Here are 100 books that Vasily Klyukin fans have personally recommended if you like
Vasily Klyukin.
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After flirting with careers as an archaeologist, pilot, concert pianist, and diplomat, I settled on photographer after just a few month’s residence in Heidelberg, Germany, while studying for my Masters in Comparative Literature. The camera provided close personal interaction with people, while hearing their stories from a wide variety of cultural perspectives and social environments. Introduced by parents, I formed an obsession with opera, Native American drum music, vinyl recordings, and historic places, particularly Georgia O’Keeffe country, “south of the border” from our Colorado base. My family of musicians and artists stopped, listened, and loved the light and land of the Four Corners. I self-define as a photojournalist-poet, a griot.
Up close and personal acquaintance with the late irreverent, prolific, and totally charming painter, who also sculpted and worked in wood and silver. No art-speak, just an amazing character, extolled by a master of pictures in words. Wealth of reproductions.
You’ll want to buy a painting once you’ve read the book.
After flirting with careers as an archaeologist, pilot, concert pianist, and diplomat, I settled on photographer after just a few month’s residence in Heidelberg, Germany, while studying for my Masters in Comparative Literature. The camera provided close personal interaction with people, while hearing their stories from a wide variety of cultural perspectives and social environments. Introduced by parents, I formed an obsession with opera, Native American drum music, vinyl recordings, and historic places, particularly Georgia O’Keeffe country, “south of the border” from our Colorado base. My family of musicians and artists stopped, listened, and loved the light and land of the Four Corners. I self-define as a photojournalist-poet, a griot.
Of prolific nature photographer Fielder’s many books, this is my fav.
It commands attention, a gift to be treasured, big, bold, luxurious. You’ll drown in the luscious reproductions, as though you were on the trail with him!
The unexpected bonus: his commentary tells you about his experiences loose in the wild, how chance weather patterns and animals made for dramatic imagery, his devotion to craft, and sheer delight in tramping the land of the West.
John Fielder is Colorado's preeminent nature photographer. Colorado Black on White is his 50th Colorado book. In the mold of Colorado's best-selling book of all time, Colorado 1870-2000, Fielder represents his state exclusively in black and white. He edited 230 color images from his life's work in Colorado over the past 40 years, and rendered each in blacks, whites, and subtle tones of gray. Without the distraction of color, the viewer engages the shapes, textures, lines, and edges of this most scenic of states as never before.
Divided into eight chapters, Fielder spares no subject endemic to his adopted state.…
After flirting with careers as an archaeologist, pilot, concert pianist, and diplomat, I settled on photographer after just a few month’s residence in Heidelberg, Germany, while studying for my Masters in Comparative Literature. The camera provided close personal interaction with people, while hearing their stories from a wide variety of cultural perspectives and social environments. Introduced by parents, I formed an obsession with opera, Native American drum music, vinyl recordings, and historic places, particularly Georgia O’Keeffe country, “south of the border” from our Colorado base. My family of musicians and artists stopped, listened, and loved the light and land of the Four Corners. I self-define as a photojournalist-poet, a griot.
It’s a huge book! Huge in size, huge in the image reproductions, huge in the photographic artist’s effort to construct composite images of dramatic international scenes from many iconic places, such as Times Square, Paris, Rome, National Parks of the World, that transform from day to night.
Yes, all in the same image! One side is night that slowly across the image melds into day. Technological marvel, but no kitsch here. Hundreds of hours, thousands of images layered together to create an entirely new art form.
If you were to stand in one spot at an iconic location for 30 hours and simply observe, never closing your eyes, you still wouldn't be able to take in all the detail and emotion found in a Stephen Wilkes panoramic photograph. Not only does Wilkes shoot over 1,500 exposures from a fixed angle, he also distills this visual information afterward in his studio, painstakingly composing selected frames into a single image.
Day to Night presents 60 epic panoramas created between 2009 and 2018, shot everywhere from Africa's Serengeti to the Champs-Elysees in Paris, from the Grand Canyon to Coney…
After flirting with careers as an archaeologist, pilot, concert pianist, and diplomat, I settled on photographer after just a few month’s residence in Heidelberg, Germany, while studying for my Masters in Comparative Literature. The camera provided close personal interaction with people, while hearing their stories from a wide variety of cultural perspectives and social environments. Introduced by parents, I formed an obsession with opera, Native American drum music, vinyl recordings, and historic places, particularly Georgia O’Keeffe country, “south of the border” from our Colorado base. My family of musicians and artists stopped, listened, and loved the light and land of the Four Corners. I self-define as a photojournalist-poet, a griot.
