Unorthodox, and definitely not for beginners, but a delightful exercise for the educated consumer.



Unapologetically opinionated, slightly Anglocentric narrative from respected popular historian Johnson (A History of the American People, 1998, etc.).

Despite its all-embracing title, this covers non-Western art primarily for the effect it had on the art of Europe and its colonies. The extremely erudite author frames this epic, eloquent tale as a spellbinding, one-sided conversation in which he spills out the story of art, its production, and its meaning. Johnson, himself the son of an artist, appreciates technique. Whether it is the introduction of concrete in antiquity or oil paint in the northern Renaissance, he makes the tools of the trade and an artist’s facility in using them as much a part of the story as the art itself. His concern with technique and affection for the artist’s craft shapes his judgments: in the chapter covering Rubens, van Dyck, and Poussin, he eloquently lauds the two Flemings’ rich painterly art, suggesting that Poussin’s more classical painting is unduly cerebral and telling the Frenchman’s story with a certain astringency. The text is marked by bold superlatives (always backed up), good contextual points, and Johnson’s idiosyncratic choices. He covers the usual canon, but has his own, sometimes obscure, favorites. He provides, for example, an entire chapter on Russian art and patronizes the Sistine ceiling as “superior scene painting.” Johnson values great artists as they attempt to convey universal truths, so he praises the 19th century’s classically trained landscape painters (particularly Americans) at the expense of Monet, for one, whose treatment he deems more prosaic. The author considers Ilya Repin’s They Did Not Expect Him “one of the greatest paintings produced in the 19th century—perhaps the greatest.” He treats Picasso in a chapter on Fashion Art, and puts forward Walt Disney as the most influential artist of the 20th century. Elgin Marbles owned by the British Museum: good; Cubism: overrated; contemporary art world: bad.

Unorthodox, and definitely not for beginners, but a delightful exercise for the educated consumer.

Pub Date: Oct. 1, 2003

ISBN: 0-06-053075-8

Page Count: 792

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 1, 2003

Did you like this book?

No Comments Yet

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.



Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

Did you like this book?

No Comments Yet

A fascinating, major work that will spark endless debates.


An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.

With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”

A fascinating, major work that will spark endless debates.

Pub Date: April 21, 2020

ISBN: 978-0-06-229839-3

Page Count: 976

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 2, 2019

Kirkus Reviews Issue: Jan. 1, 2020

Did you like this book?