Jen Green's introduction to the life and work of Michelangelo is at something of a disadvantage compared to other volumes in the Famous Artists series because he was both a painter and a sculptor, although there is also a spread on his work as an architect as well. Ultimately Green focuses more on Michelangelo as a sculptor, looking at his Bacchus, Pieta, and David works before looking at the painting of the Sistine Chapel (the reproductions of these paintings unfortunately predate the remarkable restoration efforts). Ironically, in terms of explaining Michelangelo's distinct style, Green has much more success dealing with the painter than the sculptor. The political climate of the time is also dealt with, since perhaps no other artist in history worked at the whim of patrons and popes more than Michelangelo.

The strength of the Famous Artists series remains its emphasis on allowing young readers to experiment with the techniques of particular artists through the use of hands-on projects (e.g., proportion, composition, carving in relief) as well as by providing preliminary sketches and materials to show the artistic process at work. Each two-page spread features an illustration of the artist's home or environment, the continuing story of the Michelangelo's life, details and examples of the his work at that particular time, and a feature on the artist's technique with practical projects to try. Often there are enlargements of key parts of the work and there is always a symbol indicating the size of the work relative to a human being. As a general rule, these are excellent books for providing readers, young and old alike, with a basic art appreciation introduction to the world's greatest artists.

Hughes gives a lot of info in a short book, and paints a very well balanced idea of Michelangelo the man. I felt bad for
Buonaratti after reading this. He truly was a miserable man, yet his committment to his art was never diminished for a moment. In the end the story of his life is inspiring and humbling. Inspiring because it proves what man can acheive, humbling in the sacrifices that were made in order to fulfill his destiny as one of the great geniuses to have ever lived.

Firstly, I was thoughroughly impressed by the quality of this little book. The layout of the pages, the quality of the paper, everything. I'm glad to report that the content matches its presentation: Very clean, clear text featuring an unbiased look at Michelangelo's life. The book often cites former biographers (specifically Vasari and Condivi) and more often than not, it tries to find the right history. Very good illustrations of his more famous artwork as well as some drawings. Excellent!

This Famous Artist book by Antony Mason serves as an introduction to the life and work of Paul Cezanne. These books are organized in a particular way for each two-page spread: On the left page there is an illustration of the artist's home or environment and the story of the artist's life, along with a painting and a small symbol used to indicate the size of the paintings relative to a person. On the right page there are more paintings (usually with a key section enlarged) with text about the artist's work at the time, along with a feature on the artist's technique (e.g., painting with a palette knife, using watercolor, showing depth) with practical projects to try. I have read a couple of other books on Cezanne and Mason certainly provides a better understanding of how the artist is a major influence in Post-Impressionist art and is called the father of Modern Art.

Of the several books look at the life and art of Cezanne this particular volume probably has the best balance between the two. This book will certainly give you the basics and in the back you will find a brief history of art that puts the Impressionist movement in perspective and a list of museums and galleries at which you can see examples of Cezanne's work, although much of it is in the hands of private collectors. Other titles in the Famous Artists series look at Da Vinci, Michelangelo, Monet, Picasso and Van Gogh.

This book is very challenging. As you go from the first page to the last you see it gets more difficult. A must for all beginners in Calculus.

This book contrary to the note attached to the title notation that it is "womens" diarys and letters. It deals with one indiviual Andrew Sheffield daughter of (yes daughter) James L Sheffield Confererate Colonel,Senator and politican from Marshall County Alabama. Andrew was committed to Bryce Hospital the State Asylum at Tuscaloosa by her father and stepbrother who was the probate judge in Marshall Co at the time. It is doubtful that she was insane, however she had disgraced the family by having an affair and committing an attemped act of arson at the request of her lover Dr William May. James Sheffield shot Dr May for dishonoring his family, he was arrested but no billed. When it became apparent that Andrew was to be tried for attemped arson. She was commited to Bryce. This book is almost entirely composed of letters written by Andrew from the time of her commitment until her death in 1920. She wrote to her father and brother as long as her father lived begging to be released and allowed to stand trial for her "criminal act". She over the years wrote long intelligent and lucid letters to all the Govenors who served during her confinment. Several considered releasing her,however her family was well connected enough to keep her there. It is very painful and depressing reading these letters, however it very clearly reflects the total lack of control women had over their lives in this period. It is interesting to note that her father this pillar of the community had a second family only a few miles away by his long time mistress. A very interesting example of the double standards of the period.

