Books like The Painted Word — picked by fans

I love this book because it not only explores the way in which art gets made, it delves into the reasons art often doesn’t get made, and the difficulties that cause so many artists to give up along the way.

All too often, the give-up factor is prevalent both in the art-making process and in the art-marketing process. I particularly liked the chapter “ Fears of Others,” which offers excellent insights into artists giving their power away. 

As a career coach and artist advocate, I was curious about what the author had to say about the inner workings of the art world. Quite happily, I read an insightful and humorous probe from a writer who sincerely wanted to understand art and its importance.

Bosker is not afraid of naming names when discussing critics, gallery owners, curators, collectors, and artists. She goes undercover, so to speak, and writes about her experiences as a gallery assistant, an artist’s assistant, a museum security guard, and a sales assistant at Art Basel Miami. And to add to her experiences, she tackles the use of the foreign language of “art speak.”   

I can open any page of this book and discover meaningful observations—with lots of food for thought. For two decades, the late artist and educator Walter Darby Bannard reflected on the question, why do young artists struggle to find their voices?

He answered the question with engaging insights based on his personal philosophy. At the urging of a former student, he put his thoughts into a book. But you don’t need to be an aspiring artist to treasure what Bannard has to say; artists at all career levels will be inspired by his words. 

When I was very young, I experienced firsthand an ugly lawsuit involving an art gallery. I can’t stress enough how important it is for artists to be knowledgeable and up-to-date on the legal aspects affecting their careers.

The new edition of this book will be of great help because it thoroughly covers the many changes in art laws and artists' legal rights and obligations, including, for example, the laws protecting artists in artist-gallery relationships.

What I like about this book is that it gives me a different perspective on a subject that I know well—light—but it comes at it from a different angle: that of a painter using traditional media. Starting from the history and tradition of painting, topics such as color are tackled by merging scientific and artistic elements, drawing from the history of color theory to create a comprehensive whole.

Of course, the text is greatly enhanced by the dozens of wonderful illustrations created by James Gurney, which offer beautiful demonstrations of the subject matter.

Another odd choice for this category and an unusual but nonetheless compelling book. Elkins talks about painting in terms of medieval alchemy. The point, however, is right down my street: it is about the materiality of painting.

Put aside the meaning of a finished artwork and think about the acts behind its making, from creating paint from various pigments and oils to brushing them on stretched canvas. This helped me understand the lives of people who work with materials, things, and stuff, including scientists and engineers. What they think is important, but so is what they do and their facility in doing it.

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.

The book covers basic principles, such as variety, shape, silhouette, edges, unity, rhythm, color, and texture. But his coverage of these familiar ideas is fresh and original, and he provides lots of examples. He avoids laying down rules or laws, because one generation of artists breaks the rules of the previous generation. All of the basic principles are universal enough to have remained in place despite the changing styles throughout history.

This book offers the technical breakdown of painting in grisaille. I only know of a few books that cover it and this one was written by an amazing painter! This was the common practice of Bouguereau and Gerome and is thoroughly explained in this particular volume as well and the rendering of planar “facets.” The practice of grisaille is an important phase in painting. The separation of color and form is partly why so many of the “masters” had such control over form and value.

This book washed over me like a fresh Spring breeze after a long Winter. Any time an artist can speak eloquently about their motivations, sensitivities, and beliefs, it provides validation to all other artists even if, as in Kandinsky's case, it seems some of his certainties verged on dogma. But I'll take artistic dogma over inartistic ambiguity any day.

Art is the closest thing to nature that human beings can create, yet its relevance can be completely overlooked by the general public. Documents such as this are like messages in a bottle, hieroglyphs on the cave wall of contemporary society left for discovery by future—and hopefully more receptive—generations.