Prepare to use your noodle as you enter the many rooms of Mr. Cooper! A deeply philosophical and intense study of nuerotic/erotic/psychotic animal man. While perusing this fine novel, I couldn't help but feel like I was being used, fooled into the hijinx of the main character. If you have ever questioned the correlation between family and fate, I urge you to find this book!

Like a rotted tooth or a troubling sore I return to this book. Scrape aside the scab of human suffering and Cooper finds the sore beneath. Enigmatic and esoteric, he delivers the knock out punch when least expected. As a long time fan of Eco and Borges, I appreciated Cooper's craft and touch upon his work when I get a chance. This is not an exit.

I read this book about two years ago and was utterly facinated with the books premise and characterization. The mood is evocative, anything seems possible, if not likely. A fantastic Canadian writer, an iconoclast with dark vision.

This book gives us what paul Valery thinks, and what he thinks is the forgotten basis of many thoughts

This book contains some of the most inspiring prose written in this century, in a truly incomparable translation. it doesn't get much better than this. READ IT

The strongest point of this book is the quality of its color plates--which of course makes or breaks an art book. Fortunately, the prints in this book are very rich and most images are full page. The accompanying text is also very thorough, informative, and interesting. My only complaint is that this book doesn't present much of the posters for which Toulouse-Lautrec is perhaps most famous; however, it does cover much of his other work. In that sense, I got to learn a lot about the body of this artist's work outside of the usual cliche of Toulouse-Lautrec. I would recommend this book for any art library.

"Being able to show people in simple, real moments of their lives was one of Henri's greatest talents", p 18

The young reader will learn about Henri's being born into a rich family, his having broken both of his legs in his early teenage years resulting in his small stature, and his years in Paris painting the life with which he came in contact.

Toulouse-Lautrec's painting of lively scenes of the theaters, dance halls and circuses makes this a perfect choice for young children. His Moulin Rouge advertisement prints are easy to read, uncluttered and therefore grab the young reader's attention. The young are frequently in motion. As a result they will appreciate Toulouse-Lautrec's ability to capture a scene in mid motion. The young reader will be drawn in by Henri's choice of brilliant colors and will have fun finding Henri in some of his paintings.

Henri's portrait of van Gogh is breathtaking. He van Gogh'd van Gogh. He does honor to the painter by mimicking van Gogh's style.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His illustration of the Parisian friends that Henri may have introduced to his parent's is jokingly exaggerated.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 18th in Venezia's "Getting to know the World's Greatest Artist" series. He also has similar series on composers. Venezia's back cover illustrations tie back to the subject. "Greatly influenced by Henri de Toulouse-Lautrec, Mike also tries to capture the private moments ...".

The price of the book is well worth paying. The book contains the following: Toulouse-Lautrec's Paintings (13) and Prints (4), Photos of Toulouse-Lautrec - 2, Venezia's Illustrations - 6, Others' paintings/prints - 3.

Douglas Cooper's Steel Shadows is a gem. Although it is specifically about Pittsburgh, it is really about how we see, portray, and interact with the landscape around us, urban or rural. Cooper is first a wonderful visual artist, and has allowed us a rare glimpse into his methods here. Rather than look far afield for his subject matter, he has taken on the challenge of visioning his native city, in immense and powerful murals, which are remarkably well re-produced in the book. Cooper can also write, and illustrates with his words the process of producing the murals and the logic behind them. Together, his drawings and text serve to usher us into the world of Pittsburgh, that singularly muscular and angular American city, and to cast some light on what it is to be an artist at the top of one's game, working hard to make that art - in this case drawing - relevant and useful in a changing world. A very pleasing, entertaining, and thought-provoking book.

Imagine you are standing at the top of a cliff in a hilly city or on top of a skyscraper in a flatter one. Slowly rotate 360 degrees, taking in all that you can see as you turn. Then imagine doing the same thing 10 years ago, 20 years ago, 30 years ago and work older landscapes into your contemporary ones. Then imagine wrapping all that you see and imagine onto a flat surface. I don't think I could actually do that - but Douglas Cooper can and has. Cooper's new book, STEEL SHADOWS, does three distinct tasks. It offers an insightful autobiographical sketch on how Cooper, an architect/professor at Carnegie Mellon University, came to draw the way he draws. Writing in a naive style, he recounts 2nd grade experiments on perspective, his education at Carnegie Tech, his sojourn to Europe to study buildings, and the evolving style which puts myriad angles continuously onto a flat piece of paper in a way which makes sense - to the viewers as well as to Cooper. The second task is to help the reader fall in love with the landscape of Pittsburgh as Cooper did, first as a 6-year-old enamoured of trains. Cooper's drawings in STEEL SHADOWS, excellent reproductions of the massive murals installed permanently in a variety of sites in Pittsburgh, give one the feel of the steep mountainsides, winding streets, and crumbling industrial landscape of the city. Cooper seems to love it all, and his amazing drawings draw us into his love affair. The third element of STEEL SHADOWS is an illustrated collection of writings on Pittburgh including excerpts from architectural historian Franklin Toker, poet Peter Blair, writer Annie Dillard, historian William Serrin, and novelist Marcia Davenport. My favorite excerpt in the last section is actually by Cooper, himself. "Living with Meg across from Forbes Field" allows him to indulge in his second passion after Pittsburgh: baseball. Along with stunning drawings of the old ball park, Cooper tells us of the neighborhood of South Oakland, life in the bleachers in Forbes Field, and his life as a young married man sitting on his porch directly across the street from Forbes Field waiting for foul balls to be hit out of the stadium and to him. One might question whether this book would be interesting to those who are neither artists nor Pittsburghers. I am not an artist, but as a longtime fan of Cooper's work, was intrigued with his thoughts about how he came to draw the way he does. His writing is simple but not simplistic; even technical sections were clear to me, a layman. I am a Pittsburgher, so cannot state how one from another city will enjoy STEEL SHADOWS. Cooper's drawings, though, transcend the specific place he portrays. His urban landscape and his vision of the ways in which places and times come together have universal appeal. It is Pittsburgh that he draws, but it is Cooper himself as well as his city that we see.

