A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Matthew Collings has already established a reputation for himself as one of the most irreverent and original commentators on the contemporary art world, with his books Blimey! From Bohemia to Britpop and It Hurts: New York Art from Warhol to Now. With the publication of This is Modern Art, Collings has ordered an even bigger canvas to sketch his own uniquely original version of contemporary art today, which he sees as both increasingly popular but also at different points "glamorous, mysterious, sexy, soulful, macabre, gloomy, quirky, kinky and funny". Written to accompany the television series of the same name, This is Modern Art is an in-your-face guide to modern art from Goya's "Disasters of War" to Gillian Wearing's prize-winning video of the police. Along the way, Collings addresses the questions which have both defined and plagued perplexed responses to modern art, including its desire to shock, its questionable aesthetic value, its humour and its blankness. As it moves along in a style which is at times infuriating but always direct and funny, This is Modern Art points out how far we've come since Picasso and Matisse, reverses out of the cul-de-sac of postmodernism, waves the flag for New British Artists like Damien Hirst, Tracey Emin and Sarah Lucas, and ultimately leaves his audience with a streetwise, upbeat book on the abiding value of modern art. --Jerry Brotton

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Disappointing, 18 Mar 2008
I was so exhilarated by Collings' Channel 4 mini-series "This is civilisation" that I had to search the web to find something similar in book form. I didn't, but came across This is modern art, with its amazon.co.uk collection of high ratings, which convinced me to take the plunge. I don't know, this may be a personal issue, but I think I can generally appreciate good writting, even when it's not to my taste. This book, however, I found confusedly written, with no flow and no inspiration. As I say, it may be just me, or it may be that Collings comes across better on tv. Nonetheless, I thought it healthy to add my view as a healthcheck on the total.

Idiosyncratic introduction to contemporary art, 21 Feb 2008
Well-illustrated and easy to read but highly idiosyncratic and selective. Collings is good on those artists he knows personally or has interviewed for his TV shows but this is to the detriment of many important and influential artists who are ignored completely or mentioned only in passing. Highly recommended as an introduction to the field but please don't think this is definitive (let alone "the Bible") - I am sure Collings would make no such claims. And if you are in doubt as to which is the better, this or his other contribution "Blimey" I can reassure you this is the better by far.

Something to get your teeth into, 16 Jan 2008
Collings' writing style will not be for everyone. He can be quite infuriatingly dense about some artists or concepts, and I found myself having to reread some sentences several times to see if it was 'just me'. It wasn't. On the other hand, most of the time he writes about art in a very accessible, and interesting way. His seems to be a fairly personal view, which is not going to suit anyone looking for an authoritative guide to art, but it is entertaining and thought provoking.
The paragraphs are quite clipped, and he just gets into his stride only to move to another subject or idea or artist, which when I was enjoying myself I found quite frustrating. I wanted more. This is not a particularly bad thing. I just found myself on Wikipedia a lot.
There are good illustrations, unlike some art books, and plenty of them. What could be a little challenging was him talking about paintings or works for which there were then no accompanying illustrations, which then sent me back to Wiki.
The potted history of the artists in the margins is a useful feature. I liked the way the book was broken up into manageable chapters and sub headings within chapters. The balance of prose to pictures was good. All in all a very satisfactory book given the dearth of affordable and useful books on what modern art actually is.

Breezy and informal introduction to modern art, 04 Dec 2002
Collings has a breezy writing style that exactly matches the way he talks on television during the Turner Prize or on one of his documentaries. It won't appeal to all readers, but if you've got a sense of humour about modern art (for example you found Craig-Martin's Oak Tree in the Tate Modern amusing), you'll definitely like this book. Collings isn't afraid to tell you that he doesn't really know what some pieces of art are about, or that he is only guessing. I've re-read this book several times, and I still enjoy it.

Explaining how great the Master Collings is, 29 Dec 2001
Reading this book was a really refreshing experience. Matthew Collings must be one of the only art critics in all history who A: Knows something about art and B: Doesn't talk complete bull****. As an art lover and artist my self I can honestly say this is one of the most humourous, truthful and enlightening books I have read in a long, long time.

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Disappointing, 18 Mar 2008
I was so exhilarated by Collings' Channel 4 mini-series "This is civilisation" that I had to search the web to find something similar in book form. I didn't, but came across This is modern art, with its amazon.co.uk collection of high ratings, which convinced me to take the plunge. I don't know, this may be a personal issue, but I think I can generally appreciate good writting, even when it's not to my taste. This book, however, I found confusedly written, with no flow and no inspiration. As I say, it may be just me, or it may be that Collings comes across better on tv. Nonetheless, I thought it healthy to add my view as a healthcheck on the total.

