Sister Wendy's 1000 Masterpieces: Amazon.de: Wendy Beckett: Englische Bücher

Amazon.co.uk

This handsome tome is packed to the gills with paintings and while readers might disagree with many of Sister Wendy Beckett's choices (that's half the fun, perhaps), there are still hundreds of unforgettable works of art that nearly any reader can appreciate. Most of the pictures, even those that seem unprepossessing at first glance, are made riveting by Sister Wendy's quirky, personal narratives, in which the simplest of images is suddenly rendered a dramatic focal point. A perfectly ordinary Dutch scene by Hendrick Avercamp--Frozen River of 1620--shows people going about their business on a lively patch of ice where children play and adults chat and work. Sister Wendy seizes on a fishing-hole cut into the ice through which a circle of cold, black water is apparent. "The hole that has been cut in the ice can frighten us when our eye falls into it and this is the only hint of the inherent danger of the scene", she writes ominously. In Anthony van Dyck's magnificent portrait of Charles I of England, she observes of his regal hauteur, "In hindsight we can see the tragedy: That a man so remote from common humanity, so superb in his conceit, must be heading for a fall."

There are bound to be some infelicitous matches in a book that is arranged alphabetically, such as the pages shared by Robert Mangold's hot, geometric Four Colour Frame Painting No. 1, from 1983 and Andrea Mantegna's profoundly reverent Dead Christ from 1480. And Rosalba Carriera's portraits look decidedly meretricious across from those of the masterful Mary Cassatt. But all in all, this is a page-turner with brief captions that offer guidance to any reader in search of the telling note that draws one to a work of art, whatever its era, style, size or subject. --Martha Hardin -- Dieser Text bezieht sich auf eine vergriffene oder nicht verf�gbare Ausgabe dieses Titels.

Amazon.com

This handsome tome is packed to the gills with paintings, and while readers might disagree with any of Sister Wendy Beckett's choices (that's half the fun, perhaps), there are still hundreds of unforgettable works of art that nearly any reader can appreciate. Most of the pictures, even those that seem unprepossessing at first glance, are made riveting by Sister Wendy's quirky, personal narratives, in which the simplest of images is suddenly rendered a dramatic focal point. A perfectly ordinary Dutch scene by Hendrick Avercamp--Frozen River, 1620--shows people going about their business on a lively patch of ice where children play hockey and adults chat and work. Sister Wendy seizes on a fishing hole cut into the ice through which a circle of cold, black water is apparent. "The hole that has been cut in the ice can frighten us when our eye falls into it, and this is the only hint of the inherent danger of the scene," she writes ominously. In Anthony Van Dyck's magnificent portrait of Charles I of England, she observes of his regal hauteur, "In hindsight we can see the tragedy: that a man so remote from common humanity, so superb in his conceit, must be heading for a fall."

There are bound to be some infelicitous matches in a book that is arranged alphabetically, such as the pages shared by Robert Mangold's hot, geometric Four Color Frame Painting No. 1, 1983, and Andrea Mantegna's profoundly reverent Dead Christ, 1480. And Rosalba Carriera's portraits look decidedly meretricious across from those of the masterful Mary Cassatt. But all in all, this is a page-turner with brief captions that offer guidance to any reader in search of the telling note that draws one to a work of art, whatever its era, style, size, or subject. --Martha Hardin

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A good snapshot of the individual artists 26. Mai 2000

Von "aartlady"

Format:Gebundene Ausgabe

I was delighted to receive this book as a gift. Sister Wendy uses economy of word to get the point across--because of this, she is able to share the master works of many of the world's greatest artists. She offers a fresh and unique perspective, and has a great understanding of symbolism. Definitely worth buying!

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Sister Wendy knows nothing about art 22. Mai 2000

Von "aw1"

Despite her popular success, Sister Wendy knows nothing about art.

In attempting to bring art appreciation to the public, there is nothing more noble than what Sister Wendy is doing. What I question is the kind of appreciation she brings.

Sister Wendy's methodology is to tell stories about paintings. That is, she tells stories about the content of paintings. But, there is more to art than content. If content was the only important issue in art, there would be no need for various artistic mediums. After all, photography is just as good, if not quite a bit better, at factual representation than painting. Or, for example, if the idea content of fiction was the only reason for reading literature, there would be no reason to read literature. Non-fiction essays or histories would do just as well. Indeed, it requires little or no training to move from the unique, intrinsic character of a work itself to the ideas or facts with which the work is concerned. But, no one, aside from perhaps Sister Wendy and her ilk, looks at art, listens to music, or reads literature simply for content, for content alone can do nothing to reveal the sources of pleasure that a particular work affords.

Instead, aesthetes "prattle on about color, technique, or social context" because those ingredients add to, not distract from, the experience of art. For example, critics study color theory because color effects people's emotions. Understanding how an artist manipulates color to achieve a certain effect helps one understand how art achieves its emotional impact.

Indeed, study of artistic technique is vital for appreciation of the arts because without it there is no vocabulary with which to discuss one's experience of enjoyment (and without vocabulary, perhaps there is no thought or enjoyment). And, even if content held preeminent position in the aesthetic hierarchy, techniques such as color, form and composition, positive and negative space, or meter, structure, rhyme scheme help explicate the content.

After all, what is aesthetic experience if not the alert perception of art?

Superb reproduction and an excellent read! 3. Mai 2000

Von Ein Kunde

While presenting the subject in a serious light, Sister Wendy's approach to the evaluation and critique of art in this publication is both refreshing and entertaining. Sure, some of the more 'popular' Masterpieces are not addressed, but then it does not purport to be the all encompassing reference from A-Z. Her digression from the pathway of the pure academic is what makes the volume a pleasure to read and view; her comments stirring the imagination. The book is a veritable treasure of art and commentary and the photographic reproduction is absolutely superb. I have no hesitation in recommending this publication; even those for whom art is a bore will find this book interesting.