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Peeks and Piques!
Favorite
Art Books
By
RAYMOND J. STEINER
ART TIMES March 2007
I’VE
LOST COUNT of the art books that have crossed my desk over the past twenty
years or so, each one perused (some, admittedly, more leisurely than others),
some sumptuously beautiful, others less ostentatious in their aspects
— but art books all, each purporting to present either the latest,
or the most comprehensive, of the titled subject, some worthy of the effort,
others — in my opinion — often less so. Along the way I’ve
come to unconsciously judge the publishers of art books — eagerly
looking forward to the newest titles of some, somewhat apprehensive of
others. Not all of my “snap” judgments have been valid, of course —
and, in spite of the old adage, I’ve caught myself from time to time judging
books by their covers. But, some twenty-odd years is something of a track
record and, by and large, you can sometimes use a cover —
or a publisher — as a judge. And, in most cases, art books are handsomely
produced, designed — like art — to appeal to the eye (though
I continue to hold to the opinion that many oversized “coffee table” books
are written about all too many overblown “artists” that do not deserve
either the title or the luxury of having a book published on their behalf).
Still, they come, I routinely read or delve as the case may be and, most
if not all, find their way into our “New Art Books” column each issue.
I try, however, not to make the effort too “routinely.” Some books can
— and do — surprise me and make me sit up and take particular
notice, thereby interrupting the routine to allow me to better face the
next onslaught of “new releases.” I’d like to mention two such books that
have recently come my way — The Intimate Eye: The Drawings of
Burton Silverman (Brigham Young University) and The Art of Stanley
Maltzman: Sketches and Studies in Pencil, Pastel & Watercolor (Four
Corners Art Gallery). Neither of these books comes from major publishers
of art books, yet both have as their subject larger-than-life talents.
I’ve come to know both of these artists personally and have never found
their uncommon talents to disappoint. However, what caught my eye initially
was not whom these books were about, but rather their extraordinary
physical beauty. I’m used to seeing luxuriously illustrated and handsomely
bound books, but these were exceptional not so much for their outward
appearances — their cover (!) — but for what surprises lay
inside for the viewer. Neither book has excessive text, both allowing
for a few words by the artists themselves but in both cases, mainly allowing
the work to speak for itself. Silverman’s book, The Intimate Eye,
presents reproductions from his sketchbooks, each page, printed as they
are on various pastel colors and with commentary in the artist’s own hand
on the opposing side, seemingly a page torn out of the actual artist sketchbook
— the result, “intimate” indeed, since it is almost like looking
over Silverman’s shoulder as he shares those preliminary studies —
in pencil, charcoal, chalk or graphite — of subjects which are rarely
seen outside the confines of the studio. As beautiful as Silverman’s book
is, Stanley Maltzman’s The Art of Stanley Maltzman is, as an art
form, even more exquisite. Dedicated to the memory of his wife Rachel,
this book, with an introductory essay by his friend Brenda Shears, is
hand produced and assembled, printed in UltraChrome Archival Inks by Kim
Lorang of Visual Winds Studio on190 gm. Hahnemühle William Turner paper,
and custom-bound by the Meyer Bookbinding Company in a limited edition
of only 100 copies. In keeping with the thirty-odd black and white and/or
color plein air nature studies from Maltzman’s hand, the pages
in this book are rough-cut, each with the feel of handling an original
piece of art and the term “suitable for framing” could not possibly be
more apt. As far as art books go — and, as I’ve said, I receive
a great many for review —I cannot recall ever seeing one more beautifully
made. There are thousands of art books in my library — but these
two — and the artists whose work they display — will long
remain among my favorites.
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