This is arguably the most didactic textbook on image differential diagnosis in children. On the other side of the Atlantic, Swischuk and John's version is probably more encyclopedic, but definitely not clearer, than this one. In fact, these two books complement each other well. Ebel has summoned a superb group of German radiologists and teachers, and the result is this brilliant and thorough job. Not only its format is very readable but also the information is pragmatically presented in tables and sustained with outstanding photographs. In fact, the images are the strongest side of this book. Being printed and bound in Germany with excellent materials, the pictures are abundantly clear and well chosen. It has several measurements and calculation charts that I also found of invaluable assistance. In sum, it is hard to find any downsides to this excellent book and, given that diagnostic imaging is affixed to clinical pediatric diagnosis these days, its content is really on diagnostic pediatrics and thus will be essential to anyone involved in pediatric care.

this is a summary of richter's recent oil paintings, with two critical essays. Although a few pre '90s paintings are shown (e.g. zwie grau, schaedel, some abstractes bild), most of the book covers the abstracted bilds and photo-paintings of 95-96. The 'realistic' works include several landscapes, lesende, works with flowers and the most excellent S. mit kind series. Also a rare self-portrait (836-10, 1996). Essays are 'the woman the child and the painting' by guy tosatto, and 'there is no there. gerhard richter at the carre d'Art in Nimes,' by Birgit Pelzer. printing is nice. we read that the artist was involved in the production of this very good buy.

This is anawesome book. I like the part about the moonlight gourami. I also like the part about the siamese fighting fish.

Long over due. Stephen Foster is one of the great intellectual minds of our time...

I really enjoyed this book. I bought it at the Ricther exhibit I just saw at the SFMOMA a few weeks ago. I wasn't familiar with his work until then. I was awed at the different themes and usage of what would seem to be everyday normal moments caught with an unearthly feel. He's even using music and video installations now. This book does uses his collected notes, interviews and letters as an insight into the thinking behind the artist. Richter's philosophy of not subscribing to any ideaology is very evident here. He seems especially disdainfull of Communism as it does not afford the freedom for individual creation. He's been grasping to make sense of his art all his life and its what has been driving him. You can see it in his paintings. The work itself becomes a question. Why this subject. What is relevant? What is the importance. Why this style of painting? What is the meaning of the photograph it's based on? The book is chock full of interesting ideas on art, art history and the current state of society and the culture. Even if you don't agree with it all - it's still a very interesting read. I do recommend that you first familiarize yourself with Richter's various works first. You'll enjoy the book all the more.

Ironically, this book - that decries idealogies - could be a Bible, speaking almost always on deeply conceptual issues not only of artmaking but of living. Fortunately, for those with a pulse, there is sufficient comic relief in the form of absurdities, parodies and self-aggrandizement.

It is tempting to skip the early writing and go straight to the wisdom through maturity (the notes are chronologically arranged.) That would be unfortunate for there are tremendous nuggets scattered among the contradictions in the earlier pages.

If you're familiar with his work, much will be self-evident; but I found surprisingly astute reflections from the "young" Richter (ie:'66): "I like continual uncertainty". On the issue of changing style/form every 3-4 years, Richter claims that "historically speaking, changeable artists are a growing phenomenon". Even back in '77, he says "Painting has a brilliant future. Hasn't it?" Strong words, and brave for the time. If only the irascible Kuspit had read this before he slammed Richter (as "profoundly nihilistic") and believed such statements as "I want pictorial content without sentiment, but I want it as human as possible" or "the pleasure of painting proves the necessity of it".

I hope future editions of this include the charming interview with Robert Storr in Art In America Jan. 2002 - which clued me into the fact that Richter had a set of writings out. There are a few photos that show the various painting forms he's explored so if you don't know his work, you can get some idea what all the discussion's about.

A wildly compelling book that should appeal to artists, philosophers and other thoughtful people. It contains journal entries, interviews, and musings of Richer's everyday struggles to discover what it means to be an artist. I tried to start at the beginning, but found it much more interesting to open the book to a random passage and each time discovered thought-provoking ideas. At first glance, his ideas and declarations often seem quite ludicrous, but if you take one moment to consider his thoughts, his genius is revealed. His prose (sometimes scathing) is extremeley amusing when read aloud as it was by a group of artists working on a large project. We took turns reading a passage and then found ourselves discussing (and quoting) it for days. His writings include the impact of his early life on his artwork, critiques of other artist's work (Anslem Keiffer does not fare well here!), keen observations and interpretations from studying art and the human condition in modern society as well as ideas, form, materials, and content in art. I found that it opened up a new way of thinking about my own work and why I am driven to create. I highly recommend it.

