National Art Education Association

Introduction to the Visual Arts by S. Ralph MaurelloReview by: William E. FarringtonArt Education, Vol. 23, No. 1 (Jan., 1970), p. 42Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191406 .

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INTRODUCTION TO THE VISUAL ARTS. Edited by S. Ralph Maurello. New York: Tudor Publishing Co., 1968. 192 pp. $4.95.

This book is a translation from the French, written by ten art teachers, under the patronage of the French Inspector Gen- eral of Public Education. It is an odd com- bination of basic information on art ma- terials, elements, and techniques, and many rather unusual and interesting illustrations. The latter are mainly from French sources largely untapped in American publications, and mostly in color. The book would be useful to adults interested in learning to paint and draw, and as a reference book in school and classroom libraries.

William E. Farrington Boston, Mass.

HONORE DAUMIER: SELECTED WORKS. Edited by Bruce and Seena Harris. New York: Bounty Books, A Division of Crown Publishers Inc., 1969. 209 pp. $4.95.

The editors, Bruce and Seena Harris, have skillfully organized and presented a most viable and comprehensive collection of Daumier's works which includes selections from his drawings, lithographs, paintings, and sculptures. The main contents of this book are arranged under the subheadings: "The Lithographs"; "Daumier's Lawyers and Doctors"; "Robert Macaire" (charac- terized "con" man); "Sculpture, Painting, Watercolors, and Drawings"; and brief, but crucial, preface information and "Notes and Historical Explanations". In addition Frank and Dorothy Getlein have contributed to a section of the book entitled "Honor6 Dau- mier: An Appreciation".

The trivia at times associated with at- tempts to document and explain various visual displays immediately in context has been tastefully avoided by the editors who have adequately prefaced each section and refer the reader-viewer to "Notes and His- torical Explanations" in the latter section of this book. Translations of captions in the original French have been inconspicu- ously included with each of Daumier's works-e.g., political cartoons and other works. Another praiseworthy feature of this book appears especially under the first three subheadings or collections; a single work appears per page (not to be mislead- ing, reproductions are both on the front and back of a single sheet of paper).

It is, perhaps, the reader-viewer's good fortune to examine a comprehensive dis- play of this nineteenth century genius's works under the auspices of the editors' guided tour of selected works, but all per- sons partaking of Daumier's works are forewarned to refer to "Preface Materials" and "Notes and Historical Explanations", i.e., it is well worth the reader-viewer's time to examine background materials to gain appropriate insight into the artist's intentions and motives within the context of his time and place. An investigation of specific notes in connection with graphic commentaries by the artist helps to struc- ture and shape the collection as a whole.

Most of this publication is excellently

treated. This reviewer was disappointed in the fact that Daumier's paintings and wa- tercolors were reproduced in the same "tone" as his lithographs and drawings.

In brief, the reader-viewer is afforded a rare opportunity to share with Daumier his waspish wit, his sarcasm, his relentless satirical criticisms which were born of a necessity to comment on the evils of his day, his boldness, his tyranny against ty- rants, his simplicity, and his prolific pro- ductivity as a master graphic artist, painter, and sculptor.

R. C. Paxson Troy, Alabama

NEW DIRECTIONS IN JAPANESE ARCHI- TECTURE. Robin Boyd. 128 pp. NEW DI- RECTIONS IN BRITISH ARCHITECTURE. Royston Landau. 127 pp. NEW DIREC- TIONS IN GERMAN ARCHITECTURE. Gunther Feuerstein. 128 pp. NEW DIREC- TIONS IN ITALIAN ARCHITECTURE. Vit- torio Gregotti, 128 pp. New York: George Braziller, Inc., 1968. $5.95 each.

