9 Art Books Library - Click to enlarge
9 Art Books Library - Click to enlarge

9 Art Books Library

Item Code: RP-9-Books

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Product Description:
9 Art Books Library. If you are an artist then you will love these books, as hand-picked by renowned artist Larry Gluck! Complete your art book library today! All for one low price! Read them all!

9 Art Books Library:
  • I. The Talent Myth
  • II. The Painted Word
  • III. The Human Figure: Life Drawing For Artists
  • IV. Bridgman's Life Drawing
  • V. Michelangelo Life Drawings
  • VI. Sargent Portrait Drawings
  • VII. The Book Of A Hundred Hands
  • VIII. Heads, Features, And Faces
  • IX. Rubens Drawings


    You'll find all the inspiration you need in this book.
    For too long the myth has prevailed, that you either have talent or you don't. That talent is a “gift” handed down from some lofty cloud. Or that somehow the planets were perfectly aligned when creative souls were born.

    In The Talent Myth, world-renowned artist and educator, Larry Gluck, dispels the myth once and for all. This is no theoretical treatise, no “feel good-about-yourself” book. He speaks from hard-won experience.

    For more than a quarter century, Larry Gluck has taught people who thought they were devoid of talent how to create works of art. In The Talent Myth, you'll discover why everyone has the potential to be an artist, why anyone can learn artistic skills and acquire talent. And that is the stuff dreams are made of.

    Talent Myth Excerpt We Love a Mystery (Chapter 1, page 11:)

    People love the notion that talent is a mysterious gift from God and only a few lucky beneficiaries are blessed. Or that it's in the genes, or comes from some lucky roll of the twin dice, nature and nurture.

    Ordinary mortals admire talented artists with awe and envy. Instead of believing you can also learn, have you, too, set the talented apart and endowed them with mysterious powers far beyond your own? Then how do you explain the writer who struggles through five novels before someone publishes his work, or the singer who has voice lessons for twelve years before her first exciting performance?

    Does talent only belong to the writer who instantly gets published or the singer who succeeds without a lesson? We start with whatever ability we have, but from then on it's up to us. The writer who begins with only a strong desire but who works hard to learn his craft can become as good a writer as the gifted one who quickly dashes off the latest bestseller.

    Only by our ignoring the truth can a myth persist. Sometimes we may even enjoy the myth and desire its persistence. I once showed an art collector a painting of mine that intrigued him no end. He had no idea how I'd achieved that particular effect and asked me to show him how I'd done it. I did and he immediately grew upset. The mystery was gone; I had ruined his fun.

    When we unthinkingly agree to an untruth, a talent myth can become a tyrant king—to tread upon our once bright dreams and bludgeon us into forgetting we can learn.

    If someone you know—perhaps even you—has used this myth as an excuse not to pursue the arts, the jig is up.

    Paperback: 137 pages Dimensions (in inches): 0.34 x 8.5 x 5.35 Publisher: Renaissance Publications, (2000)


    A humorous yet insightful look at the world of modern art.
    Famed author of Bonfire of the Vanities, The Electric Kool-Aid Acid Test, and The Right Stuff, Tom Wolfe sharpens his satirical pencil for a scathing word on modern art, its crackpot theories and the pretentious Avant-Garde.

    "Wolfe at his most clever, amusing, and irreverent." - San Francisco Chronicle

    "THE PAINTED WORD may well be Tom Wolfe's most successful piece of social criticism to date." - New York Times

    "If you have ever stared uncomprehendingly at an abstract painting that admired critics have said you ought to dig, take heart. Tom Wolfe, in a scathing new satire, THE PAINTED WORD, is on your side… Don't miss it. It may enrage you. It may confirm your darkest suspicions about modern art. In any case, it will amuse you." - New York Sunday News

    "Tom Wolfe is a journalist who always manages to combine an encyclopedic store of inside knowledge with the obstinate detachment of a visitor from Mars, not to mention a brilliant style and incisive wit." - San Francisco Chronicle

    "His eye and ear for detailed observation are incomparable; and observation is to the satirist what bullets are to the gun." - The Boston Sunday Globe

    Chapter I: The Apache Dance
    Chapter II: The Public is Not Invited (and Never has Been)
    Chapter III: Le Tout New York on a Cubist Horse
    Chapter IV: Greenberg, Rosenberg & Flat
    Chapter V: Hello, Steinberg…
    Chapter VI: Up the Fundamental Aperture

    Paperback: 112 pages Dimensions (in inches): 0.33 x 8.27 x 5.28 Publisher: Bantam Books (October 5, 1999)


    This great classic is still unrivalled for its clear, detailed presentation of thousands of fundamental features of the human figure.

