Mr. Grosser, following the pattern of his earlier Painting in Public, discusses painting, painters, and painters' problems from pigmentation and techniques in using tempera and ols to the subject matter of Modern Art which he says is a picture's own composition. He written with wit, erudition, and style, and is a pleasure to read. Starting off with portraiture, likenesses, and the grand style, he shuttles back and forth from the Renaissance to the twentieth century, remarking on the importance of balance between ""mortal soul"" and character, the advantages of a painted portrait over a photographic one, the influence of movies on stylization, the problem of a national character, etc. He then follows the influences of scientific and technical developments on painting, for example, oils, photography, the ""scientific attitude"", discovery of the physical properties of color, and mathematics, with examples and anecdotes. In spite of his wide range, and in part because of it, The Painter's Eye will not have too wide an audience. It is not written for the professional painter, and it assumes too much knowledge and interest in the history, techniques and practice of painting to appeal to the average art appreciator, who wants to know just what a good painting is. It is rather written for the dilettante, in the best sense of the word, and will do best in libraries, especially in colleges for supplementary reading.