As a parent and volunteer educator, this book and the others in this series provide excellent age appropriate material and interesting facts about the most important artists. The book offers great visuals, with many ideas for looking at art with youngsters. Even the exercises are easy and successful. The format is busy, but eyecatching and informative. I am ordering the whole series!

This book replaces completeness with something better-- quality. Keyword and thematic indexes. A couple of sentences giving background for each person and, if necessary, the circumstances of the quote. This is the thing to pick up if you're interested in quotes that are a little hipper than Barlett's I've-heard-that-a-
million-times quotes. Great fun to browse, e.g.: "I think it pisses God off it you walk by the color purple in a field somewhere and don't notice it"--Alice Walker

Phillip Porter is a recognized expert on the Jaguar XK series. His book, suplemented by excellent photos, details each version of the car with text and photos. For anyone restoring an XK series Jaguar, the photos are a rich source of originality information highlighting differences between the various models. This book is well worth purchasing.

This Famous Artist book by Antony Mason serves as an introduction to the life and work of Pablo Picasso. These books are organized in a particular way for each two-page spread: On the left page there is an illustration of the artist's home or environment and the story of the artist's life, along with a painting and a small symbol used to indicate the size of the paintings relative to a person. On the right page there are more paintings (usually with a key section enlarged) with text about the artist's work at the time, along with a feature on the artist's technique (e.g., balancing colors, seeing all angles, reworking great art) with practical projects to try.

This book balances Picasso's life with his art, organized chronologically by the key stages of his career: Paris, The Blue Period, The Rose Period, Cubism, Synthetic Cubism, etc. Some of the key paintings studied are "The Absinthe Drinker," "Les Demoiselles d'Avignon," "Minotaur and Dead Mare Outside a Cave," and "Guernica." Mason not only highlights key aspects of these paintings (and other art forms as well), he fills his book with fascinating details, like the German officer who saw "Guernica" in Picasso's studio and asked "Did you do this?" only to be told by the artist, "No, you did this." These are the sorts of things that are well worth being remembered by students. There are certainly more detailed books about Picasso's life and art, but this is an excellent intermediary book. Other titles in the Famous Artists series look at Cezanne, Da Vinci, Michelangelo, Monet and Van Gogh.

Ted Hughes has written ten wonderful short stories about the early world, when God meticulously (or not so meticulously) fashioned all the animals out of clay. Each tale is a richly worded adventure, as God, his mother, Man, Woman, and their children live in the early days. Learn how the birds were created, how the Peacock got is wonderful plumage, and what sometimes happens to the leftovers from God's workshop when a tiny bit of thundercloud gets mixed in. The book has great illustrations by A. Davidson, but make no mistake, this is a book to be read to someone, one story at a time. Hughes' language takes listeners on a verbal safari with great nonesense words and sounds. Its a book for all ages, even adults, but I would think that children between 4-6 would love the whimsical logic behind the creation of each animal the most

A metaphor can be a very dangerous tool to wield; quite often while you are trying to reference one particular aspect of a thing, myriad other associations and relations spring to peoples' minds and they may well be quite different from those correspondences you intended to summon. Such is definitely the case with The Iron Giant by Ted Hughes--once England's poet laureate, now best remembered, albeit unfairly, by angry feminists as the husband who drove Sylvia Plath to her grave. Hughes tells the amiable story of a huge metal robot who crashes to Earth and after putting himself back together begins to sate his enormous appetite for metal by devouring cars and tractors and the like. Infuriated local farmers trap him, despite the efforts of one friendly boy named Hogarth. But the Iron Giant turns out to be quite useful when an enormous space-bat-angel-dragon attacks Earth and demands a tribute of animate matter to consume. The Iron Giant agrees to battle the monster, vanquishes him and determines that the creature is actually peaceful but was attracted to Earth by man's violence. The space-bat-angel-dragon agrees to return to space, where his "music of the spheres" has such a calming effect that Earth becomes a peaceful place.

