Minggu, 28 April 2013

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Eat. Nourish. Glow.: 10 Easy Steps for Losing Weight, Looking Younger & Feeling Healthier, by AMELIA FREER

From UK-based nutritional therapist and healthy eating expert to the stars Amelia Freer comes the #1 international bestselling guidebook to ditching fad diets and getting on a path to long-term weight loss.

Bestselling author Amelia Freer's simple and delicious 10-step plan to lose weight and reach optimum wellness, now fully updated for a North American audience.

Plagued by a host of health issues throughout her 20s-including severe fatigue, skin problems, and excess weight-Amelia was at her wits end. As the personal assistant to the Prince of Wales, she had a busy schedule and struggled to find the energy to get through the day. When she discovered that what she ate had a major impact on how she felt-she decided to make changes. She cut out sugar, dairy, and processed foods, and began feeling better almost immediately. It was enough to prompt her to quit her job and go back to school to train as a nutritionist.

In Eat. Nourish. Glow. Amelia shares the simple changes that helped overhaul her health, and which have helped her clients, such as Sam Smith and Boy George, achieve remarkable, sustainable results. Her accessible 10-step program walks readers through a gradual process of change: cutting out gluten, sugar, and dairy; quitting the snack habit; cutting back on caffeine and alcohol; and incorporating nutrient-rich foods into their diets. Readers will also find 25 delicious and simple recipes for every meal-including dessert!

With a voice that is gentle, inspirational, relatable and friendly-never scolding-Eat. Nourish.Glow. reads like a personal nutrition consultation, helping readers find their natural equilibrium and create unique habits that work for them.

  • Sales Rank: #1242124 in Books
  • Brand: imusti
  • Published on: 2015
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.91" h x 1.14" w x 9.45" l, .60 pounds
  • Binding: Hardcover
Features
  • Thorsons

Review

‘Amelia Freer has helped me lose over a stone in 2 weeks and has completely transformed my relationship with food. Everyone go check out her incredible book, and start to live healthy. It's not even about weight loss it's about feeling happy in yourself. Love you Amelia & thank you for making me feel so happy inside and out.’ - Sam Smith

‘Working with Amelia changed my relationship with food, and in turn altered my relationship with myself and my work.’ - Boy George

‘Take that 5:2, Cabbage Soup, Scarsdale, Atkins and all the other ones that I have tried and failed before. Forgo all others: it is all about Amelia Freer’ - London Evening Standard

‘Amelia Freer changed my life. I lost two stone, dropped two dress sizes and no longer shovel in food like a rabid dog. The woman is wise, wonderful and simply a genius. She should be prescribed on the NHS.’ - Imogen Edwards-Jones, author of Hotel Babylon

‘We love the clean layout, stand-out photography and original recipes like monkfish with a broccoli and ginger mash. Delish.’ - Women’s Health

‘Healthy just got easier with Amelia Freer’s straightforward advice for boosting your wellbeing and gaining that much-desired “new you” glow.’- Vogue.co.uk

From the Back Cover

Replace fad diets for good with 10 easy steps to your rejuvenated future; from nutritional therapist and healthy eating expert Amelia Freer comes the #1 international bestseller that Grammy winner Sam Smith Instagrammed “completely changed my life”

Amelia Freer brings a fresh and unique voice to the field of holistic health. In this, her first book, she explains her 10 steps and provides over 25 enticing recipes to get you started on your path to optimum wellness.

As recommended by her celebrity clients, including Sam Smith, Amelia guides you gently through her 10 steps: how to detox your pantry and restock with alternatives, how to understand the differences between good and bad fats, the dangers of hidden sugar in the food we eat and how to dump the wheat (one of the demons!) from your diet. Her ideas are all backed up by the latest findings in the field of nutrition and neuroscience.

Amelia includes a mouth watering selection of recipes, from delightful breakfast alternatives, such as Almond, Apricot and Rose Yogurt, light lunch ideas such as Crunchy Crab Salad and delicious mains such as Monkfish with a Broccoli and Ginger Mash. Wow your friends with the fiendish yet healthy sweet alternatives such as the Salted Caramels.

There’s something for everyone in this book and with Amelia guiding you on the path to better health, losing weight and looking great has never been easier.

About the Author

Amelia Freer is a nutritional therapist who specializes in one-on-one consultations complete with meal plans and diet, health, and culinary coaching. She has a diploma from the Institute for Optimum Nutrition and training in Functional Medicine, gluten sensitivities and celiac disease, autoimmune diseases, female hormone health, and thyroid and adrenal health. She has been credited with the recent dramatic weight loss of several British celebrities and currently has an eight-month waiting list for her consultations. Amelia contributes regularly to national and international press, including Vogue, Delicious, Harper’s Bazaar, Style, and OK Magazine.