    Every element of the body (such as the overhang of the upper lip; the puckering at the corners of the mouth; the characteristic proportions of the head, trunk, limbs, etc.; the tension between connected portions of the body; etc.) is carefully and concisely pointed out in the text. Even more helpful are the 430 pencil and charcoal drawings that illustrate each feature so that you are, in effect, shown what to look for by a master teacher.

    The result is the only art instruction book which not only illustrates details of the body but directs your attention at every stage to a host of subtle points of shading, curvature, proportion, foreshortening, muscular tension, variations due to extreme age or youth, and both major and minor differences in the structure and representation of the male and female figure.

    Comprehensive discussions and drawings cover the eyes; nose; month and chin; ear; head; trunk; back and hips; neck, throat and shoulder; shoulder and arm; hand and wrist; leg; foot; the complete figure; and other interdependent groups of structures.

    This is the human figure as the artist, art student and art teacher must know it in order to avoid many deceptive errors unfortunately common in much modern portraiture, painting and illustrative art.

    Foreword by George Bridgman.

    430 pencil and charcoal drawings.

    Paperbound: 143 pages Dimensions (in inches): 6.12 x 9.25 Publisher: Dover Publications

    A Dover Edition Designed For Years Of Use!
    Dover Publications have made every effort to make this the best book possible. The paper is opaque, with minimal show-through; it will not discolor or become brittle with age. Pages are bound in signatures, in the method traditionally used for the best hooks, and will not drop out. Books open flat for easy reference. The binding will not crack or split.


    Bridgman's Life Drawing is not so much a unique system of drawing the human form as it is a new way of conceptualizing it.

    To draw the figure, the artist must "have an idea of what the figure to be drawn is doing" - he must "sense the nature and condition of the action, or inaction."

    In this book, Mr. Bridgman, who for nearly fifty years lectured and taught at the Art Students League of New York, explains in non-technical terms and illustrations in hundreds of finely rendered anatomical drawings how best to find the vitalizing forces in human forms and how best to realize them in drawing.

    Mr. Bridgman begins by examining movements. After abstracting the main masses of the body - head, chest, and hips - into their rough geometrical equivalents, he gives complete instructions for building a simple model which mounts these masses on wire. By manipulating this scale model, the student may observe how these masses move in space and into what relationships such movement brings them.

    Once the student understands how the human form moves, the author tackles the actual problems of drawing the human figure in motion. He first covers simple drawing and building of the figure, then balance, rhythm, turning or twisting, wedging, passing and locking, and the more complex relationships of the masses - distribution, light and shade, moldings (concave and convex), proportion and how to measure it, and movable masses.

    From here instruction turns to specific areas of the anatomy: the head and features, including the neck; the torso, front and back views; the abdominal arch; the shoulder girdle; the upper limbs, hands and fingers; and the lower limbs, thigh and leg, knee and finally foot. Every point of instruction and principle is illustrated in one of nearly 500 of Mr. Bridgman's own "life" drawings.

    There is no student, nor serious artist, either amateur or professional, who cannot profit greatly from George Bridgman's instruction. And his Life Drawing, like his famous anatomy courses at the Art Students League, is likely to vitalize your own work with the human form.

    Unabridged republication of the original (1924) edition.

    Almost 500 drawings.

    Paperbound: 169 pages Dimensions (in inches): 0.48 x 9.21 x 6.52 Publisher: Dover Publications; (June 1971)


    46 select Michelangelo life drawings.

    Throughout his long life, Michelangelo Buonarroti (1475-1564) never ceased to practice drawing with pen, pencil or chalk. In the 60 years of creative activity encompassed by this volume, the artist produced scores of sketches, drawings and studies - nudes, heads, figure studies, Madonnas, anatomical drawings, studies of children and animals, mythical representations and religious works.

    This book reproduces 46 of his finest drawings, embodying most of his artistic themes and techniques, and executed in his characteristic media of pen and ink, and red and black chalk.