Crewdson’s huge imagery (and huge book) is extreme storytelling, a life history of the characters who people his cinematic productions. From concept to final image requires a full movie set production. The result is a vision of a strange, enigmatic event or situation, like a window suddenly opened to an alternative life.
I find that each image requires many minutes of concentration to see details and allow one’s imagination to work, unwinding the mystery to which we are unexpectedly privy.
Best known for his elaborately choreographed, large-scale photographs, Gregory Crewdson is one of the most exciting and important artists working today. The images that comprise Crewdson's new series, "Beneath the Roses," take place in the homes, streets, and forests of unnamed small towns. The photographs portray emotionally charged moments of seemingly ordinary individuals caught in ambiguous and often disquieting circumstances. Both epic in scale and intimate in scope, these visually breathtaking photographs blur the distinctions between cinema and photography, reality and fantasy, what has happened and what is to come.Beneath the Roses features an essay by acclaimed fiction writer Russell…
I am an art historian and the author of various books about modern art, including Styles, Schools & Movements: The Essential Encyclopaedic Guide to Modern Art and three editions of Destination Art. I coined the phrase ‘Destination Art’ in order to discuss artworks in which location is an integral ingredient, as is the journey to find them. I had noticed projects like these happening all over the world, but often in a quiet way. They needed someone to shine the light on them – so I did! My goal is to educate, enthuse and excite – and to continue my mission of spreading the word about intriguing and inspiring art projects.
Both reference book and travel guide, this second edition includes over 90 sculpture parks in 27 European countries. The parks featured are those that have an ‘art and nature’ element, in which artists collaborate with nature, working in and with nature to create artworks and situations that help us think about and enjoy both. One to take with you on your next trip around Europe!
There is a continually increasing interest in parks and gardens in which modern sculptures and nature form a special symbiosis. Landscapes are an inspiring ambiance for works of art, which in turn add something to the parks and gardens, thus creating a very unique interaction between art and nature.
This guide is the second edition and presents more than 90 parks in 27 European countries, now also including Finland, Hungary, and Poland among others. The parks presented include classics such as the Fondation Maeght in Saint-Paul-de-Vence and the Louisiana Museum in Humlebaek, as well as spectacular new schemes such as…
It was in 1972, while spending a summer with my wife in Falmouth (on Cape Cod), that I first discovered the 18th-century slate gravestones of New England. Anyone who visits these cemeteries will find it difficult not to be impressed by these monuments–which are among the oldest and most distinguished works of art produced by the craftsmen of the early American colonies. My fascination with them spiraled into many such trips in subsequent years, when I photographed much of this work, learned how to identify the stonecutters responsible for them, and determined the extent and locations of their production.
The Tashjians’ book challenged the idea that Puritans rejected visual art. Their study is important in documenting a new aesthetic, where the skull (death’s head) gives way to the winged faces of angels (cherubs), which were more gentle and sentimental in style rather than dark and threatening. Specific stonecutters discussed in this book include John Bull, William Codner, Zerrubbabel Collins, William Young, Henry Christian Geyer, Joseph Lamson and his shop, William Mumford, John Stevens and family, and Jonathan and Moses Worster. These are names well-known to anyone versed in this art form.
I was taken by the fact that new motifs in gravestone design could spread through the stonecutter community with such personalized innovations and styles. Further, in chapter 8: "The Icons of Essex," County provided a contrast with another style of cutting faces in stone. This book significantly broadened my view of stonecutting styles in New England. It also…
I've taught Drawing in universities since 1985. Currently, I work at IADE-Universidade Europeia in Lisbon, Portugal. Long before that, at the age of five, I drew a volcano. A mountain exploding on the top as a delirious shiny crown and lava running from its flanks making a pattern of vibrant reddish-yellow. Proudly, I showed it to my mother. She exclaimed: What a beautiful pineapple! I only retained the word ‘beautiful’ and never stopped drawing. Trained as an architect, I discovered the virtue of drawing what we see, while experiencing the act of being there. I also became a compulsive reader, perhaps to experience the act of being elsewhere.
Where else can we find 159 sheep and 49 lambs sketched by a celebrated modern sculptor?This flock is a treatise of graphic easiness and uncompromising observation exercises. A must-see for anyone armed with a ballpoint pen and a rural disposition. There are also texts by Moore himself and Kenneth Clark, the art historian dethroned by Berger as the great British Broadcasting cultural oracle. Although Clark suggests that Moore’s drawings show some love for the sheep, the latter’s text is a love letter to drawing, simply.
