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ARTIST’S LIBRARY
COLOR AND LIGHT
by James Gurney
This is an essential addition to any serious artist’s library, particularly those focused on realistic painting. It’s not just a book to read once, but a resource to consult repeatedly as you develop your understanding of color and light in art. Whether you’re a beginner seeking to build a strong foundation or an experienced artist looking to refine your knowledge, this book delivers exceptional value..
“Color and Light” is an exceptional resource that stands as one of the most comprehensive and practical guides avai- lable for artists seeking to master these fundamental aspects of painting. Gurney, known for his Dinotopia series, brings his extensive experience and methodical approach to demys- tifying what are often considered the most challenging ele- ments of realistic painting.
What makes this book particularly valuable is Gurney’s ability to bridge the gap between scientific principles and artistic application. Rather than merely presenting abstract theories, he grounds each concept in practical examples, of- ten illustrated through his own stunning artwork. The book’s approach is systematic yet accessible, making complex con- cepts digestible for artists at all skill levels.
The content is thoughtfully organized, progressing from basic principles to more advanced concepts. Gurney’s exa- mination of how historical masters handled color and light adds depth to the technical instruction, while his scientific explanations of color properties and light behavior provide crucial foundational knowledge. The inclusion of a glossary, pigment index, and bibliography makes this an even more valuable reference tool.
One of the book’s greatest strengths is its visual presen- tation. The abundant illustrations and examples directly de- monstrate the principles being discussed, making it easier to understand and apply the concepts. Gurney’s own artwork serves as both inspiration and practical demonstration of the techniques he describes.
While the book is incredibly detailed, it remains engaging throughout, thanks to Gurney’s clear writing style and logi- cal presentation. The only potential drawback might be that some beginners might find certain technical sections overw- helming at first, though these same sections make the book valuable as a reference to return to as one’s skills develop.
ART & FEAR
by David Bayles, Ted Orland
This book is essential reading for any artist, whether be- ginning or experienced, who has ever struggled with crea- tive blocks, self-doubt, or the fear of making art. It’s not a book that will teach you how to make art, but rather how to navigate the emotional landscape of being an artist. Its enduring popularity and word-of-mouth success speak to how deeply it resonates with its intended audience. Keep it close at hand for those moments when the artistic journey feels particularly challenging.
“Art & Fear” is a refreshingly honest and deeply insigh- tful exploration of the psychological challenges that artists face in their creative journey. Unlike many art books that focus on technique or theory, this slim volume delves into the emotional and mental aspects of being an artist – the doubts, fears, and internal struggles that often go unaddres- sed in formal art education.
What makes this book particularly powerful is its authen- ticity. Written by working artists who understand the daily challenges of creating art, Bayles and Orland speak with a voice that resonates with genuine experience rather than theoretical pontification. Their approach is both compassi- onate and practical, acknowledging the very real fears that can paralyze artists while providing thoughtful perspectives on moving past them.
The book’s greatest strength lies in its demystification of the artistic process. By challenging the notion of genius and focusing instead on the “ordinary art” made by ordinary people, the authors make artmaking feel more accessible and less intimidating. Their discussion of perfectionism, self-doubt, and creative blocks is particularly valuable, offering insights that feel like conversations with unders- tanding mentors.
The writing style is concise and contemplative, with each chapter offering memorable observations that artists can return to whenever they need encouragement. The authors manage to be both philosophical and practical, weaving together personal anecdotes with broader insights about the nature of creativity and artistic development.
While some readers might wish for more specific solu- tions or exercises, the book’s power lies in its ability to normalize the struggles of artistic creation and provide a framework for understanding and moving through creative challenges.
THE STORY OF ART
by E.H. Gombrich
Recommended for both art novices seeking a solid foundation in art history and experienced enthusiasts looking for a well-structured refres- her. This book truly deserves its reputation as the definitive introduction to art history.
“The Story of Art” stands as a masterful introduction to the vast world of art history, maintaining its relevan- ce and authority even decades after its first publication. Gombrich’s approach is nothing short of remarkable – he manages to distill centuries of artistic develop- ment into a narrative that feels both comprehensive and intimate.
What sets this book apart is Gombrich’s exceptional ability to communicate complex artistic concepts in accessible language. Rather than drowning readers in academic jargon, he guides them through art history as if telling a fascinating story to a friend. His writing style is engaging and conversational, making even the most intricate artistic movements comprehensible to newcomers while remaining insightful enough for sea- soned art enthusiasts.
The 1995 edition’s improvements are significant. The addition of full-color illustrations throughout the book, including six fold-outs, brings the artwork to life in a way that previous editions couldn’t match. The strategic placement of images alongside relevant text creates a seamless reading experience, allowing rea- ders to immediately connect visual examples with the concepts being discussed.
While the book excels as a comprehensive overview, it’s worth noting that it tends to favor Western art tradi- tions, which might leave readers wanting more covera- ge of non-Western art forms. However, this limitation doesn’t diminish its value as an introductory text.
The updated bibliographies and redrawn maps and charts make this edition particularly valuable for seri- ous students of art history, while the clear organization and readable prose make it equally suitable for casual readers.
28 II WOWwART
ART IN WORDS, WORDS IN ART