100 books like What Painting Is

I loved how this book reads like a thriller—a David and Goliath thriller—in which a lowly clockmaker competed against the foremost scientists of his era and won—and even after he had won, he had to fight dastardly efforts by the elites of his day to deprive him of his prize and hard-earned fame.

The book spoke to my fascination with how things get made and why craftsmanship is important. But it also spoke to my concern with class and how those in power can rig things to their benefit, with, in this case, the happy result that good triumphed over evil.

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.

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”).

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.

I have loved painting since I was a boy.

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.  

I was drawn to this historical novel because I love horse-centric books. Geraldine Brooks received a Pulitzer Prize for this novel, so I knew it would be well written. It did not disappoint.

I learned about Lexington, a wonderful stallion claimed to be the fastest horse on record. But, the story is more about Jarret, his keeper who kept him from being damaged and exploited in the greedy horse racing world.

Martin Kemp is the world's leading expert on the use of perspective, optical tools, and scientific knowledge in art. This encyclopaedic book follows developments from the Italian Renaissance to the nineteenth century, with a great wealth of illustrations, from Brunelleschi and Alberti to the colour theories of Goethe and Chevreul. I re-read and refer to this book repeatedly - as I am sure do many others - and am always finding new insights. Kemp's explanations are always clear and penetrating, even when the writers and artists he is writing about are not.

David Hockney believes, rightly in my opinion, that European artists since the Renaissance have used optical aids - mirrors of different types, the camera obscura, the camera lucida - much more often than conventional art history has allowed. I like and admire this book for the wonderful choice of illustrations, and the deep knowledge and understanding of painting methods that Hockney betrays, with wit and elegance, in the text. His arguments are highly subversive and involve a complete re-thinking of the role of optics in Western art, before photography. I don't go along with all of Hockney's theories. But he has overturned the subject, and has got art historians thinking again.

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.