Tiger is a very fast learner. He even learned when he was 8 months old. He went to many tournaments. His father was even in the Vietnam war. I liked this book because it tells about his cool life.

I thought the the book was great! Tiger is a great athlete and has a great attitude!The way dat matt writes da book makes it cool. I think u should read it!

I thought that the book was great!I think that Tiger is a great athlet and has a great attidude. I think the way Matt Christopher puts the book makes it easy for kids to read. I think you should read the book because it it phat!

First, let me say what I like about this book. It is profusely illustrated with full-page images, nearly all pictures mentioned in the text are reproduced in good quality, so one immediately sees what is described by the author. The text is free of jargon, lucid and highly entertaining (check the story of John Ruskin's unhappy marriage). Basic facts are rendered, short biographies of major painters are here, as well as some historical background (for example, the Aesthetic Movement and Oscar Wilde).
But this book has its weaker points. Mr. Christopher Wood does not specify what he means by "Pre-Rafaelite style"; sometimes it appears as he only means close adherence to nature and precise detailing. But what would he say then about German Biedermeier or French Neo-Grecs? The text overall is too smooth, it does not take into consideration newer approaches to art history (Norman Bryson's studies of pictures as sign systems, for example). So if you want a problem book, a challenging essay, you better look to Elizabeth Prettejohn's study. This one is just an introductory survey aimed at a general reader -- but a pretty good introduction, I might add.

I'm so thrilled to see that this book has been reissued after being out of print for several years. I found the original edition of this book in a frame shop in 1992, and bought it on a whim. Through this book I fell in love with the art and artists of the Pre-Raphaelite movement, and now own over fifty books on the subject, while prints by Evelyn de Morgan and John William Waterhouse decorate my walls. This book introduced me to the beauty and majesty of Pre-Raphaelite art, so I'd love it for that reason alone. However, years later, I still find that Wood's survey of Pre-Raphaelitism is the best I've ever seen. Full of 'academic' information, it's still easily read cover to cover, and the full color pictures are exquisite.

If you have even the slightest interest in Pre-Raphaelite art, you simply must own this book. It's both the PRB Primer and Bible, as far as I'm concerned.

This book is the most beautifully, and thoroughly done book on the Pre-Raphaelites that I have ever read. The prints are exceptional and the history reads like a novel. It was in this book that I found the passion to paint and I have never stopped. I recommend it to anyone looking for the excitement in art.

This artbook art does an admirable job of recapturing the spontaneity, dark humor and angst of a little known American DIY music scene: the punk rock underground of the late 70's and early 80's. For those unfamiliar with this type of free form art/social commentary/teen angst, this book will be a real eye opener. For those who eagerly awaited the next flier to appear on their local telephone pole directing them to the next Black Flag gig, this is one wickedly twisted stroll down memory lane.

The only criticism is the scarcity of fliers from parts of the country outside the east and west coasts. However, fans of Raymond Pettibone's amazing art will be pleased to revisit his early work. An added bonus is the written commentary by local scenesters and musicians who were there when these fliers first appeared. This is juxtaposed by the merciful lack of pompous art historical/criticism blather. Props to the editors/designers who put the whole thing together: the overall layout and design mirrors the art presented: immediate, spontaneous and in your face.

An absolutely gorgeous book. Even if you don't [care] about punk rock, it would still be fascinating.

This is also an exceptional historical document. The history of the margins is lost so easily -- a book like this does a tremendous service to posterity.

As to the guy from SF who says that this book distorts history and gives "unnatural significance to marginal bands..." Well, it probably does, and so what??!! [....]

The first production from KILL YOUR IDOLS is a jamming book. They are working on a follow-up book to cover those influenced by early Punk Rock including more skate/surf Punk, speed metal and more. I hope it's as great as this.

I thought that this book was fun to read--incorporating Godly wisdom with modern time dating relationships. Although some of the ideas were a little "cheesy," this book offers sound advice as well as a better alternative to dating: courtship. This book gives singles of today a grounding when they pursue others as possible soulmates.

I found this book, to be whole more helpful then the book, I Kissed Dating Goodbye. After, reading the book I realized that their are still Christians out there that are not complete radicals.

I thought that the authors comments on someones readiness to date were right on. The test in the book on someone's readiness to date I also found to be helpful, so you know that your reasons for dating are proper.

About the best thing, that I found in this book, was the ideas it gives for someone going out on date on what to do on the date.

Another, book that I also found helpful was, I Gave Dating A Chance, if you want to do some additional reading on the subject.

One of the most interesting problems we had in our drawing class was regarding linear perspective and I picked up this book hoping that it would go in detail about perspective in historical and cultural context and it did!

This book is written by and for educated man. The translation is great and I finished the book in one reading because it was so compelling. It is above and beyond the mere mechanics of horizon lines and vanishing points.

The end notes are great too.

A must read for all art lovers.