Most helpful customer reviews

148 of 162 people found the following review helpful.
Small Changes Can Make a Big Difference
By Shannon L. Yarbrough
I should point out that I don't normally read self-help or dieting books. About the only non-fiction stuff I read is memoirs. As far as nutrition goes, I do love the occasional cook book from time to time but never use or read them cover to cover.

Amelia Freer's book is not a cook book or dieting book, but I would call it a bit of a self-help book. And I read it cover to cover in just under a week! That being said, it's not one of those books that is going to beat you up for what you do or do not do. Amelia is a nutritionist and gives you advice based on her own personal experiences with food.

It definitely helped open my eyes to my own relationship with food. I've been a crash dieter, starving myself and counting calories. I've been a binge eater, gorging on sugary foods that I knew weren't good for me. I've been an addictive snacker, unable to put the chips or candies down until they were gone.

Amelia doesn't beat you up for being any of these types of eaters. She does point out the medical issues you could face, but also offers advice on how to change those unhealthy food habits. First, she tells you to convince yourself you are not on a diet. You can eat anything you want (in moderation). But you should change what you eat, how much, and how often.

Now, due to her own health issues, Amelia does not eat any processed foods, sugar, gluten, or dairy. She is a very organic eater and relies on fresh ingredients. Throughout the book, she reminds you that you do not have to give up gluten or dairy if your system is okay with it, and my system is actually okay with dairy and I enjoy it in moderation.

She also discusses another battle of mine which is time. Like many, I work all day and come home and don't want to cook. I want something fast and easy. And it usually leaves me feeling sick or bloated and even more tired. And unfortunately, a quick meal like this is usually full of sugar and unhealthy cancer-causing preservatives also responsible for obesity and other problems. But Amelia encourages you to identify your problems, like time, and address them slowly. You don't have to change your entire life all at once. That can be overwhelming. But small changes over time can make a big difference. Amelia has convinced me to try!

13 of 13 people found the following review helpful.
Good knowledge.
By Smart Shopper
I feel like the knowledge here is great -- this is how Sam Smith lost so much weight -- but there's a lot of storytelling that I can do without. I bought the kindle version, which is hard to read -- I would suggest the hard copy.

3 of 3 people found the following review helpful.
Just One Thing...
By Pegret
Easy read with smart advice and guidelines. Not sure I can change my eating habits as Amelia Freer suggests - but - I am trying to follow advice on doing One thing for now. Book is in a firm soft cover - format and pictures are outstanding. Easy to read and understand. I'll keep this one nearby - hoping it helps me on my forever journey of getting healthy.

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Sabtu, 27 April 2013

[M252.Ebook] Download Ebook Drugs 2.0: The Web Revolution That's Changing How the World Gets High

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Drugs 2.0: The Web Revolution That's Changing How the World Gets High

  • Sales Rank: #3927443 in Books
  • Published on: 1600
  • Binding: Paperback

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Senin, 22 April 2013

[H521.Ebook] Free Ebook Just Enough Light for the Step I'm On Book of Prayers, by Stormie Omartian

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Just Enough Light for the Step I'm On Book of Prayers, by Stormie Omartian

Now with a new cover, Stormie Omartian offers this collection of short, powerful prayers to help readers pray more effectively. Based on her bestselling book Just Enough Light for the Step I’m On, and following in the tradition of her popular Book of Prayers series, Stormie presents concise, powerful prayers to help the reader “cling to God as you step out of the past, live successfully in the present, and move into the future He has for you.”

Prayer topics include

  • Learning to Walk
  • Refusing to Be Afraid of the Dark
  • Embracing the Moment
  • Surrendering Your Dreams
  • Expecting a Call
  • Surviving Disappointment
  • Walking in the Midst of the Overwhelming

…and more.

  • Sales Rank: #745371 in eBooks
  • Published on: 2008-01-01
  • Released on: 2008-01-01
  • Format: Kindle eBook

About the Author
Stormie Omartian is the bestselling author (more than 23 million books sold) of The Power of a Praying(R) series, which includes The Power of a Praying(R) Wife Devotional and The Power of a Praying(R) Woman. Her many other books include Just Enough Light for the Step I'm On, The Prayer That Changes Everything(R), and Praying the Bible into Your Life. Stormie and her husband, Michael, have been married more than 39 years and are the parents of two married children. www.stormieomartian.com

Most helpful customer reviews

2 of 2 people found the following review helpful.
Cant' be Beat
By Marolyn L. Dowdy
I first read this book during a time of personal loss and it gave hope beyond measure. I now keep copies of this book to give to friends when they have a time of extreme struggle in their lives.

