Here are 100 books that Painting as an Art fans have personally recommended if you like
Painting as an Art.
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I boast a two-decade-long career in the software industry. Over the years, I have diligently honed my programming skills across a multitude of languages, including JavaScript, C++, Java, Ruby, and Clojure. Throughout my career, I have taken on various management roles, from Team Leader to VP of Engineering. No matter the role, the thing I have enjoyed the most is to make complex topics easy to understand.
Naming and Necessity had a profound impact on my understanding of the importance of using proper names in programming (for functions, variables, etc.). I was fascinated by Kripke’s exploration of the usage of names in our day-to-day language. His arguments challenged my thinking and introduced me to new ways of considering reference and meaning.
The clarity and rigor of his analysis pushed me to refine my reasoning skills. Despite being a challenging read, I found it incredibly rewarding.
'Naming and Necessity' has had a great and increasing influence. It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of naming, and of identity. This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here reissued in a newly corrected form with a new preface by the author. If there is such a thing as essential reading in metaphysics, or in philosophy of language, this is it.
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
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.
I first read this book at age twenty-one and have never stopped returning to it. It gets better and deeper each time.
Ludwig teaches that language and reality are bound up in so many ways. It also contains some famous themes and head-scratchers, such as language games, family resemblance, private language, and rule-following, discussed, as always, in a non-technical way.
Incorporating significant editorial changes from earlier editions, the fourth edition of Ludwig Wittgenstein's Philosophical Investigations is the definitive en face German-English version of the most important work of 20th-century philosophy The extensively revised English translation incorporates many hundreds of changes to Anscombe's original translation Footnoted remarks in the earlier editions have now been relocated in the text What was previously referred to as 'Part 2' is now republished as Philosophy of Psychology - A Fragment , and all the remarks in it are numbered for ease of reference New detailed editorial endnotes explain decisions of translators and identify references and…
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.
I found this book's scientific rigor, systematicity, depth, and wisdom unmatchable. I liked "the passion for desert landscapes" together with the wit.
It’s not easy, at first, to see the philosophical significance of the discussion until you do, and you’re attracted to the idea that philosophy is too often a mere verbal tangle. Quine agrees, and he tries to explain why.
Willard Van Orman Quine begins this influential work by declaring, "Language is a social art. In acquiring it we have to depend entirely on intersubjectively available cues as to what to say and when." As Patricia Smith Churchland notes in her foreword to this new edition, with Word and Object Quine challenged the tradition of conceptual analysis as a way of advancing knowledge. The book signaled twentieth-century philosophy's turn away from metaphysics and what Churchland calls the "phony precision" of conceptual analysis.
In the course of his discussion of meaning and the…
Mia Lark is running out of options. There is only one way to change the score: the fantasy planet Revivium.
Armed with the powerful magic in the helm and the friendly AI, Hex that goes with it, Mia throws caution out the window. It’s time to find the main guildhall…
When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.
This is somehow the antidote to Roth’s novel. It is a daunting read, often thought of as a Viennese answer to Proust. What was fascinating was its very unsentimental and often quite funny representation of wealthy Viennese society. Musil is a seductive writer and it is easy to keep reading even while wondering when something might actually happen.
Like Roth, the effect of the novel is cumulative–only after reading it suddenly comes together. It also balances the presentation of Vienna as a city of musicians and poets and gives us the politicians, the mathematicians, the scientists, and the economists. The central character is himself a mathematician with little comprehension of the finer arts.
It is 1913, and Viennese high society is determined to find an appropriate way of celebrating the seventieth jubilee of the accession of Emperor Franz Josef. But as the aristocracy tries to salvage something illustrious out of the collapse of the Austro-Hungarian Empire, the ordinary Viennese world is beginning to show signs of more serious rebellion. Caught in the middle of this social labyrinth is Ulrich: youngish, rich, an ex-soldier, seducer and scientist.
Unable to deceive himself that the jumble of attributes and values that his world has bestowed on him amounts to anything…
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book outlines how the visual field operates at a psychological level.
I am an architect and cannot believe that we don’t teach straight from this and other Arnheim books more often. If you want to know what is happening to you, why you get chills up your spine when looking at art, read this book.