A comprehensive review of the thought behind mathematical perspective and how it differs from our empirical experience. Explains how the concept of the infinate has forever altered the way in which we represent space in pictures. Short essay with extensive end notes.

Panofsky's book on perspective, Perspective as Symbolic Form, is a short book about the development of perspective from ancient perspective to the full, abstract space of an Alberti. This is interesting for a number of reasons, which are:

a) ancient perspective is the perspective of angles, not of distances. This is hard to explain without a diagram, but basically an object at a 45 degree angle is 3/4 as large as an object at a 60 degree angle. This is in contrast to modern perspective, where size is in inverse proportion to distance, not angle. The idea that the ancients did not have perspective is simply false. Modern perspective as a third antiquity.

b) the grid of perspective preceded the abstract space of the cartesian grid. The equivalence of extension and object or mass is already present in kpainting before it was ever devised by Descartes.

c) the "vanishing point" is the "actual infinite," the infinite in this world. A theological point.

d) modern perspective is actually a falsification of the "psychophysical" perception of the world, which is really curved. We live in a curved world. Comets tails, for instance, look curved even though they are straight. Buildings look curved likewise. See Vitruvius for the ancient discussion of this phenomenon.

This is a really excellent book! I love it for the first reading, and I love it more at the second! Everyone who wants to think about the mankind, the history, the politics or the arts must read it.

The borders of the past and the present do not count any more. Fiction and reality take place in same time. To read this poetic and beautiful but dark lines, to imagine how Ovids exile at the Black Sea passed by, to get to know the old and strange stories of roman and greek mythologie, ... It is not at all amazing that Ransmayr got the highest european literature price for the Last World in 1992. How actual his story is shows the example of Romania of 1989 where the publication of the Last World was forbidden.

This novel has a very Eastern European flavor, with attitudes about power and empire that recall another Austrian, Robert Musil. Ransmayr's writing is beautiful and he has an excellent voice. I found it to be difficult, but very rewarding in the end.

This collection of essays about online teaching and learning dispells the popular myth that writing instruction needs to take place face-to-face. It gave me some exciting ideas for how to conducting a supportive and interactive class using the Internet and computer conferencing. I particularly enjoyed the reports written by teacher Beverly Paeth and student Jenny Davis of their online communication.

Wood has done a fantastic job of assembling a representative group of texts that documents the emergence and impact of a relatively obscure school of art historical research. But its obscurity, thankfully, is now a thing of the past.

What makes this material so fascinating is that wrapped up in an academic debate one would normally consider to be a dry and remote subject - art historical methodology - are enormously important philosophical and political issues that are just as vital today as when the debate originally took place (the 1930s).

Wood does an absolutely singular job of delineating the cast of characters, setting the stage and describing the plot. To his great credit, he has also selected essays for translation, many of which appear for the first time in English, that illustrate the issues in compelling ways. One only wishes that more could have been incorporated - especially translations of Hans Sedlmayr's 1929 introduction to Riegl's Collected Essays, his 1925 piece on "Shaped Vision," and Otto Pächt's article on Michael Pacher.

What Wood demonstrates is that continuing interest in the Vienna School of Art History, and its primary protagonist Alois Riegl (three of whose main books were finally translated into English nearly a century after their original publication), constitutes a curious demand for more translations of these vivid, multivalent texts after decades of relative neglect.

I must confess that Wood does not see the full range of political issues imbedded within these writings. This is somewhat odd, because in a previously edited volume on Otto Pächt's own art historical methods in which these issues are brought right to the surface, Wood avoided a thorough discussion as well. Perhaps he is uncomfortable with this material, or perhaps he is simply "politically tone deaf." All interpretation is through the typically Leftist academic lens, but not surprisingly, the material is far too nuanced for so puerile an instrument. In short, much remains to be said about this material, and why it still fascinates modern collectivists on the political Left.

Read it yourself and see if you agree. You will not regret the time spent. If you are an art history "buff," student or professor, this is simply MUST reading.

I thought this book had a very complete selection of Victorian fairy paintings, however, the reproduction quality of the paintings was not good. By comparison, the reproduction quality in Jeremy Maas' Victorian Fairy Painting was far superior, but there were less paintings. Having been involved in the publishing and printing of fine art books for years, I was unable to keep this book knowing that the compromised reproduction quality did not justify the "fine art" book price. If you have a critical eye and would prefer to go for quality of reproduction, rather than quanity of paintings, I would recommend the Maas book.

This is the second of only two books that I'm aware of that cover the phenomenon of Victorian fairy painting (the other being the exhibition catalogue Victorian Fairy Painting by Jeremy Maas). Wood covers artists such as John Anster Fitzgerald, Richard Dadd and Richard Doyle, and includes many illustrations (in colour) of works that haven't been reproduced before. My favourite is Frank Cadogan Cowper's Titania Sleeping. I'd recommend investing in this book if you are a fan of 19th century Victorian art.