0 of 0 people found the following review helpful.
Stormie does it again.
By V. Hitchcock
I can promise you will not be disappointed with this purchase. I have a BUNCH!!!!(Southern for lots/many) of Stormie Omartian's books and have not been disappointed yet. You can't go wrong with any of her books.

0 of 0 people found the following review helpful.
God really does give you just enough light for where you are in your journey in life.
By Peg Dorman
When I first read this book many years ago, I couldn't quit crying. Every page said so many things that I needed to hear.
I am rereading it and it has the same effect. A wonderful book.

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Minggu, 21 April 2013

[U644.Ebook] PDF Ebook Critical Terms for Art History, Second EditionFrom University of Chicago Press

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Critical Terms for Art History, Second EditionFrom University of Chicago Press

"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.



Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.



In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.



Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

  • Sales Rank: #431199 in eBooks
  • Published on: 2010-03-15
  • Released on: 2010-03-15
  • Format: Kindle eBook

From Library Journal
This companion volume to Critical Terms for Literary Study (LJ 3/1/90) contains scholarly essays that explore 22 terms commonly used by contemporary art historians. Terms such as representation, originality, appropriation, gaze, and commodity are treated within a historical context, and their influence on art criticism and aesthetics is shown. Here, critical visual theories that utilize the terms are applied to key visual images and objects. The diverse artworks cited include the bronze statue of "The Four Horses of San Marco," Manet's "A Bar at the Folies-Bergere," Walker Evans's photograph "Annie Mae Gudger," and Jeff Koons's "Vacuum Cleaner." Assuming a sophisticated level of art history scholarship, the erudite essays contain numerous bibliographic references. The essays are intended to promote research and debate. Recommended for academic and comprehensive art history collections.?Joan Levin, MLS, Chicago
Copyright 1996 Reed Business Information, Inc.

From the Inside Flap
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.

Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.

In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.

Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

About the Author
Robert S. Nelson is a Distinguished Service Professor of Art History and History of Culture at the University of Chicago. Lately he has edited Visuality before and beyond the Renaissance: Seeing as Others Saw and is currently working on a book about the modern lives of Hagia Sophia in Istanbul.

Richard Shiff is the Effie Marie Cain Regents Chair in Art and director of the Center for the Study of Modernism at the University of Texas at Austin. He is the author of C�zanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art.

Most helpful customer reviews

26 of 29 people found the following review helpful.
Good book for exploring criticism topics
By Matthew Maldre
If you interested in reading about particular themes in contemporary art. This book covers a whole slew of art crit terms.
Each individual term is explored by its own essay. Each essay is written by a different author (mostly in the 80s and 90s). These essays are around 14 pages long, so these terms are explored rather in depth. The writing is so thick in this book it takes a good chainsaw to hack through 'em. But the effort is well worth it.
Here's the terms explored: Representation, Sign, Simulacrum, Word and Image, Narrative, Context, Meaning/Interpretation, Originality, Appropriation, Art History, Modernism, Avant-Garde, Primitive, Ritual, Fetish, Gaze, Gender, Modes of Production, Commodity, Collecting/Museums, Value, Postmodernism/Postcolonialism, and Figuration
My favorite essay so far is the one on Simulacrum.
I would recommend this book to anyone interested in art criticism. It provides some interesing viewpoints.

13 of 14 people found the following review helpful.
where art history and philosophy intersect,
By paedagogue
you will find books such as this one. A Ph.D. is not required to understand it, but it will give you an intellectual workout, as it is not a beginner's handbook. You need to have read some art history (beyond the "what, where, when, who" level), and some art criticism, to see the rationale behind its chapter headings. It is also not a book about works of art as such, but about the special terms and concepts used in current interpretive writing on the "fine" arts (primarily arts of Western European derivation, but the contributors are sensitive in handling the cultural bias of their sources). ALL of the authors are distinguished authorities on the topics they discuss. I think it is a strength of this book that they do not share a homogeneous intellectual background, or ideological bias, and also that they are not all the same age, but made their greatest contributions at different points in the recent (roughly, between 1970 and 1990) "crisis" of art historical writing. The most useful feature of this book, to my mind, is that it provides carefully argued contextual analysis of critical terms which either 1) have a long history of use (and therefore need unpacking before we can grasp the "unconscious"--sometimes contradictory--values they impose on the works to which they're applied), or 2) have been recently introduced to enable an informed critique of traditional art history. The cumulative effect of the various essays is to demistify some of our more cherished assumptions about the value of art: its timeless messages, its inspired origins, its spiritual uplift, its higher expressiveness/beauty/perfections. In other words, if you hope for a "feel-good" treatment of art critical standards, this is not your book. And yet, if you can accept that making and using works of art are social activities, and like the other products and customs of human societies, are constantly in flux even as they depend for their existence on inherited techniques, formulas, and ideals, then this book will provide a wonderful "relief map" of the intellectual foundations of current art history/art criticism.

