Literate, accessible, and a pleasure to read: worthy to stand on a shelf next to Roger Shattuck’s The Banquet Years and...




A thoughtfully conceived, well-executed study of France’s influence on American art—and vice versa.

In 1867, writes French cultural-affairs journalist Cohen-Solal (Sartre, not reviewed), cultured Europeans flocked to the Exposition Universelle d’Art et d’Industrie to witness the end of history painting and the triumph of genre paintings such as Jean-Francois Millet’s The Harvesters. Among the artists exhibiting were ten Americans, including the landscape painter Albert Bierstadt and most members of the group later called the Hudson River School. The Americans didn’t make much of a splash, Cohen-Solal notes, though the French begrudgingly awarded Frederic E. Church a silver medal for his portrait of Niagara Falls. Despite their frosty reception, the Americans returned home convinced that France was the place to which all serious artists should repair, and for the next half-century their peers traveled there to soak up the ambience, drink good wine, and learn a few techniques using unclad models “willing to pose for only a few pennies,” as one young Alabaman wrote to his parents. The French, for their part, found these bumpkin visitors to be useful; America was a willing market for the Impressionists, who had trouble finding buyers at home. Thanks to entrepreneurs and artists such as Leo Stein, Paul Durand-Ruel, and other “ambassadors who carried the spirit of Modernism overseas,” American and French audiences alike had their horizons broadened, to the benefit of all concerned, even if the French still sniffed at the Americans among them. The outbreak of WWI in 1914 changed the equation, Cohen-Solal contends; with the war, New York emerged as the international artistic center Paris had once been, so that anyone with an interest in painting had to go there—and American artists could finally claim a home on their own shores.

Literate, accessible, and a pleasure to read: worthy to stand on a shelf next to Roger Shattuck’s The Banquet Years and Robert Hughes’s The Shock of the New.

Pub Date: Oct. 23, 2001

ISBN: 0-679-45093-9

Page Count: 400

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2001

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A succinct, passionate guide to fostering creativity.


A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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A dazzling visual homage to a music icon gone too soon.


A Los Angeles–based photographer pays tribute to a legendary musician with anecdotes and previously unseen images collected from their 25-year collaboration.

St. Nicholas (co-author: Whitney: Tribute to an Icon, 2012, etc.) first met Prince in 1991 at a prearranged photo shoot. “The dance between photographer and subject carried us away into hours of inspired photographs…and the beginning of a friendship that would last a lifetime.” In this book, the author fondly remembers their many professional encounters in the 25 years that followed. Many would be portrait sessions but done on impulse, like those in a burned-out Los Angeles building in 1994 and on the Charles Bridge in Prague in 2007. Both times, the author and Prince came together through serendipity to create playfully expressive images that came to represent the singer’s “unorthodox ability to truly live life in the moment.” Other encounters took place while Prince was performing at Paisley Park, his Minneapolis studio, or at venues in LA, New York, Tokyo, and London. One in particular came about after the 1991 release of Prince’s Diamonds and Pearls album and led to the start of St. Nicholas’ career as a video director. Prince, who nurtured young artists throughout his career, pushed the author to “trust my instincts…expand myself creatively.” What is most striking about even the most intimate of these photographs—even those shot with Mayte Garcia, the fan-turned–backup dancer who became Prince’s wife in 1996—is the brilliantly theatrical quality of the images. As the author observes, the singer was never not the self-conscious artist: “Prince was Prince 24/7.” Nostalgic and reverential, this book—the second St. Nicholas produced with/for Prince—is a celebration of friendship and artistry. Prince fans are sure to appreciate the book, and those interested in art photography will also find the collection highly appealing.

A dazzling visual homage to a music icon gone too soon.

Pub Date: Nov. 19, 2019

ISBN: 978-0-06-293923-4

Page Count: 384

Publisher: Amistad/HarperCollins

Review Posted Online: July 28, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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