David Larkin (1936–2020)

Compared to the previous book I read about Salvador Dali, this one was a much more enjoyable read. Surprising, I know, considering that the other book is a Taschen publication, but sometimes even the great publishers mess up. This book, like all of the others in the same art-focused series, contains a short essay (in this case by J.G. Ballard, the novelist) which gives an extremely brief overview of the artist in question before diving straight into the artwork. This simple format works in show more the book's favour, because the essay serves more to set the mood for the forthcoming illustrations. Ballard's short piece barely even discusses Dali's life, but instead provides a whimsical personal interpretation of the artist's personality and persona, which I felt provided more context (and left the reader to determine their own opinions about Dali's artwork) than a typical academic essay. As for the artwork, it is clear why this book stood above - presenting each piece on their own page, with accompanying details zoomed in, is clearly the best way for each artwork to impact the reader. show less

It's been many years since I read this classic volume of faerie lore by Froud and Lee, but it still is a complete delight. AS a more adult reader, its helter skelter compilation becomes more stark, but this random design choice pairs well with the equally helter skelter nature of faerie itself and gives the author-illustrators free reign to let their imaginations run wild. I really must delve back into Froud's work, as it is one of my favourite artistic sub-genres, and work a bit harder at show more getting my hands on more of Lee's work as well. Besides this volume, I really only know him as one of the early illustrators of Tolkien, but I am sure that he must have done a lot more over the years! show less

If there is a heaven, then Frank Lloyd Wright is busy designing homes for the god and angels. It constantly amazes me that this man who was born in the heart of Wisconsin could have designed what can only be called Livable Art.

He was the first architect to take the location of the building into consideration while he designed it. Wright not only designed the house, but he also mandated what kind of furniture should be in it and then realized that mandate by designing it. He would have been show more comfortable in a loft since his houses were very often built in such a way that the walls created all the separation needed. Living rooms merged with bedrooms, and dining rooms segued into living rooms.

When we look through his designs (both those that were built and those for which the engineering has not yet caught up), we see motifs and construction details that are now common, but did not exist before Wright picked up his pen. And let us also remember that, when a great earthquake destroyed practically every building in Japan in the early 1920s, his hotel remained standing. This is an amazing feat given that research into making buildings resistant to moving earth did not begin until 30 years after the architect died.

I live in Madison, Wisconsin, less than 40 miles from where he spent his childhood and to which he returned as a husband and father. He lost his family near here, but changed that grief into new designs. He legacy still lives in the first Usonian church ever created -- a place that makes one feel tiny in contrast to the god worshiped there. And many other buildings, designed by his followers and students dot the city.

This book doesn't look at all of Wright's designs, only at those which the author considers to be Wright's masterworks.But it took 300 pages to cover this small number of his designs. Paging through it, looking at the beauty he created, can refresh one's head and soul. show less

Though I am less drawn to Edmund Dulac's fairytale illustrations than I am to those of his contemporaries Arthur Rackham and Kay Nielsen, I still appreciate the artistic talent behind his work. Nielsen and Packham became well-known for their depictions of legends, myths, and stories from Western European culture, but Dulac made his mark by exploring the potential of stories from China, Japan, and the Middle East. Other artists of the era (Aubrey Beardsley, another of my favourites, for one) show more had capitalized on the population's growing fascination with Orientalism and the introduction of collections of stories like the Araban Nights provided Dulac with the needed canvas of inspiration. Considering that most of the "gift books" published with his illustrations were ostensibly meant for young readers (a lucretive new book market), Dulac's artwork often employs a darker range of tones than one would expect. This moody atmosphere does not always impart an overall sense of negativity, gloominess, or evil though, as Dulac uses carefully placed lighting sources and jewel-like colours to create a sense of mystery and richness. Obviously this book only collects a small portion of his artwork, but eventually I would like to see his pieces as they were meant to be seen - alongside the stories which they illustrate. show less