Product Description

Until now, the techniques used to create great abstract paintings were surrounded by a veil of mystery. Abstract Painting: Concepts and Techniques lifts that veil to reveal the exact methods behind the masterworks. Now students and professional artists can stop guessing and start building on the techniques of the great abstract artists to create their own innovative new work. Two clear, comprehensible sections let artists focus quickly on their specific areas of interest. The first section, on Traditional Painterly Abstraction, using brush and easel, looks at pictorial space, brushwork, paint quality, and collage. The second section, on Post-Painterly Modern Abstraction, considers options ranging from the pour-and-spatter techniques of Jackson Pollock to the staining, scraping, and abrading of modern acrylic artists. Step-by-step recipes for key approaches show artists how to get the best aesthetic results, freeing them to move forward philosophically.

Product Details

• Amazon Sales Rank: #217729 in Books
• Brand: Watson Guptill
• Published on: 2005-09
• Released on: 2005-09-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 160 pages

Features

• ISBN13: 9780823095421
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

About the Author
Vicky Perry has exhibited her paintings at La Mama's Gallery and Beulah Land in New York City's East Village and at many galleries and colleges throughout the U.S. She has won many awards for her work in national competitions. Perry lives in Red Hook, New York.

Barry Schwabsky, the noted art historian, critic, and poet, wrote the preface. He lives in London and New York.

Customer Reviews

Good idea that doesn't follow through
I had this book on my wish list for a long time before it came out, and could hardly wait to get it. Unfortunately it doean't live up to its promise, though it does have some good parts.

It has plenty of full-color paintings to illustrate it, but apart from the few works by such luminaries as Morris Louis and Arshile Gorky, the paintings are mostly mediocre. That was a real disappointment. The text is somewhat better, but it seems oddly incomplete. For example, there are only ten pages of text about composition, and all of those pages are mostly taken up by illustrations. Another example: in the description of direct painting methods (i.e. brush on canvas), there are only five paragraphs, just one of which is about applying wet paint to a dry surface. However, an entire chapter is devoted to staining canvas. That doesn't make much sense to me.

The chapter on oil paints gives information you could find in any painting book (or online for that matter), such as what grounds and mediums to use, but has no mention of how they are used specifically in abstract painting. Why would an abstract painter choose oils over acrylics, or vice versa? You won't learn it here.

All in all, the book does have some interesting information, but it is not very well organized and there are big gaps. It is a real let-down, since there are so few books about abstract painting.

First class, but not for the beginner
It's a pity to dismiss Vicky Perry's book if you have done absolutely no abstract painting, because you may well find it invaluable further down the track. The text provides advanced theories that will be well beyond someone who is a complete beginner, but will be a mine of information for the experienced amateur as well as the art student.

I purchased this book before I found Brian Ryder's "Beyond Realism" (see my review of this book) and was initially as challenged by Vicky Perry's text as other reviewers. However, having now worked my way through Ryder's book (and two other's I mention at the end of this review) I found that the concepts and techniques in "Abstract Painting" began to click, and even found them refreshing and exciting. What is more, the examples of abstract art in Perry's book are from professionals, which are hardly open to criticism from amateurs. Okay, so I don't like them all either, but that can only be a plus: you can ask yourself - how would I express the artist's idea myself? (You can't do that with the one's you like - they've already made the definitive statement!)

This is no paint-by numbers book for two reasons: firstly, by its very nature, abstract art cannot be taught literally, in formal steps - as is technical drawing, for example. Secondly, the author quite reasonably assumes that the reader has some experience, not only in the fundamentals of art making, but also in basic forms of abstract expression. If you are short on either of these skills, you need to start elsewhere.

Contrary to what other reviewers claim, there are plenty of books available that can get a beginner started on abstract painting. It is just that such books are not necessarily titled "abstract." They tend to come under the cateories of design, or creativity. Even collage books like those of Gerald Brommer are a good introduction to abstract principles - with instruction included.

For the absolute beginner, I would recommend beginning with Mary Todd Beam's "Celebrate your Creative Self." All the exercises in this book are abstract, and clear instructions are given as to materials and techniques. You even get to copy to some extent! Next, I recommend Maxine Masterfield's "Painting the Spirit of Nature." That also gives techniques, but assumes more experience. Try Vicky Perry's Book after you have cut your teeth on these two - or something similar. I am sure you won't be disappointed.

Lotta theory, little how-to
There aren't many books on technique where abstract art is concerned. I understand that by its nature, each abstract painting is a new invention, and may not relate solidly to anything else. Even so, artists like me who want to create abstract works would be grateful to know how to generate certain effects with certain techniques and materials.

This book falls short in this dimension. It's filled with windy theory, and woefully lacking in practical information. There are many examples of abstract works (some good, some not), but virtually no clear information on how they were produced. Biggest weakness: there are no step-by-step photos to clarify the text and provide insights into the examples.

The book is not totally useless. If you can get through the turgid prose, there are a few nuggets of information you may find of value. But I suppose it'll have to do till somebody turns out something better.