Here are 100 books that What Painting Is fans have personally recommended if you like
What Painting Is.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
My father was a NASA scientist during the Mercury, Gemini, and Apollo programs, so while most people knew the Space Race as a spectacle of thundering rockets and grainy lunar footage, I remember the very human costs and excitement of scientific progress. My space-cadet years come in snippets–the emotional break in my dad’s voice when Neil Armstrong hopped around the Moon; the strange peace I felt as I bobbed on a surfboard and watched another Saturn 1b flame into the sky. Later, as a journalist and author, I would see that such moments are couched in societal waves as profound and mysterious as the wheeling of hundreds of starlings overhead.
This slim volume, first published in 1995, possibly jump-started the current genre of science narratives–I was certainly well aware of it when World on Fire was published in 2005. The tale begins in 1707 when the English fleet crashed into the Scilly Isles twenty miles southwest of England; two thousand men drowned, all because navigators had misgauged longitude.
The desperate quest for a solution becomes a well-funded race to make sure this never happens again. Sobel chronicles how it was solved by a simple clockmaker, and the obstacles thrown in his path by the more respected members of the era’s scientific establishment. It helps to read Kuhn’s work first, or in tandem: for all the accolades heaped upon success, both works make clear the hard road and lonely life traveled by the outsider.
The dramatic human story of an epic scientific quest and of one man's forty-year obsession to find a solution to the thorniest scientific dilemma of the day--"the longitude problem."
Anyone alive in the eighteenth century would have known that "the longitude problem" was the thorniest scientific dilemma of the day-and had been for centuries. Lacking the ability to measure their longitude, sailors throughout the great ages of exploration had been literally lost at sea as soon as they lost sight of land. Thousands of lives and the increasing fortunes of nations hung on a resolution. One man, John Harrison, in…
I am not very good at making things. I am good enough to appreciate the craftsmanship of those much better than me. I am more of an ideas person, perhaps why I ended up with a PhD in Philosophy of Science. But I have always held a secret admiration—with a tinge of envy—for people who are makers. As I went deeper into my career as a philosopher of science, I became aware that the material/making aspect of science—and technology—was largely ignored by ideas-obsessed philosophers. So, this is where I focused my attention, and I’ve loved vicariously being able to be part of making the world.
This book completely changed how I thought about the technology that surrounds us, the electric grid, assembly line production, the military-industrial complex, and on and on.
I grew up at the end of the time period Hughes writes about when all these huge technological systems were in place. I didn’t give them a thought. They were like the air we breathe. But they were created during this century, and it was amazing to read about this transformation of our world.
Reading this book, for me, was like learning to see the world I live in anew, to feel the air we breathe.
I am not very good at making things. I am good enough to appreciate the craftsmanship of those much better than me. I am more of an ideas person, perhaps why I ended up with a PhD in Philosophy of Science. But I have always held a secret admiration—with a tinge of envy—for people who are makers. As I went deeper into my career as a philosopher of science, I became aware that the material/making aspect of science—and technology—was largely ignored by ideas-obsessed philosophers. So, this is where I focused my attention, and I’ve loved vicariously being able to be part of making the world.
When I was a kid, one of my favorite books was The Way Things Work, not the more recent David Macaulay book—which is also good—but the earlier 1967 book by T. Lodewijk. With great diagrams, it showed how complicated machines work.
Randall Munroe's Thing Explainer, while less comprehensive, similarly captures this magic for me. It has great diagrams and simple clarifying text—self-consciously limited to the 1,000 words people use the most. I could stare at the diagrams for hours, learning about everything from cameras (“picture takers”) to submarines (“boats that go under the sea”).
From the No. 1 bestselling author of What If? - the man who created xkcd and explained the laws of science with cartoons - comes a series of brilliantly simple diagrams ('blueprints' if you want to be complicated about it) that show how important things work: from the nuclear bomb to the biro.
It's good to know what the parts of a thing are called, but it's much more interesting to know what they do. Richard Feynman once said that if you can't explain something to a first-year student, you don't really get it. In Thing Explainer, Randall Munroe takes…
I am not very good at making things. I am good enough to appreciate the craftsmanship of those much better than me. I am more of an ideas person, perhaps why I ended up with a PhD in Philosophy of Science. But I have always held a secret admiration—with a tinge of envy—for people who are makers. As I went deeper into my career as a philosopher of science, I became aware that the material/making aspect of science—and technology—was largely ignored by ideas-obsessed philosophers. So, this is where I focused my attention, and I’ve loved vicariously being able to be part of making the world.
Initially, The Gift might seem an odd choice for this category. Hyde argues that art must be part of a gift economy, not simply commercially bought and sold, but also given and received. I had a chance encounter with Hyde’s father, who was appropriately proud of his son’s book, but he said that he thought the same analysis could be made about how science operates.
This idea changed my perspective on science and technology. When I began to look at science and technology this way, it made sense to me. Scientists will frequently trade what they have learned with each other, for example at conferences—they give their information away in exchange for prestige and for return gifts of information from other scientists. It is part of being a member of the science club.
“A manifesto of sorts for anyone who makes art [and] cares for it.” —Zadie Smith
“The best book I know of for talented but unacknowledged creators. . . . A masterpiece.” —Margaret Atwood
“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster Wallace
By now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. This book is even more necessary today than when it first appeared.…
I am a children’s book illustrator who has been passionate about illustration and art from a young age, and I am fortunate to have illustrated over 30 books for publishers worldwide. I have always believed drawing is for everyone and that you should not stop after childhood. Drawing can improve your mental health, enhance your way of visually communicating ideas, or just be a new way to have fun. I hope that my book and the books I have recommended inspire at least one person to pick up a pencil and have a go!