11 of 14 people found the following review helpful.
Learning the rules of the game
By A Customer
Most of these essays are written by extremely prominent art historians and critics, such as WJT Mitchell, Homi Bhaba, the late Michael Camille, Jas' Elsner, and Nina Kallmyer. Each writer explores a "charged" term currently used in art criticism, such as "representation," "social art history," "ugliness," and "beauty." In each essay, the writer explores the meaning of the term by applying it to a single work of art. Though the essays vary in difficulty, each is ultimately very rewarding. Highly recommended for anyone interested in the nuts and bolts of art criticism. An absolute must for journalists, art critics, and students.

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Kamis, 18 April 2013

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  • Sales Rank: #8224056 in Books
  • Binding: Hardcover

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  • Sales Rank: #13374437 in Books
  • Original language: French
  • Number of items: 1
  • Dimensions: 7.48" h x 1.46" w x 9.84" l,
  • Binding: Paperback

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  • Sales Rank: #424841 in eBooks
  • Published on: 2014-02-10
  • Released on: 2014-02-10
  • Format: Kindle eBook

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Close to useless
By alatony
You must be an absolute beginner in fixed limit poker to find this book of any use. And don't waste your time at all on this one if you play pot limit or no limit holdem.

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Great Read
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Once you get the hang of the formula, it's pretty easy to remember and memorize. Just finished the book and will be applying it to my game in the coming days. Will see how it works out and try to update on my experience.

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This is the book for beginners!
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Selasa, 02 April 2013

[T777.Ebook] Free PDF Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, by David Hockney

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Recently, David Hockney, often described as the "world's most popular artist," has made headlines not with his own work but with his sensational and controversial theories about how some of Western art's famous masterpieces—paintings by artists such as da Vinci, Caravaggio, Vel�zquez, and Van Eyck—were actually created. A chance observation of a drawing in London's National Gallery led Hockney to ask, "How was this done?"

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  • Sales Rank: #141245 in Books
  • Brand: Brand: Viking Studio
  • Published on: 2001-10-29
  • Released on: 2001-10-29
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.20" h x 1.25" w x 9.80" l,
  • Binding: Hardcover
  • 296 pages
Features
  • Used Book in Good Condition

Amazon.com Review
British painter David Hockney, well known for his cool and lovely paintings of California pools, has taken on the new role of detective. For two years Hockney seriously investigated the painting techniques of the old masters, and like any admirable sleuth, compiled substantial evidence to support his revolutionary theory. Secret Knowledge is the fruit of this labor, an exhaustive treatise in pictures revealing clues that some of the world's most famous painters, Ingres, Vel�zquez, Caravaggio (just to mention a few) utilized optics and lenses in creating their masterpieces. Hockney's fascination with the subject is contagious, and the book feels almost like a game with each analysis a "How'd they do that?" instead of a whodunit. While some may find the technical revelation a disappointment in terms of the idea of genius, Hockney is quick to point out that the use of optics does not diminish the immensity of artistic achievement. He reminds the reader that a tool is just a tool, and it is still the artist's hand and creative vision that produce a work of art. (296 pages, 460 illustrations, 402 in color.) --J.P. Cohen

Review
When looking at pictures, one can have no more stimulating and provocative companion than Hockney. (The Times Literary Supplement, London)

About the Author
David Hockney was born in England in 1937 and studied at the Royal College of Art. He achieved international acclaim by his mid-twenties as part of the pop art movement and has gone on to become one of the best known artists of his generation.

Most helpful customer reviews

131 of 140 people found the following review helpful.
Hockney's Evidence is Thought-Provoking, Verifiable/Falsifiable
By Evan M. Dudik
Critics and reviewers who have rated Hockney's Secret Knowledge low seem to me to overlooks some major points. Some of these I find more persuasive than the the issue of alleged perspective misjudgment which seem to attract the greatest heat.

