100 books like The Innocent Eye

This book, originally published in French in 1927 (and now at long last translated into English by psychologist Alan Costall), is the earliest systematic analysis of the odd, nonrealistic features of children’s drawings, and the first to argue against those who considered these oddities as defects to be overcome. Instead, children’s drawings at different stages are shown to have their own logic and intelligence. Luquet opposed any kind of intervention or correction by adults, which he felt might destroy children’s love of drawing. He took children’s drawings seriously, never dismissing them in terms of what they lacked. This highly readable book, with its wonderful illustrations revealing the logic of children’s drawings, has had an enormous influence on how psychologists understand child art.    

Most studies of child art describe development towards realism. Artful Scribbles is one of the first accounts to focus on the expressiveness and aesthetics of child art. Developmental psychologist Howard Gardner discusses in depth the puzzle of why the flowering of children’s art (as valued in the West in the last century) does not last. While drawings of 8- or 9-year-olds are more realistic and “accurate” than those of preschoolers, they seem to have lost the exploratory freshness of the art of younger children. This is one of the earliest studies of children’s art to take seriously the idea of the child as an artist and to consider the relationship between child art, modern art, and the art of adolescents and of mature artists.  

This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art.  One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing.  The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.  

Nadia was a severely autistic and mentally challenged child who, at age 3, drew horses that in important respects rivalled those by Leonardo da Vinci. Nadia was clearly a case of “savant syndrome” – an individual severely impaired in most areas but with one island of genius-level skill. Psychologist Lorna Selfe first wrote about this amazing case in 1977. In 2011, Selfe tells us what happened to Nadia’s drawing ability as she grew older and why her drawings regressed sharply to a more primitive level. This book will introduce you to the many theories put forth to explain this strange almost eerie phenomenon. It will help you think about the difference between artistic giftedness in the context of autism and mental challenges versus such giftedness in the context of an otherwise typically developing child.

Anyone who loves kids' art can relate to Art 😉. McDonnell captures the freedom and love of creating from a child's perspective and beyond. A beautiful portrait of the rawness and whimsy that comes from children's artwork – where there are no boundaries. This sweet book brings us back to that simple artistic joy where there are no limits, where we can create as we feel, play, sleep, and create some more!! 

This book is an absolute must-read for all painters. Kandinsky is known as the father of modern art who brought abstract painting into the realms of art history. As an important aside, there is now controversy over his title, as new information has come up about a woman painter Hilma af Klint, that preceded Kandinsky for abstract painting ideas. Even so, Kandinsky was the first to write about spirituality and art for painters. His ideas still feel fresh on how color plays an integral role to express emotion in painting. He originally wrote this book in German, and so the translation to English along with his determination to express inner motivation for painters, makes this read a bit of a challenge. A worthy task guaranteed to surprise even the savviest painter, on how Kandinsky points out our inner thoughts as contemporary painters, but more than a century ago.

This book summarizes the habits of 161 famous geniuses—authors, musicians, philosophers, and more. When we think of someone who’s a genius, we tend to imagine someone living a very eccentric life. But according to this book, many geniuses actually spend their days in a very regular, disciplined manner: they wake up early, get their work done in the morning, take a nap, and go for a walk. (Of course, some of them do live an eccentric life, like Marcel Proust.) As it turns out, people become geniuses not by waiting for inspiration to randomly strike, but by developing good working habits and devoting time to their work every day.

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.

This book provides a primer on the global art market from scholars around the world.

The issues addressed include economic integration of multiple circuits/regional markets, the rise of markets in Asia, online marketplaces, and the importance of galleries and collectives to propel artists to success. The biggest advantage to this work is that it is the first book to consider global art markets from divergent perspectives.

While there remains a real center to the art world analyzed in this volume, you can start to see how new regions and countries are charging forward, transforming the domain of contemporary art in the twenty-first century by making it far more diverse and global.

I noticed when I was interviewing prominent contemporary artists for my book that many of them had a Catholic childhood. Eleanor Heartney noticed the same thing when she began to research the art and artists who became a focus in the culture wars of the 1990s. This is a dimension of the art history of the modern era that has not been told. Heartney explores the influence of an “Incarnational consciousness” in works that transgress boundaries. Beyond that, she frames artistic manifestations of the “Catholic imagination,” tracing the influence of “the beauty of religious art, music, and literature and the slippage in sacramental rituals between the carnal and the spiritual.” Her final chapter is on “Knowledge Through the Body: The Female Perspective.”