Now the intent of Hughes's original story, as well as that of the very good recent movie which is loosely based on it, is to show the futility of war, violence, etc. Hughes book was written at the height of the Cold War and the space-bat-angel-dragon can be understood to be the Left's idealized version of the Soviet Union--a threat only because of our own attitudes and actions. The Soviet Union having been disposed of in subsequent years, the movie makes a more generalized anti-gun, anti-military, pro-nonconformity statement. But the truly delicious irony in both cases is that the most obvious subtext of the story is at war with the intended central message. Because, at the end of the day, the Iron Giant is nothing less than Ronald Reagan's Strategic Defense Initiative come to life and saving the world. The author's pacifist message and the filmmaker's antiestablishment message are overwhelmed by the powerful metaphorical symbol of a gigantic defensive weapon being the only thing standing between mankind and certain destruction. How delightful the irony that book and movie basically end up being pleas for the biggest boondoggle in the history of the military-industrial complex.

I liked both book and movie very much. The film in particular may be the best non-Disney animated feature film ever made. Obviously the symbolism of the Iron Giant has escaped the control of the storytellers; but the metaphorical ironies merely add an additional layer of enjoyment.

GRADE:

Book: B+

Film: A-

This is such a delightful book filled with imagination and peaceful resolution to differences. Children are captured by the amazing character "Iron Giant" and us adults enjoy the simple way that life winds around in this story of two very alien creatures.

Neither children nor adults need know the intricacies of Ted Hughes' life to appreciate this book. In fact, they might be better off not knowing. England's poet laureate drove two wives to suicide--Sylvia Plath and, six years later, Assia Welville, who also murdered her child.

Readers need know nothing about the Cold War, either, though Hughes clearly created this story as an allegory about the evil of war. He gave the characters very little development. Hogarth, the boy who centers the movie based very loosely on this book, functions as a sort of trigger. But there's not much explanation about why he acts, or why anyone acts, for that matter.

Nevertheless, the plot will draw even the most tortured second-grade reader into its tangle of fantasy, words and poetry. And once there, he will find it impossible to escape until the book is done. (My favorite part is the music of the spheres--the music that space made, a strange soft music, deep and weird, like millions of voices singing together.)

The Iron Giant came to the top of a cliff one night, no one knows how or from where he had come. The wind sang through his iron fingers, and his great iron head, shaped like a dustbin but big as a bedroom, slowly turned right, then slowly turned left. Down the cliff he fell, his iron legs, arms and ears breaking loose and falling off as he went. The pieces scattered, crashed, bumped, clanged down onto the rocky beach far below, where the sound of the sea chewed away at it, and the pieces of the Iron Giant lay scattered far and wide, silent and unmoving.

See what I mean? When the Giant was discovered after biting a tractor in two, the farmers whose equipment he had ruined dug a deep enormous hole, a stupendous hole on the side of which they put a rusty old truck to attract him. Hogarth lured the Giant there, and when he finally came to the trap, the farmers filled it in on top of him and let out a great cheer. Of course, the Giant escaped, and Hogarth (who felt guilty) found a home for him in the local scrap yard, where he could eat tractors to his heart's content.

Then arrived from Space a terribly black, terribly scaly, terribly knobbly, terribly horned, terribly hairy, terribly clawed, terribly fanged creature with vast indescribably terrible eyes, each one as big as Switzerland. It landed in Australia, where it covered the whole continent, and all the armies of the world decided to fight this space-bat-angle-dragon, who demanded live creatures as food. They declared war and lost. It was Hogarth's idea to call upon the Iron Giant for help.

I won't tell you how the story ended. But the important point, for grown-ups at least, is that in creating his 1968 Cold War space-bat-angle-dragon, the erstwhile pacifist poet Hughes also created a vision of evil incarnate--the kind of evil that wishes to engulf the entire world, that cannot be reasoned with, cannot be pacified and must be fought. Ironic, isn't it? Alyssa A. Lappen