1. H points out that a huge majority of portraits in the period show the model as left handed--some 80%. This is consistent with use of lenses and inconsistent with the frequency of left-handedness in the population. Now, here is a verifiable fact. Are H's numbers right--or are they not?

2. H is not claiming that everyone 1400-1650 was a poor draftsman. At least in what I've seen so far, he doesn't claim e.g. that Rembrandt used optics. Part of his evidence is however that some artists who were great painters were not great draftsmen--their painting exceeds in accuracy their draftsmanship. Now this appears to me again something that is verifiable by a third party. (The question of H's own draftsmanship abilities is totally irrlevant. I don't like his art much myself).

3. In a highly competitive art market, where realism counted, what is the likelihood that artists would >not< use devices that helped them both with accuracy and speed? Even if the great Ren artists could paint and draw realistically without optics (and their education certainly was thorough), throughput and competitive concerns surely would have pushed them in that direction.

4. To my knowledge, no one has responded to H's claim that the change in light to very strong with dark shadows from about 1400 (light is flat) to 1500 is very consistent with use of optics. Yes, that is not the only possible explanation. But from a philosophy of science perspective, this phenomenon and the phenomenon of increased accuracy need to be explained. H at least offers an explanation. The burden of an alternative explanation is on the critics. H's hypothesis could be falsified by showing that in fact strong lighting was used before this period and flat lighting afterwards.

5. Another phenomenon for which H has an explanation but for which I haven't seen alternatives is the fact that in many realistic paintings, depth of field is evident. An example is the famous Vermeer milk pitcher painting. H has an explanation of why the foreground breadbasket is out of focus, while the background basket is (oddly) in focus. If a critic doesn't like H's explanation, he/she should provide an alternative.

6. H shows that in some cases extremely precise scaling is evident--scaling that would be very difficult to do by hand. Prof Falco, the optics and superconducting physicist who collaborated with H., has done the math and claimed that obtaining such accuracy by hand is very difficult since the error is (as I remember) under 2%). Doing anything by hand with under 2% error is quite a feat--including reconciling bank statements :)-- never mind drawing. Here is another phenomenon in which either the factual statements by H and Falco can be easily verified/falsified or need an alternative explanation should be provided.

On an ad hominem note, I think it is worth pointing out that art historians have a built-in motive for rejecting H's hypothesis: They didn't find it! I took an amateur to notice the discrepancies. Finally, personal experience suggests that some people have a lot more difficult time with accuracy/obtaining a likeness than others. For H to be correct, he does not need to support the claim that everyone who was accurate used optics, only that some did and these raised the bar for the art community as a whole.

Thanks for reading.

1 of 1 people found the following review helpful.
Seeing the masters through Hockney's eyes: a unique and wonderful experience. I adore this book!
By Wende Mate
The ability to see classic works of art through the eyes of one of the most interesting and influential artists of our time is why I bought this book. It is one art history that I have not been able to put down, and it has caused me to look at many of the classics in an entirely different ways.

Even though I knew about many of the mechanical drawing apparatuses that have been employed at various times throughout history, Hockney explains them so well and shows so many examples that I feel as though I am learning about them anew. I was also intrigued that he touched upon one of the things that has forever intrigued me - why a reversed image looks so different from the original and that seeing an image one way and be infinitely more pleasing than seeing it reversed. He goes into much detail about this, and shows multiple examples, when he ponders over the high numbers of left-handed subjects in many old paintings. And that is just for starters.

The number of visuals in this book rivals any that I have seen and, even though I have not counted, it certainly appears that visual examples outnumber text blocks by quite a bit. The visuals accompanying Holbein's "The Ambassadors" show exactly what so many people miss about it, and illustrates why the painting is mounted in such a way that makes it possible to view from the upper right corner. If you sit in that room in the National Gallery, you will notice that hardly anyone ever walks to that spot and looks - they have no idea what fun they are missing!

On a personal note, it was delightful to read that Hockney has the same fascination with the Arnolfini portrait as I, and doubtless many other people, do, and also to learn why. And I think that's what art lovers will like most about this book - that they have occasionally noticed the same exact details that a great artist has also seen, and that indeed is a very exciting thing.

0 of 0 people found the following review helpful.
Great quality on one of the best books or our ...
By Daniel S�enz
Great quality on one of the best books or our generation. If you are an artist, writer, graphic designer or illustrator don't miss it.

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