept. 071 494 5733
Main Galleries
The Glory of Venice
15 September 1994- 14 December 1994
London Original Print Fair
5 January 1995- 8 January 1995
Royal Academy Schools Premiums
Exhibition
19January 1995- 9 April 1995
Nicolas Poussin
19January 1995- 9 April 1995
The Revival of the Palladian Style
2 February 1995- 2 April 1995
Sackler Galleries
The Painted Page - Renaissance
Manuscripts and Books
27 October 1994- 22 January 1995
Odilon Redon
16 February 1995- 2 1 May 1995
THE VICTORIA &ALBERT
MUSEUM
South Kensington, London SW7 2RL
Education Dept. 071 938 9638
Streetstyle -Postwar Fashion
16 November 1994- 19 February 1995
War Works --Women’sWar
Photography
11January 1995- 19 March 1995

-4 Pegasus Z+
-7
Susanna Partsch Annegret Hoberg
Gustav Klimt: Wassily Kandinsky and
Painter of Women Gabriele Miinter
120 pages with 40 full-color and 160 pages with 50 full-color and
47 black-and-white illustrations. 39 black-and-white illustrations.
ISBN 3-7913-1428-9. Hardcover ISBN 3-7913-1374-6. Hardcover

Karin Sagner-Diichting Werner Spies

Monet at Giverny Picasso’s World of Children
120 pages with 56 full-color and 128 pages with 61 full-color-and
19 black-and-white illustrations. 48 black-and-white illustrations.
ISBN 3-7913-1384-3. Hardcover ISBN 3-7913-1375-4. Hardcover

J.A. Schmoll gen. Eisenwerth Longus

Auguste Rodin and Marc Chagall:
Camille Claude1 Daphnis and Chloe
128 pages with 83 duotone 125 pages with 42 color plates,
illusfrations. 16 on douple pages.
ISBN 3-7913-1382-7. Hardcover ISBN 3-7913-1373-8. Hardcover

New titles Every volume

forthcoming only € 14.95

I The colourful new art book series from Prestel

Prestel-Verlag, Miinchen
Distributed by Thames & Hudson

22 VOLUME 1 NO 5 THE ART BOOK