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Another fascinating aspect of this book is the snapshot it gives into the mind of a prominant 19th century art critic. Rushkin not only was a master draughtsman and painter but a widely respected art critic in his day. Monet was quoted by a British journalist to have said, "90% of the theory of Impressionist painting is in Rushkin's Elements of Drawing." A young George Seurat obtained a copy and admitted to having read it carefully. Now I'm no Monet or Seurat but I figure if these guys valued Rushkin's instruction I should certainly pay attention to what he had to say.
Rushkin explains exactly what the goal of each exercise is. He also recommends specific paintings or drawings to examine along with critiques of why this or that area in the drawing/painting is superior or lacking. He strongly believed it more profitable to study in-depth a few highly superior drawings/paintings to a wider assortment of middling/average execution. And he believed this even of famous artist's work - famous or not he advises to ignore for the moment their less masterful work and focus on the truly great ones. Rushkin pulled no punches. The entire treatise is full of his opinions right along side the exercises - yet I would say they are not opinions without merit. He gives you something to think about when looking at works of the art masters and something to strive for in your drawings and paintings so that you can become more than just technically competent. He addresses the heart and soul of drawing and painting. It made me think of why this or that particular line, shading or painting technique in an art master's drawing/painting touches me the way it does.
This is the best marriage between technical competence and artistry. And you grow in understanding that all the exercises he gives are only in service to the spirit of art. It is an emphasis that most modern how-to books don't touch. Analysis this deep in modern art books are left for books that are advertised as art critiques. Since almost all my art books fall under the "how-to" category (as anyone who's read my other book reviews will see) I found this critique aspect rather refreshing and wanting to read more such types of books.
I strongly recommend this book. Despite the lack of photos or modern step-by-step illustrations (the illustrations are line art - the most up-to-date technology for book illustration then available in an affordably priced book) I think it is very worth getting and reading. Perhaps artists who have been formally trained in universities or art academies will find this kind of instruction typical. But for someone like me who is entirely self-taught from the books he/she buys it is a great investment into expanding boundaries and knowledge of art in general.
Emily is a little girl who lives with her parents on a property in rural England. One day she and her mother visit the zoo in London to see the different animals. Just as they are about to leave the Children's zoo, Emily learns that the zookeeper is in a terrible predicament with Jumbo, the baby elephant. A concerned and caring Emily devises a plan and, with her mother's support, sets out to help Jumbo and the zookeeper, and in the end helps her father too.
"Emily's Own Elephant" is a lovely book for children aged 3 to 8 years, and of course their parents! But parents be warned - as soon as the story is finished your child will want you to read it to them over and over. And I'm guessing that with such a lovely story, you will want to read it again too.
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