    The extraordinary strength, grace and clarity of his renderings are beautifully illustrated on every page. The compositions, carefully reproduced on fine-quality paper, range from youthful studies modeled after ancient sculpture and early Renaissance frescoes to the otherworldly religious creations of his old age.

    Many are preliminary drawings executed in connection with some of his most important commissions: the marble David of 1501-04; the famous cartoon of 1504 for the projected fresco in the Palazzo Vecchio, The Battle of Cascina; the paintings on the vaulted ceiling of the Sistine Chapel, executed 1508-12; and the imposing fresco of The Last Judgment in the same chapel, 1535-41; as well as several of the more highly finished allegorical presentation drawings of the early 1530s.

    In some cases, e.g. The Battle of Cascina, the drawings are all that remain of a lost masterpiece. All drawings are accompanied by brief descriptive captions including date, medium, size and current location.

    46 illustrations.

    Paperback: 48 pages Dimensions (in inches): 0.19 x 11.14 x 8.20 Publisher: Dover Publications, (July 1980) THE DOVER ART LIBRARY

    The Dover Art Library series has been designed to bring the work of the great artists within the reach of the widest possible audience - students, artists and all lovers of fine art - in modestly priced books. The illustrations are beautifully reproduced in large format on fine-quality paper.

    These volumes are ideal introductions to the work of the old and modern masters, and are an excellent and economical alternative to high-priced art books.


    Portraiture is a demanding art.

    It requires the artist to capture a likeness and render it, revealing some hint of the personality behind the image. A two-pronged task, it requires great technical skill and an intuitive eye.

    In both these respects John Singer Sargent stands out as a portrait artist of major stature. Born in 1856 in Florence of American parents, Sargent showed artistic aptitude at an early age and was enrolled at the Accademia delle Belle Arti in that city.

    Later he studied with Parisian artist Carolus Duran, acquiring the loose, painterly style for which he is renowned. International acclaim as a portrait artist came early in his life and followed him throughout his career.

    Sargent's portraits done in oil are well known; they appear in major museums throughout the world. A lesser-known but no less respected aspect of his oeuvre, his portrait drawings, are the focus of this collection. Included here are early works in pencil and pastels, and later renderings in charcoal, a medium Sargent favored after 1910. They have been selected from both public and private collections by art historian Trevor J. Fairbrother, and attest to Sargent's technical skill, versatility and dexterity in three different mediums.

    In addition, these works reveal Sargent's ability to treat a diverse group of subjects; he handles the languorous beauties of the Edwardian age, members of the aristocracy, and the great literary and artistic figures of his day with equal virtuosity, capturing their characteristic mood and style. This collection includes portraits of Lord and Lady Spencer, Henry James, William Butler Yeats, Vaslav Nijinsky, Tamara Karsavina, Dame Ethel Smyth and Jascha Heifetz.

    Artists, students, historians and lovers of portraiture will appreciate this selection of drawings by Sargent. Anyone interested in trying his hand at portraiture will find this volume both instructional and inspirational.

    Introduction by Trevor J. Fairbrother.

    42 black and white illustrations.

    Paperback: 48 pages Dimensions (in inches): 0.16 x 11.08 x 8.25 Publisher: Dover Publications, (September 1983)


    One of the most challenging subjects of the human anatomy made simple.

    Mr. Bridgman states unequivocally in his introduction that before preparing this book he had ''not discovered a single volume devoted exclusively to the depicting of the hand.'

    Apparently Mr. Bridgman has appreciated what few others have felt: the human hand's great capacity for expression and the care that the artist must take to realize it.

    The hand changes with the age of the person, is shaped differently according to sex, reflects the type of work to which it is put, the physical health and even the emotions of the person.

    To represent these distinguishing features, to capture the expressiveness of a particular pair of hands, the artist must understand the construction, anatomy, formation and function of the hand.

    There is probably no better instructor to turn to for this understanding than Mr. Bridgman, a well-respected artist who for nearly fifty years lectured and taught at the Art Students League of New York.

    In this volume, a full text is accompanied by many illustrations depicting the human hand, virtually every aspect and posture of it, for the reader. He first considers the back view of the hand, the wrist bones, the tendons, the muscles, the hand bones, he arch, and the veins; and then those of the palm.

