Hardcover: 416 pages
Publisher: Abbeville Press; 1 edition (October 1, 2006)
Language: English
ISBN-10: 0789209020
ISBN-13: 978-0789209023
Product Dimensions: 11.3 x 1.7 x 13.1 inches
Shipping Weight: 8.3 pounds (View shipping rates and policies)
Average Customer Review: 4.2 out of 5 stars See all reviews (4 customer reviews)
Best Sellers Rank: #977,723 in Books (See Top 100 in Books) #107 in Books > Textbooks > Humanities > Visual Arts > Painting #110 in Books > Arts & Photography > Painting > Still Life #395 in Books > Arts & Photography > History & Criticism > Themes > Landscapes & Seascapes
I ordered this book because of the scholarship, not the reproductions. Ironically, I am going to only address the color plates in this review. After its arrival, I realized it is very much about the reproductions. It is large, very heavy and is mostly pictures rather than text. That is very generous on one hand but at a price. But the cost is reason to not just buy out of impulse. It is currently new online for at little as $65 to $92, and is $135 (list price) largely because of the enormous costs per unit in printing so many reproductions at such a large scale. The people who did the separations, the book design and production team as well as the level of printing are all top notch. The quality of the paper and of the printing are superb--no question. Nonetheless, none of them create the content and that is the problem.Unfortunately, in my opinion, success did NOT result in over half of this giant's reproductions so I must politely disagree with my fellow reviewers. Too many reproductions do not look remarkably like the original paintings and too many do not stand on their own as good reproductions apart from their verisimilitude. Let's say, at minimum that there is simply a difference of opinion here. It matters because, I think you should not buy the book unseen. The reason why the book does not reach its full potential is, for the most-part, caused by the uneven quality of the files and film supplied by the many museums of art who own the wide range of paintings they granted permission to reproduce here for a fee. You can see the same problems repeat.
As an academic, landscape architect, and amateur landscape painter, I find it interesting what others may say about the subject, because personal experience, training, and culture guide what is presented and not presented-- any book often says more about the paradigms and perspectives of the authors then about the actual subject they are writing about. It is not easy to write a history of such an extensive subject. If one has never thought much about the subject, one will learn about the general trends and the basic evolution of landscape painting from a Western perspective. To learn the nuances of landscape painting, its diversity, influences, and approaches is a lifetime of exploration. I can understand why Canadians often feel ignored. Historic and significant landscape painting by the Group of Seven, Tom Thomson, and Emily Carr were not included. As an American, these Canadian paintings energized me as a teenager to strive to see landscape in a different way and were much more influential for me then European painters from any period. And as an American from the center of North America, the en plein air paintings of George Catlin integrating exploration, anthropology, and landscape painting together was especially influential. The paintings and large dioramas by Francis Lee Jacques depicting landscape accurately and scientifically, blending landscape painting with wildlife painting were also extremely formative, but the book does not cover such details.
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