Hans Richter lived on the fringes of Zurich's Dada movement, and here offers a personal narrative of the Dada movement and its eventual successor, Surrealism. This was the first book I'd ever read on Dada and I found it quite sufficient -- all the personalities are introduced, and their motivations and how they came together are revealed. Richter is best in the earliest sections, while discussing the birth of the influential Cabaret Voltaire and how the First World War helped amplify Dada's influence in Europe. The book peters out a bit in later chapters, but is still a detailed look at the subject. If you are simply seeking an understanding of the movement, this book is a fast and entertaining read.

In the interest of re-appropriating dada, read this book on the origins of the movement in Zurich at the Cabaret Voltaire. The Hanover period is less than compelling except for the brilliant Kurt Schwitters. His attempt to gatecrash the Club in Zurich led to marginal friendships with the progenitors - he was perceived as too bourgeois - and Schwitters went on to non-fame in exile in Britain, snubbed by the international art intelligentsia, which still denigrates his late work. Most interesting role? Hugo Ball, the impresario of the Cabaret Voltaire who championed the idea of the gesamtkunstwerk (total work of art) then dropped out to live in the Ticino in Tolstoi-esque self-induced poverty. Greatest sub-narrative? The battle for the ownership of dada by the hangers-on.

I bought this book in Flordia because I had to go to a wedding, and there wasn't much to do that I enjoyed. The photo plates are extra good because I had never seen the paintings that had to do with the men and women of Dada. There are many good photographs of the Dada people too. The events in the book are inscribed well, and the excitement is carried over into your very home and arms.

Friedrich is a acceptable young gent who spends most of his time
frolicing around Germany during World WarII. He is a pretty boy.
With an imageination of a young girl.I rate this book a sparkiling 4 stars proundly. If you are looking for a bookon a young boys dareing adventure this is not the book for you. If you are looking for a partial love story this is the book for you. Friedrich has a lot of things other books may not have. This is a book about a frindship with a Jewish boy and a non Jewish boy. It goes through the rights and wrongs of childhood, during the Houlocaust. You should read this bookish thing. This friendship falls through thick and thin, right and wrong. My friends of the world please trust this book it will do no harm to me nor you.

The book we read was a great work of art. Written by Hans Richter, he took a major part of his life and pasted it on a piece of paper. This story is about 2 families living in Germany before World War II. One of the families is Jewish; they are treated horribly by everyone in their town. Soon, later in the war, the other family turns into Nazis. The Jewish family stands strong and doesn't leave Germany they go through scenes of love, humor, action, suspense, and sorrow. On a rating scale from 0 to 5, 5 being the best and 0 worst the lowest, I would give it a 4 ½. I would recommend this book to young adults.

It was an interesting, exciting and emotional story. It takes place in Germany and tells about some things the Germans did to the Jewish people. You get attached to some of the characters and some you hate. I had many times during the book when I would burst out in tears because some parts were so sad and horrible the way people treated others. The story tells about two families and the drastic changes in their lives. It tells how they coped with the problems of money, job loss and much more. I would recommend sixth graders, at the youngest, and up to read this story.

I am mad about Gerhard Richter. Especially when it comes to his masked and stripped oil paintings. Therefore it makes sense that I would have to acquire this little book full of detail panels of Richter's painting. That's it. That's why you would buy this thing. It's straightforward and there's really no other use for it once you are done staring. It gets filed under "reference" in my library. When someone wants to see what it is about this German painter that get me so juiced, and we don't want to run out to the Saint Louis Art Museum and I don't have Sonic Youth's Daydream Nation lying around (or even if I do) then I let them flip through this little art book.

it is so sensual - makes me want to lick the pages. i sit with my daughter (21 months old) and we both just sink into it. life is beautiful. and sad.

This is the doctoral thesis of H.G. Richter, one of the foremost wood anatomists of our time and a specialist in Lauraceae. Illustrated by black&white photomicrographs (mostly taken by light microscope but also some by electron microscope) and a few color photographs.

Contains a wealth of information on the wood and bark anatomy of Lauraceae. However, note that Lauraceae is a family in which a considerable amount of work has been done since 1981.

For a brief survey of the anatomy of Lauraceae in English by the same author see "Anatomy of the Dicotyledons, 2nd ed., Vol 3" (1987).

A 1988-book presenting woods used in musical instruments,compiled by one of the foremost wood anatomists of ourtime. Hardcover, 22,9 x 30,4 x 1,2cm, 44 pp, illustrated by black&white halftones. The woods treated are separated in six categories, by application. For each application a brief survey is given of what wood properties are desirable.

Amount of data given per wood varies. At best is provided: German trade name, scientific name, (occasionally) a synonym, other trade names, natural distribution, general appearance of the wood, properties, typical use. Most woods are illustrated by a 8x12 cm photomicrograph of the end grain (transmitted light), of excellent quality.

By today's standards of lavishly illustrated books perhaps a trifle sober. Color photographs of flat sawn and quarter sawn woods would have been nice, as would have been photomicrographs of tangential and radial sections. Might also have contained a little more in the way of detail useful in identifying the treated woods. Nevertheless it does contain a great deal of information, presented very concisely.