    Throughout he pictures the musculature at work beneath the surface of the skin. He continues by showing how the muscles operate on the thumb side and on the little finger side when each is the center of force; how the thumb and fingers are constructed, their freedom of movement, joints and complete anatomy, views of them straight, bent and flexed; how the knuckles are formed, what shapes the fist can take and how flexible it can be; and concludes with illustrations of the total movement, either turning or rotary, of the hand in its various positions.

    The 100 illustrations the author has selected perfectly define the regions of the hand so that any artist, beginning or experienced, will increase his mastery of it. Better rendering of the human hand is sure to add new expressiveness to your human figures, new forcefulness, and new interest.

    Unabridged republication of original (1920) edition.

    100 illustrations.

    Paperbound: 175 pages Dimensions (in inches): 0.49 x 9.24 Publisher: Dover Publications, (June 1972)


    A comprehensive reference for arguably the most important portion of the human form.

    Certainly one of the most difficult, often neglected areas of art study is the correct rendering of heads, features, and faces. This volume, prepared by an expert in the field, is devoted exclusively to just that.

    With its clear, concise text, its almost 200 excellent illustrations, and its overall life-drawing approach, the book provides valuable guidelines on how best to portray faces, features, and heads.

    There is probably no better instructor to turn to than George B. Bridgman. He brings to the subject both his expertise as an artist and his fifty years' experience as lecturer and teacher at the Art Students League of New York.

    Throughout the book, he places as much emphasis on perspective and planes as on anatomy. In this way, you'll develop a more precise understanding of each feature, the head and face in general, the relationship between features, and the relationship between a specific feature and the face or head.

    Mr. Bridgman's consideration of the head includes such topics as: the head at eye level and below eye level; planes of the head; round and square forms. Four features (eye, nose, mouth, ear) are dealt with in detail. Sections on light and shade, comparative measurements, and principles of cube and oval construction further enhance the scope of the book.

    The finely executed drawings complement the textual material, illustrating all important concepts. Of special value is the author's inclusion of the work of famous portrait artists. Vermeer, Hals, Rembrandt, Reynolds, Louise Elisabeth LeBrun. These are the people who made portraiture a master art; and you'll be able to study, up close and at your leisure, the qualities that let their work achieve the status it did.

    Unabridged republication of the original (1932) edition.

    Almost 200 drawings.

    Paperbound: 64 pages Dimensions (in inches): 0.17 x 9.28 x 6.48 Publisher: Dover Publications; (June 1974)

    A Dover Edition Designed For Years Of Use!
    Dover Publications have made every effort to make this the best book possible. Our paper is opaque, with minimal show-through; it will not discolor or become brittle with age. Pages are hound in signatures, its the method traditionally used for the best books, and will not drop out. Books open flat for easy reference. The binding will not crack or split.


    Enjoy and learn from 44 of Rubens' choicest drawings.

    Peter Paul Rubens' gifts as an artist were as comprehensive as they were supreme. A prolific painter of illimitable resource and invention, he was a master of intellect and emotion, figure and form, color and sweep.

    In all his basic endeavors, he proved himself the true heir of Renaissance art of both the North and the South, inspired by - and assimilating - the best of both. Yet he was very much a man of his time and in retrospect the most powerful, exuberant and sensuous exponent of the Baroque style of painting.

    His extraordinary drawings reflect all of these qualities but color, and in them the viewer can clearly perceive - and enjoy at leisure - the awesome range of Rubens' genius. In this superb collection of 44 of his choicest drawings are deeply probing portraits and powerful religious and mythical scenes.

    His self-portrait, full of opulent and flowing forms, reaches out to us with a startling, penetrating gaze. His individual portraits of a young girl and of George Villiers, Duke of Buckingham, reveal in both instances a touching sensitivity mixed with aristocratic self-possession.

    Here, too, are two scenes of poignant tenderness suspended in a majestic flow of movement: one depicting the entombment of Christ; the other, Venus lamenting Adonis. The exciting “The Death of Hippolytus” and “A Battle of Greeks and Amazons” reveal Rubens' total command of complex patterns of action and movement.

    These and over three dozen other works offer limitless pleasure and stimulation to all who prize and which to study the art of drawing at its most inspired.

    Meticulously reproduced on fine-quality paper, and offered at a very reasonable price, this beautiful book belongs with others in your collection, reflecting the greatest achievements in Western art.

    44 Illustrations.

    Paperback: 48 pages Dimensions (in inches): 0.16 x 11.08 x 8.28 Publisher: Dover Publications, (May 1989)
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