I’m a firm believer that picture books are for everyone. They are modern, affordable, and accessible works of art that can be viewed at home, school, or a library, rather than a busy gallery. You will find some of the most inspiring, creative and charming work being made today in them and The Artist is a perfect example of this.
Art is for everyone at every age and this book perfectly reflects this and encourages everyone to have a go, no matter what stage you are at! It is a mantra I try to instil in my work and that Ed Vere delivers in this book so perfectly.
From the award-winning Ed Vere comes a joyful and inspirational celebration of beauty, mistakes and the artist in all of us
'The Artist's optimistic ending, in particular, makes it perfect for bedtime reading and bedtime dreaming for little artists. It's a useful reminder for grown-up artists too.' - Art Quarterly
One brave little artist goes on one epic adventure to share her art, and in doing so learns that it doesn't matter if you colour outside the lines, that art is full of heart... and that maybe you are an artist too!
There is something so magical about creating art and bringing an idea to life. As a writer and an art teacher, I love watching artists of any age find their own inspiration and joy in creating. I have used these books to launch all kinds of projects, from paintings to pottery, for every age and stage of artist. I hope you will find inspiration in these pages, too!
This is one of those books that entranced me and my students. By the last pages, we were holding our breath to see what would happen. It is full of magical realism but based on a real artist from history.
This is a lovely stand-alone book, but it is also a great introduction and inspiration for brush painting. It’s especially fun to try painting with bamboo brushes after seeing the ones depicted in the beautiful watercolor illustrations of this story.
This gorgeous picture book biography, according to Kirkus Reviews in a starred review, is "a cheerful introduction not only to Wu Daozi, but to the power of inspiration."
Who wants to learn calligraphy when your brush is meant for so much more? Wu Daozi (689-758), known as China's greatest painter and alive during the T'ang Dynasty, is the subject of this stunning picture book. When an old monk attempts to teach young Daozi about the ancient art of calligraphy, his brush doesn't want to cooperate. Instead of characters, Daozi's brush drips dancing peonies and flying Buddhas! Soon others are admiring…
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
Wollheim teaches that this is largely, if tacitly, a philosophical interest, in particular, an interest in philosophy in mind, depth psychology, and meaning. That is why pictures fascinate us in the way they do. It is the very opposite of deconstructionism; the facts of history, artistic intention, psychoanalysis, and perception make something urgently real out of painting.
One of the twentieth century's most influential texts on philosophical aesthetics
Painting as an Art is acclaimed philosopher Richard Wollheim's encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions-philosophy, psychology, and art-to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving-almost reenacting-the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This…
I have always loved exploring, whether it is on the shelves of the library or on a car trip. Growing up, we left our sheltered home in New England and piled into our dad’s car. We explored caves in Virginia and South Dakota, the ocean in Massachusetts and Maine, and museums from Chicago to Boston. In historical fiction, I see the boundaries of human experience, knowing people and places I could never in reality experience. I learn empathy, history, natural science, and political science in these pages. For me, a good historical novel is as good as a vacation, delving into the past, sight-seeing, window-shopping, and experiencing beyond the everyday.
A horse lover, I found the story of Lexington, a thoroughbred who saves his devoted and enslaved groom Jarret during the Civil War, rich and compelling. The archivist who discovers the horse’s bones in the Smithsonian is on a thrilling journey, as we are when we explore a past event.
"Brooks' chronological and cross-disciplinary leaps are thrilling." -The New York Times Book Review
"Horse isn't just an animal story-it's a moving narrative about race and art." -TIME
A discarded painting in a junk pile, a skeleton in an attic, and the greatest racehorse in American history: from these strands, a Pulitzer Prize winner braids a sweeping story of spirit, obsession, and injustice across American history
Kentucky, 1850. An enslaved groom named Jarret and a bay foal forge a bond of understanding that will carry the horse to record-setting victories across the South. When the nation erupts in civil war, an…
I am a very realistic person, curious by nature, who loves a good thrill. A good twist—no matter the genre—that has all the above recommendations captures my attention. A feel-good chick flick or book does nothing for my curious side but adds a twist or two and you have me hooked. Love at war is that kind of book. It has a few twists that touch on important topics and leave you with a few thoughts to think about afterward. Life is not only marshmallows and sprinklers. Life is real and I like my books like that, too. Therefore, I call myself a multi-genre author. I don’t want to be bound by one genre.
This was a different book than the normal Erotic Romance. I loved the cover, it just says so much about the story itself.
When women started to die at a famous artist's castle, suspicion ran rampant in Alvarez and Elle's minds. Who did it? Who could they trust? The mystery surrounding them mounted and everyone was a suspect. With a woman locked in the attic and an older woman seeking human blood and human organs for her sacrifices, you had a suspenseful time dissecting all the twists and turns in the book.
On a hot July day in 1967, Odelle Bastien climbs the stone steps of the Skelton gallery in London, knowing that her life is about to change forever. Having struggled to find her place in the city since she arrived from Trinidad five years ago, she has been offered a job as a typist under the tutelage of the glamorous and enigmatic Marjorie Quick. But though Quick takes Odelle into her confidence, and unlocks a potential she didn't know she had, she remains a mystery…
I’ve lived in cities all my adult life and currently divide my time between Paris and Philadelphia. And while those two cities are strikingly different places, they have in common the fact that they are both great walking cities –- urban centers that can be explored on foot and easily enjoyed by pedestrians. Walking cities, I believe, provide not only an ideal context for today’s tourists but also a model for a future in which urban dwellers become less reliant on automobiles and urban centers more open to foot traffic than to vehicular pollution and congestion. The books I’ll recommend deal in various ways with the building and rebuilding of visionary cities, and of Paris in particular.
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 Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafes, parks, and suburban pleasure grounds--the birthplace of those habits of commerce and leisure that constitute "modern life." Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives--be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came…
