Books like Letters on Cezanne — picked by fans

I was introduced to this at the end of my first year as an architecture student and it introduced me to looking at history through a designer’s eyes.

The original and best edition was in a small format, packed with postage-stamp-sized illustrations. Venturi’s target was the reductive, less-is-more strand of Modern architecture. ‘Less is a bore’, Venturi declared, and he opened my eyes to Mannerism and the Baroque and offered new insights into modern masters such as Aalto and Le Corbusier. 

I bought My Work when I was sixteen and it was the catalyst for a lifetime devoted to architecture.

Written shortly before he died, it is a passionate, personal account of Le Corbusier’s work. Profusely illustrated and beautifully designed, it covers his work as draughtsman and painter, sculptor and writer - and, of course, as - in my view - the greatest architect ever to pick up a tee-square.

At the opening of his exquisite pilgrimage chapel at Ronchamp, Le Corbusier was asked if he had to believe in God to create such a building. ‘No,’ he replied, ‘I had to believe in architecture.’ This is a book by a believer to convert newcomers to the greatest of the arts.

Extracted from Ruskin’s three-volume account of ‘The Stones of Venice’, this was published with an introduction by William Morris, Ruskin’s greatest disciple and founder of the Arts and Crafts movement.

Ruskin’s High Victorian writing style is a barrier to some, but he is the greatest English writer on architecture whose ideas about the importance of craftsmanship and moral value of authentic architecture are an antidote to our present condition.

Extolling the virtues of ‘Savageness’, ‘Changefulness’ and ‘Love of Nature’ his ideas are newly relevant as we address the environmental and social consequences of the Industrial Revolution he detested for its impact on our humanity.

This book opened my eyes to a neglected strand of Early Renaissance architecture.

Stokes was a supreme stylist and his elegant, idiosyncratic prose is a delight to read. His insights into what he called the ‘carving tradition’ of art and architecture are posited as a counterpoint to the mainstream ‘modelling’ tradition.

For Stokes, the architecture and art he loved grew out of reverence for the inner life of stone, of marble above all. He described the results as ‘stone blossom’ and buildings as being ‘in bloom’. If this sounds obscure, please don’t be put off: The Quattro Cento is a revelation.

I love a good story about artists who refuse to play by the rules, and Kiki Man Ray was exactly that. Her story hit me because it’s all about pushing boundaries, no matter who tries to shut the door.

What I loved most was how alive this book made that era feel. It’s like I could almost hear the jazz, feel the cigarette smoke in the air, and get lost in the chaos of Montparnasse. It’s the kind of energy that makes you want to create and exist loudly and I love it!

Before reading this book, I had never heard of Mary Sully. I’m thrilled that I now know about her stunning “personality prints,” abstract designs arranged in horizontal triptychs. Sully, who was born on the Standing Rock reservation in 1896, was largely a self-taught artist who never achieved wide recognition. Philip Deloria, a professor of history and a relative of Sully’s, delves into the complexities of what it meant to be a Dakota Sioux woman artist working with an innovative style of abstract art that didn’t fit into neat categories. This mirrors, Deloria says, the “scramble for survival” that an “Indian” woman had to navigate in a “difficult world.” That difficult world is still with us today, making this story a throughline to the present and a must-read.

Sarah Urist Green's You Are an Artist is a beacon of inspiration filled with engaging and thought-provoking assignments that push the boundaries of conventional art-making.

Each challenge in this book compels you to explore uncharted territories, urging you to experiment with novel ideas and mediums. Far more than just prompts, Urist Green guides you on a journey into the heart of contemporary art, inspiring a renaissance of thought and technique in every artist willing to embrace its teachings.

The book instantly transported me back to art school, with assignments that truly spawn productive growth. I found myself eagerly anticipating each new page, propelled Green’s warm, encouraging, yet daringly innovative approach. This book is a must-have for anyone seeking to break free from creative blocks and embark on a journey of artistic discovery.

I adore David Hockney. He draws so beautifully, and in so many different ways, and is always inventive in his art-making. He makes me see more through his art and was a major inspiration for me when I was starting out as an editorial illustrator years ago. This book is a 2020 pandemic conversation between Hockney, now living in Normandy, and his good friend, the art critic Martin Gayford in the UK. It really speaks to the devotion that artists have to observing life and creating something beautiful from it. I love the joy Hockney brings to his work and see that as a powerful energy to create from.

This one is a little bit headier. Gombrich is one of the big names in art history (take any graduate level course in art history methodology, and he’s one of the first names mentioned). But there’s a reason that’s he’s one of the biggies: his information is thorough. For the bookish newbie, this one is a real win.

Gary Faigin is the guy I took my first and only perspective class from, back when he was teaching at the New York Academy of Arts. Eventually we became friends, and fortunately for me he never wrote a book on perspective. Instead, Gary channeled his considerable knowledge of anatomy and drawing into the indispensable book on facial expressions. In profusely illustrated chapters, Gary breaks down the daunting complexity of facial expressions into six basics: joy, anger, sadness, disgust, fear, and surprise. Like the primary colors, this basic palette yields the full spectrum of extreme to subtle, in-between, and mixed expressions.