Series: Dover Art Instruction
Paperback: 368 pages
Publisher: Dover Publications; New edition edition (December 1, 1987)
Language: English
ISBN-10: 0486255069
ISBN-13: 978-0486255064
Product Dimensions: 0.8 x 5.8 x 8.5 inches
Shipping Weight: 13.4 ounces (View shipping rates and policies)
Average Customer Review: 4.5 out of 5 stars See all reviews (62 customer reviews)
Best Sellers Rank: #48,498 in Books (See Top 100 in Books) #10 in Books > Arts & Photography > Painting > Oil Painting
The Speed's book was originally published in 1924. There is another excellent and modern book basically covering same topics: "Alla Prima, Everything I Know about Painting" by Schmid. In comparison, Speed's book is physically much smaller, (less than 2/3 of Schmid's), but it is distilled and very rich. It gives a concise yet in-depth discussion of the most fundamental things about painting: wholeness, unity & variety, and rhythm etc., under topics of tone value, color, edge, and design, while form and drawing are mainly discussed in his another book. While the Schmid's book is easier to understand for beginner, the two books target the same levels of readers.When reading Speed's book, it's better to read carefully between the words. You can read Schmid's book faster, because Schmid's book uses more sentences or paragraphs to explain an idea. For example, on make decision about which edges you should paint or to blur, Schmid gives you several paragraphs of useful advice, while Speed has one-sentence summarization: "It is not the edges of the object but the edges of the tone masses that make up the visual impression, that you are painting". The sentence may be easily neglected and skipped by someone with first time reading, but if he carefully reads the context and understands the meaning, it becomes useful not only in edges selection, but also in picture design.The book's analysis of paintings by old masters is practical and insightful. One example is its comment on an early portrait (plate 32) by Velasquez, that the edge going from the wing of the nostril to the outside of the mouth weaken the wholeness of the pictorial design. By this way, it helps you understand deeper not only the concept of wholeness and the function of edges, but also good design.
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