In February 1972 Henry Moore's sculpture studios in the English countryside at Much Hadham were filled with the preparations for his retrospective exhibition in Florence. He retreated to a small studio overlooking the fields where a local farmer grazed his sheep. The sheep came very close to the window, attracting his attention, and he began to draw them. Initially he saw them as four-legged balls of wool, but his vision changed as he explored what they were really like - the way they moved, the shape of their bodies under the fleece. They also developed strong human and biblical associations,…
I have always been an avid reader. I have always been fascinated by history, especially the ones from so many unknown or not so well known heroes and heroines that contributed and still add to the growth of our society. Those who were an inspiration for any human being. The minority ones, the quiet ones, the bullied ones. The ones that seem to be so little, but they are a giant. The ones who hide a genius inside. Mainly the imperfect ones, because they are not boring. As a Dentist, I'm always fascinated by science and new discoveries. Because every dentist has an artistic side, art – drawing, painting, photography, are topics that I can easily relate.
This biography is a must-read for anyone who is interested in art, history, and strong, powerful women. It was the first book I read about the great 19th-century sculptress, Camille Claudel. “As recently as twenty years ago, in France, Camille Claudel was known only to a handful of admirers. The brief moments of applause she had enjoyed during her lifetime had never led to important commissions, and the sales of her pieces remained few and far…Camille Claudel displayed many characteristics that contribute to the weaving of myths: she was beautiful, talented, witty, and fiercely independent. She was connected to some of the most visible artists and writers of the era; she even had a romance with Auguste Rodin, the greatest sculptor of the nineteenth century. But hidden among the magnificent gifts nature had bestowed upon her was the seed of an illness that eventually brought her to a mental asylum.”…
Camille Claudel (1864-1943) was a gifted 19th-century French sculptor who worked for Auguste Rodin (1840-1917), became his lover, and eventually left him to gain recognition for herself in the art world. After she crumbled under the combined weight of social reproof, deprivations, and art world prejudices, her family had her committed to an asylum, where she died 30 years later. Although Claudel's life has been romanticized in print and on film, a fully researched biography has never been written until this one. The book draws upon much unpublished material, including letters and photographs that confirm the brilliance of her sculpture,…
I am an art historian and the author of various books about modern art, including Styles, Schools & Movements: The Essential Encyclopaedic Guide to Modern Art and three editions of Destination Art. I coined the phrase ‘Destination Art’ in order to discuss artworks in which location is an integral ingredient, as is the journey to find them. I had noticed projects like these happening all over the world, but often in a quiet way. They needed someone to shine the light on them – so I did! My goal is to educate, enthuse and excite – and to continue my mission of spreading the word about intriguing and inspiring art projects.
This is a beautiful coffee table book to read at home rather than take on your travels. Langen explores 25 private sculpture parks founded by individuals, most art collectors or artists. She weaves in the stories of these characters as their passions inform the themes of the collections. Note that not all of the sites that Langen visited are open to the public.
From Edward James's surreal sculpture garden Las Pozas in Mexico to Anselm Kiefer's sprawling studio complex in the French countryside, artists and art collectors are creating outdoor spaces in order to display sculpture and art that is both transformative and powerful. This book is filled with breathtaking photographs of 25 of these spaces from throughout the world - many of which are not open to the public. Captured in brilliant colour, these spaces are populated by works that both enhance and are enhanced by the landscape: rolling hills, mountain lakes, shaded canyons and empty deserts. Readers will discover Anish Kapoor's…
I have been interested in the Nazi-Soviet War since my high school years, and I am happy to say my views have become more sophisticated in the intervening 50 years! During the Cold War I served as a US Army Armor officer for 28 years and globally across 18 time zones (retired lieutenant colonel). Thereafter, I earned a PhD in modern European history, specializing in the 20th-century German military, from Purdue University. I have researched, taught, and written extensively on all aspects of military history, particularly WWII. My latest book, an operational level [of war] history of Barbarossa for the Campaigns and Commanders series (University of Oklahoma Press, in preparation as of mid-2024).
The Nazi-Soviet War was a notable exception to the unofficial “victors write the history” rule common to military history. In this case the losers wrote the first histories because 1) English-speaking nations and armies were not involved, 2) Cold War prejudices demanded an anti-Soviet narrative, and 3) the conflict was so confusing and complex plus alien to Western readers.
This book dispenses with the “we came so close” and “only inexhaustible numbers beat us” arguments of immediate post-war German memoirists and apologists. I always appreciate a historian is willing to take a new look at evidence and challenge long-held…and false or misleading…certitudes – Reinhardt does all of these things.
Based on a wealth of source material, the author sets out to refute the widely held view among historians and military experts that the German defeat at Stalingrad in the winter of 1942/43 marked the turning-point in the war. He shows how Hitler's attempt to crush the Soviet Union in a Blitz campaign was doomed to failure from the beginning and how defeat outside Moscow compromised his plans for a successful conclusion to the war.
