100 books like Concerning the Spiritual in Art

In this book, I loved the way the author explains the creative process and what it takes to engage your muse and catch ideas. In a different way from The War Of Art, I learned what holds us back from expressing ourselves creatively and how we can overcome this fear of being seen.

Elizabeth Gilbert shares stories and philosophies about how to be more creative every day in a funny and optimistic way.

As I read this book, I felt like the author was looking into my soul. I loved the short, punchy observations and challenges to anyone seeking to share their creativity. The Resistance is a force universal to everyone who is trying to share a little piece of themselves, and I love the way that it is broken down in this book.

I realized that when I could see what was holding me back from expressing myself, I was able to find strategies to mitigate that fear. This book was instrumental in my ability to express myself as an author and speaker. 

In this book, Shlain reveals his unusual take on the power of images throughout history. His discussion using contemporary ideas about our creative right-brain side brings interesting connections between the Goddess, images, and feminine values. Shlain's earlier book, Art & Physics was very popular expressing his breakthrough theory, ad revealing an astonishing parallel with these two seemingly different topics. I find that books like this, not dedicated to learning specific painting techniques, end up being more helpful towards how I think as an artist. A good writer, it is easy to read and very inspiring.

While this book is not written for artists or even about art, I found it very helpful for me as a painter. To achieve the best for my paintings, I realize I need to trust my intuition over intellect. If I get too intellectual about any of my ideas for a painting, the end result is not as fulfilling if instead, I follow my intuition or inner voice. Braden goes into depth in this book about having two sources of intelligence – the brain and the heart. I like his take on this which can also be thought of as right and left brain or intellect vs intuition. By thinking about Braden's ideas on our powerful heart-brain connection, I am able to tap into deeper modalities on what it is that I am painting about. Very interesting read that sticks with you for a long time and easily becomes a… show more.

This is the grand exhibition catalogue that burst through the professional art world’s wall of denial that modern, especially abstract, art would have any spiritual content. The extensive exhibition this book accompanied opened at the Los Angeles County Museum of Art in 1986 and then travelled to The Hague, where it influenced young European art historians (though was largely ignored in the United States). This catalogue contains excellent articles by 17 noted “rebellious” art historians, including an overview by the head curator of the exhibition, Maurice Tuchman. The many color plates are stunning. This book is indispensable for anyone seeking to learn about the subject.

I really enjoyed this story even though it isn’t exactly the kind of mystery I normally choose. At the center is a rather eerie vein of darkness, but the beautiful winter scenes of Minnesota, neighbors who care about one another, and a budding romance, tend to lessen the impact. It’s rather a heartwarming story with a ghoulish murder mystery attached.

A woman returns to her hometown to open a bed-and-breakfast in the old mansion that has been in her family for generations. One wing of the house is blocked off and she wants to open it up for her personal living quarters. Cue scary noises and sudden chilly drafts.

This story is also set by Lake Superior in winter, and you get an authentic taste of Northern Minnesota Nice, but inside, the house has a sinister presence that needs Tess to know what happened fifty years ago.

After the literature of Paris, the painting of Paris. T. J. Clark’s The Painting of Modern Life studies the ways in which the artists he calls “painters of modern life” created canvases that attempted to focus attention on a subsequent transformation of Paris, in the nineteenth century. Clark considers the depictions by painters such as Manet, Degas, and Seurat of Paris as it evolved and of Parisians interacting with their changing city. The depictions of Parisians experiencing the boulevards, cafés, and parks of Paris that Clark analyzes are perhaps the greatest tradition ever of city painting. No one has ever attempted such a study of the many paintings of Paris as it was transformed in the seventeenth and eighteenth centuries. When they do so, Clark’s book can provide a model.

The book covers basic principles, such as variety, shape, silhouette, edges, unity, rhythm, color, and texture. But his coverage of these familiar ideas is fresh and original, and he provides lots of examples. He avoids laying down rules or laws, because one generation of artists breaks the rules of the previous generation. All of the basic principles are universal enough to have remained in place despite the changing styles throughout history.

This book offers the technical breakdown of painting in grisaille. I only know of a few books that cover it and this one was written by an amazing painter! This was the common practice of Bouguereau and Gerome and is thoroughly explained in this particular volume as well and the rendering of planar “facets.” The practice of grisaille is an important phase in painting. The separation of color and form is partly why so many of the “masters” had such control over form and value.

Joy McCullough’s Blood Water Paint is historical fiction that tells the story of Artemisia Gentileschi, a Renaissance painter who survived a sexual assault and persevered to see her assailant convicted in an Italian court. If the true aspects of the story weren’t compelling enough, McCullough contrasts her fictional character with the biblical heroines Judith and Susanna, using prose and verse strategically to weave the stories with their counter-narratives. McCullough’s experience as a playwright shines through here and her poetic devices are downright Shakespearean, revealing clues to her characters’ emotional truths through the deceptively simple arrangement of words on the page. This book is astonishingly good and a must-read for anyone intrigued by novels in verse.