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Product details
File Size: 41455 KB
Print Length: 192 pages
Publisher: Watson-Guptill; 1 edition (November 15, 2011)
Publication Date: November 15, 2011
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B0078XCLDQ
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#100,658 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
I studied art at a private college with excellent teachers, but never got the real technical training this book contains. It is an excellent book that I would highly recommend and I’m only in chapter three! The author does an excellent job covering both technical and inspirational aspects of landscape painting. I wish I had received this instruction in college.
This book is beautifully written, organized and printed. It is a pleasure to read even if you aren't a painter but merely someone wanting to know more about landscape painting. Mitch Albala has reduced the art of landscape composition and painting to their very essence. The writing is pristine, the illustrations and instruction are very clear. The large number of contemporary landscape painters used throughout the book as illustration introduce the reader to many contemporary landscape painters. I highly recommend this book.
One of the best books on painting. Not just landscape painting, although that is all this book is about. You can tell this is a book written by an educator with 20+ years of experience, he is able to distill fairly complex ideas into understandable concepts. Chapter One sets the tone for the book. Simplification of Massing. Selection and Composition. Light and Color. This chapter gives a brief overview of where he is going. For those of you who are intermediate to advanced painters, you will find yourself alternately confirming long held unspoken thoughts and finding practical solutions to the unique problems presented by painting the landscape subject. For beginners, this is a book you will read many times and continue to gain insight as you gain experience. For painting is, in essence, an experiential process that needs an anchor of clear thought. This book is not only a how to (step one, step two, etc.) but a why do. How to books are easy to write as an artist, just photograph your work as you produce it. The why is much harder to write. For one thing it requires a lot more literary effort. ie. you need to have read a fair amount. There is no question that he he has been influenced by Carlson, Payne, etc. The book is filled with quotes from Hofmann, Monet, Maisel,...great example: "All color is no color"-Kenneth Clark. That is a perfect example of how this book is written for the intermediate to advanced painter. There is no way that would have made any sense to me as a beginner. It is only understanding composition and how color can be manipulated to move others through a painting. Know the importance of graying colors with complements to accentuate other colors. And the primary importance of value over color. (It took me ten years to learn that!!) You get the idea. Physically the book is beautiful. In an act of humility, his examples in the book are mostly from 36 other artist, many of whom are new to me. (I look forward to finding out more about some of these artist.) We see Chatham and Shils, a couple of modern day masters as well as Payne and Pinkham. Fantastic selection. We also get a nice selection of Mitchell's paintings, which are wonderful. The reproductions are top notch. This book is physically quite similar to Classical Painting Atelier by Aristides. Well thought out and well presented. It has been quite a while since I have seen such a book full of so much. Maybe Richard Schmid's was the last I found of such strong material.Addendum: It has been mentioned that this is a book for beginners. That being the case, if one were to understand and implement successful all that is in this book, you would be well beyond a beginner.
If I could give this book 10 stars I would. I have probably read 10 art books in the past year and this is the best one by far. Mitchell Albala explains the fundamentals of creating art in a way that makes sense and gives examples to illustrate. I find myself going back to it again and again. Although the book is written primarily for landscape painting the principles can easily be applied to any subject and to any medium. If you were not lucky enough to go to art school or major in art in college, this book will fill in all the gaps.I know some of the other reviews criticized the book for not having the author's artwork on the cover. I disagree-the author's own work is very ethereal and would simply not make a good book cover, it has nothing to do with the author's own value as an artist. He's a very talented artist and lucky for us an even more talented art instructor. I would give just about anything to live nearby and take an art class from him. And it takes a confident, wise and student-driven person to use other artist's work to illustrate a point when he knows it will help his student more than using his own artwork.Thank you, Mr. Albala, for teaching me in this book all the things that my other art instructors didn't teach me but that I desperately needed to know!
An excellent instruction book that covers all the basics, as well as discussing more advanced painting techniques in later chapters. From the start the author acknowledges that there is more than one way to make a successful painting, unlike many art books which use a "my-way-or-the-highway" approach to art instruction. The book also provides the best explanation I have read on how different artists approach color and the many different strategies employed to use color to create the desired effect.Using artwork examples by many different artists to highlight the concept or technique being discussed is much better than if the author had tried to "fit" something of his own or created something simply to illustrate the point being made. Excellent quotes from many artists and creative thinkers, as well as the author's insightful margin notes, are helpful and inspiring.The chapter on working with photographs and using digital effects as a tool for creating better paintings is refreshing. However, the book also acknowledges that photos and the computer are not replacements for painting outdoors, directly from nature, but provide a way to learn and grow as an artist using the tools currently available.The chapter on abstracting nature will be helpful to anyone who has yet to try pushing their paintings in this direction.One thing that would have made the book even better would have been to include more painting exercises, like the three on massing. However, this is a minor point. There is enough information for painters at any skill level, beginner to advanced, to study and then try out on their own.
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