I am a beginning oil painter and this book is great. It focuses on different aspects in great detail without confusing you.

This is simply a picture book of a bunch of baseball games with some organization and text fill. The games are organized by century (18th & 19th), and by type (player-endorsed, non-endorsed, card, action and coin-operated). There's a bit of baseball history, but what you'll want this for is the attention to historical detail in the games themselves. There are hundreds of games photographed in a reasonable (if not exceptional) amount of detail; most of the text is just a description of what's in the pictures. Many versions of popular games are compared, with information on how to tell the versions apart, which will be invaluable if you're a collector. For some reason there's four pages on Cadaco, but neither APBA nor Strat-O-Matic get a look in, nor do more contemporary games from 3M or Sports Illustrated or Avalon Hill. Don't expect a forty-dollar art book with prose that'll entertain you into the night. The printing quality, photo quality, and text-quality are only so so. I'm still waiting for the book that compares how the different games are designed strategically and how they play. This one's aimed more at collectors.

Published by Harry N Abrams, New York, 1955 - Portfolio Edition, Large format softcover, 13" x 9.75" Part of Abrams 'Library of Great Painters' series. Contain brief authoritatve biography of the painter, some sketches, and 15 hand-tipped FULL COLOUR PLATES of the master's work, ready for removal and framing. Retain greatest fidelity to the originals.

A great book for finding and seeing France from another vantage point. There is great detail and information about this country not found in travel guides. The information about French people and their unique life styles is invaluable to the traveler. This book is such a find, outlining marvelous places to experience and know about. The color photography is great, with insight into "hidden" France. I can't wait to use this book in France.

John Richardson has set aside his scholarly masterpiece (A Life of Picasso: Volumes I & II completed, Volumes III & IV eagerly awaited)to produce something bubbly and light; it is not soda-pop, though, but vintage champagne. Far different from the careful and meticulous research of his Picasso oeuvre, The Sorcerer's Apprentice is a welcome intermission and a clearing of the palate.

Richardson writes about himself and his friends, and especially about his love affair with Douglas Cooper ("The Sorcerer" of the title), art collector, critic and expert on cubism from whom Richardson learned a great deal, both good and bad.The book illuminates not only the relationship between the older, impossible, Cooper and his young apprentice, but also back lights aspects of Picasso, Braque, Lèger and Juan Gris as they are reflected in the tumultuous lives of that odd couple.

The author is an inveterate gossip, as good biographers should be. He likes to tell the little details that deflate or humanize others. He does not have the malice of Capote (although sometimes he comes close), and he is obviously too amiable and forgiving to twist the knife or seek idle revenge.

One cannot be sure about the motives that led to putting out this light froth between the serious stuff; I am glad it is out there, though, and glad I read it. Being taken into Mr. Richardson's confidence and getting to know him will make the enjoyment of his next Picasso volumes all the more intense.

Richardson's fine survey of Douglas Cooper, who assembled the world's most important private cubist collection, provides an excellent consideration of both the man and his involvement in the arts and Richardson's personal involvement with Cooper's works. Chapters offer new views of Picasso based on Richardson's friendship with the artist, plus many other unusual insights on artists and works of the times. Highly recommended.

john richardson gives us snippets of a fascinating period intertwining the lives of influential artists and personas. i only wish the book was longer and more descriptive of braque,guttoso and miro. if you collect or enjoy the cubists and their relatives,you will enjoy this book

I haven't read a book in years that impressed me this much. (That said, Amnesia -- by the same author -- was beautiful.) Cooper is doing something entirely new here. Critics keep comparing him to Nabokov, but I think he has reinvented the novel -- in Delirium, it's a form that bridges genres: part poetry, part drama, part architecture. A kind of centaur. You have to read this.

DELIRIUM is an engrossing, cerebral exploration of the artistic urge to shape a world of order and intricacy. Douglas Cooper juxtaposes a crystalline purity of ideals with archetypal baseness--lust, greed, and murderous desires--in ways that seem both inventive and authentic.

The structure of the novel is beautiful and complex; through meticulous craft Cooper lures and ensnares readers in the story's web with elegance and confidence.

DELIRIUM is a fascinating book. Its plot and structure offer a challenge to intelligent readers who enjoy losing themselves in a highly symbolic, beautifully terrifying world of ideas.

I find Cooper's second novel impressive on several levels. AMNESIA enthralled me with its inventive atmosphere of foreboding, its relentlessly strange signifiers, its peculiar mix of street wisdom and arcane erudition. I got distracted toward the end, some of the changes didn't feel right, although the final sprint recovers the momentum. DELIRIUM kept me going all the way through. Playing Prospero, Cooper controls the dazzling word play and the multitude of parallel tales, as his characters struggle toward identity in a contemporary yet gothic, decimated landscape. Since this is an installment in a series it might be too early to call major themes, but this book raises the questions about dynamic levels of prostitution and just what requires redemption. What could possibly be more pertinent to our time? The primary joke here is that a sort of universal evil emanates from a Philip Johnson/van der Rohe-like architect, the consummate whore, strewing his pernicious monoliths across the globe. On the simplest plane there's a chase going on, leading to a classic comeuppance, but Cooper makes it mean much more - he takes his time and he cares about the ghosts which are haunting him here. I like this odd book a lot and look forward its successors.