Arnheim is a psychologist, not a designer, so he breaks art down from this perspective.
For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of "The Dynamics of Architectural Form", "Film as Art", "Toward a Psychology of Art", and "Art and Visual Perception", asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. This is an indispensable tool for students and for those interested in the arts.
I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.
This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art. One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing. The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
Winner of the 2024 New Mexico - Arizona Book Award.
In this deeply researched novel of America's most celebrated outlaw, Mark Warren sheds light on the human side of Billy the Kid and reveals the intimate stories of the lesser-known players in his legendary life of crime. Warren's fictional composer…
A part of me is reluctant to recommend books on art. The same part of me is reluctant to write books on art. After all, a work of art should speak for itself. Then I remembered that for most contemporary art shows, a catalog is produced, and that catalog typically features an explanatory essay by some sympathetic scholar or critic. If the art of today requires verbal elaboration, how much more will the art of the past—especially the remote past—require such commentary? These recommendations are a selection of some favorite texts about how art comes into being—and is part of our being.
In the late 1990s, when I was writing a short history of the Phaidon Press–a pioneer imprint of art books both affordable and beautiful—I used to visit Gombrich at his home in north London. His own career as art historian was entwined with Phaidon’s fortunes. I asked him if it were true that he used to get an adolescent to read his texts to check for clarity of expression.
The legend was exaggerated, of course. But Gombrich’s prose still strikes me as admirably free of academic obfuscation, and this book is filled with lucid discussion of what is happening, perceptually and psychologically, when artists invite viewers into their ‘worlds’.
Considered a great classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the…
As a writer, I’ve always been interested in ambiguity and ambivalence. How does that apply to the self? What does it mean to present myself to others? How do I appear to the world and how close is that to what I see myself to be? Are we ever truly seen—or willing to be seen? In a world where cameras exist everywhere and we are encouraged to record rather than simply be, how do we look in a mirror? Hannah Arendt said that we could tell reality from falsehood because reality endures. But I feel that nothing I experience endures; nothing remains the same, including the reflection. If anything lasts, it may be my own make-believe. Everything I write is, in some way, this question. Who is that?
This is a book of essays about the act of looking, especially looking at photographs and paintings and animals and other people. Thus these are essays about history, memory, suffering, beauty, and the self. Berger had a generous spirit; he wrote often about the lives of peasants and spent the last forty years of his life in rural France. Berger gazed upon the world in all its forms with composure and curiosity.
As a novelist, essayist, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to…
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.
What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to…
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing…
Ramon Ramirez’s Dog is a collection of essays written over the years about the adventures and misadventures, mostly outside but occasionally inside the diplomatic career of a U.S. ambassador. Common threads weaving the stories together are a desire for a life well-lived, balancing career with family and friends, keeping physically…
I’m a professional artist, and I’ve been fascinated by light and lighting for most of my life. About twenty years ago, I realized there were no books available on this subject at all and very little information around, so it was difficult to take a deep dive into the topic of light in relation to visual art. I wrote some articles on my website, which became very popular, and this resulted in a book deal with Laurence King. My book was published in 2011, and in the interim period, more books have appeared, offering a wider and more diverse range of knowledge from differing perspectives and different artists.
When I couldn’t truly see light, I couldn’t really understand it. There is a reason why we don’t notice the subtleties of light in our everyday lives, and it’s because our brains filter it out. This book gave me a key that unlocked the art of seeing so that I could see the world as it really is rather than the simplified version that my brain presented me with.
A must for any visual artist, this book gave me the most fundamental insight that I could ever hope for: it taught me to see the world as I’d never seen it before. This was a life-changing gift.
'You will quickly amaze and delight yourself. Hands down the best and most life-enhancing thing I've done in lockdown' India Knight, Sunday Times
Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are a professional, a student, or enjoy art as a hobby, Betty Edwards' practical step-by-step guide will give you greater confidence in your ability, deepen your artistic perception and provide a new way to appreciate the way you perceive the world around you.
This groundbreaking guide includes: - Expert advice on materials…