New Directions in Japanese Architecture, by Robin Boyd, concentrates on the new Japan style, with most of the architects being in independent practice since 1960. He has selected those who he feels are most competent. Quoting from the author: "Any short list must omit numerous men of equal ability and importance to some of those who are included. I am conscious, nevertheless, that it is a poor excuse for not spending more time on such well- known men as Kiyoshi Kawasaki, Masaru Matsuda, Takeo Sato, Takamasa Yoshizaka, the group which calls itself RIA (Research Institute of Architecture) and Hiroshi Oe." He begins with the Metabolist generation, Kiyonori Kikutake, and progresses to a leader of modern world architecture Kenzo Tange. The vignettes of the fourteen con- temporary Japanese architects are taste- fully done.

Feuerstein's book concentrates on Ger- many since 1960. It takes quite a different format from that of Boyd's, in that he cov- ers commercial structuralism, church ar- chitecture, schools and universities, engi- neering structures, and industrial buildings. The works are well documented and illus- trated, and the material reads easily and is most informative.

Gregotti's presentation of Italian archi- tecture makes a survey and analysis of development from 1919, ending with a dis- cussion of the contemporary scene and the problems of the 1960's. As the author states "it is an illustrated essay on Italian archi- tecture since World War II." In no way has the author attempted to write a history. He points out three characteristics: 1) a di- alectic between architecture and the notion of history and traditions, 2) a constant de- bate and steady interaction between ideol- ogy and language, and 3) a resulting state of basic ambiguities. It is perhaps the least interesting of the four books.

Landau's book on British architecture since World War II is associated with the major concerns of the present. He concen- trates upon the setting in which the British architect lives and works today. It is a

somewhat selective essay, fairly enjoyable and rather well illustrated with diagrams and photographs.

The four books are worthy of an art ed- ucation library for ready reference to the classroom teacher. They may also be ac- ceptable on the reference shelves of school of architecture libraries.

Walter M. Johnson Urbana, Illinois

BONNARD. Andre Fermigier. New York: Harry N. Abrams, Inc., 1969. 160 pp. $15.00.

Pierre Bonnard's work has slowly but ir- resistibly made its way to the top rank in art since Impressionism. His work is in no wise spectacular, and Bonnard himself can hardly be called an innovator. Yet, as the reproductions in Fermigier's book show, Bonnard's art offers something rare and precious, for it is painting for the sheer pleasure of painting, free of both the prob- lems of the world and the problems of the artist. Bonnard painted sunlight and air. He painted warmth, comfort, and intimacy. In his profusion of interiors, a table is al- ways laden with fruit; doors and windows are always open; and the lush and heady landscapes always flood the room with their inviting radiance. The ambience is one of sensuous delight. The book shows Bon- nard's early work to be the result of a keen and quick observation of Paris street life and uncomplicated bourgeois pleasures. The commercialized amusements and the darker side of life he left to others. He was at one time associated with the Nabis, seeking to simplify painting from Impres- sionism and to introduce some degree of spirituality. Influenced strongly by Japa- nese prints, he is sometimes referred to as "the very ultra-Japanese Nabi." What he learned from the Japanese was soon merged with the Impressionists' attitude toward color into a new and highly per- sonal kind of painting. His themes became simple-and repetitive: scenes of family life, genre, interiors and terraces, some por- traits, some stilllifes, and nudes in or out of the bath.

The author of this book, Andre Fermi- gier, a leading French critic and historian, conducts us from the early, whimsical glimpses of daily life to the artist's dedi- cation to color and glowing luminosity. We see Bonnard's work distilling its own par- ticular qualities from everyday surround- ings to become a special kind of abstrac- tion in which areas and patches of color assert their own life before allowing the objects to be recognized for themselves. "The presence of the object of the motif, is very disturbing to the artist when he paints," said Bonnard a few years before his death in 1947.

This book offers a fresh look at Bon- nard's work and emphasizes his distinctive use of color. Yet, it does not neglect Bon- nard the draftsman, poster designer, and book illustrator. The responsive reader will be able to add yet another name to his list of twentieth century immortals in art. You should enjoy this book, and it will be an asset to your reference shelf.

Neil Mooney Tallahassee, Florida

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