Idiosyncratic introduction to contemporary art, 21 Feb 2008
Well-illustrated and easy to read but highly idiosyncratic and selective. Collings is good on those artists he knows personally or has interviewed for his TV shows but this is to the detriment of many important and influential artists who are ignored completely or mentioned only in passing. Highly recommended as an introduction to the field but please don't think this is definitive (let alone "the Bible") - I am sure Collings would make no such claims. And if you are in doubt as to which is the better, this or his other contribution "Blimey" I can reassure you this is the better by far.

Something to get your teeth into, 16 Jan 2008
Collings' writing style will not be for everyone. He can be quite infuriatingly dense about some artists or concepts, and I found myself having to reread some sentences several times to see if it was 'just me'. It wasn't. On the other hand, most of the time he writes about art in a very accessible, and interesting way. His seems to be a fairly personal view, which is not going to suit anyone looking for an authoritative guide to art, but it is entertaining and thought provoking.
The paragraphs are quite clipped, and he just gets into his stride only to move to another subject or idea or artist, which when I was enjoying myself I found quite frustrating. I wanted more. This is not a particularly bad thing. I just found myself on Wikipedia a lot.
There are good illustrations, unlike some art books, and plenty of them. What could be a little challenging was him talking about paintings or works for which there were then no accompanying illustrations, which then sent me back to Wiki.
The potted history of the artists in the margins is a useful feature. I liked the way the book was broken up into manageable chapters and sub headings within chapters. The balance of prose to pictures was good. All in all a very satisfactory book given the dearth of affordable and useful books on what modern art actually is.

Breezy and informal introduction to modern art, 04 Dec 2002
Collings has a breezy writing style that exactly matches the way he talks on television during the Turner Prize or on one of his documentaries. It won't appeal to all readers, but if you've got a sense of humour about modern art (for example you found Craig-Martin's Oak Tree in the Tate Modern amusing), you'll definitely like this book. Collings isn't afraid to tell you that he doesn't really know what some pieces of art are about, or that he is only guessing. I've re-read this book several times, and I still enjoy it.

Explaining how great the Master Collings is, 29 Dec 2001
Reading this book was a really refreshing experience. Matthew Collings must be one of the only art critics in all history who A: Knows something about art and B: Doesn't talk complete bull****. As an art lover and artist my self I can honestly say this is one of the most humourous, truthful and enlightening books I have read in a long, long time.

The 20th century Art book, 07 Apr 2006
This a really good book for any art student, Artists are listed alphabetically and there is a page devoted to each. Photo of their typical work and brief synopsis and names of similiar artists. Want to buy a pressy for your favourite art student? This is the one. Also a very good book for anyone wanting to know a bit about art, take it round the galleries, slip it in your pocket. Just the right size.

An excellent synopis, 31 Dec 2002
A pocket-sized delight of a book and a great companion to any bookshelf, The 20th Century Art Book: Mini Edition is something you'll want to flick through regularly. Each page features an analysis of the greatest artists of this century, along with an image of a related artwork. Apart from the familiar faces, this book will educate and inspire you with stories of little-known artists you'll want to find out more about.

it's got everything, 08 Jun 2001
this is a good book, especially for art students or any big art fan. It has artists that even i have never heard before and the pictures are so clear that it shows the original colours

simple but effective, 27 Oct 2000
this book is not full of great detail about the works or the artists, but is a great reference tool to discover the names of similar artists and further areas to investigate. images are brilliant and captions are consise.

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Disappointing, 18 Mar 2008
I was so exhilarated by Collings' Channel 4 mini-series "This is civilisation" that I had to search the web to find something similar in book form. I didn't, but came across This is modern art, with its amazon.co.uk collection of high ratings, which convinced me to take the plunge. I don't know, this may be a personal issue, but I think I can generally appreciate good writting, even when it's not to my taste. This book, however, I found confusedly written, with no flow and no inspiration. As I say, it may be just me, or it may be that Collings comes across better on tv. Nonetheless, I thought it healthy to add my view as a healthcheck on the total.

Idiosyncratic introduction to contemporary art, 21 Feb 2008
Well-illustrated and easy to read but highly idiosyncratic and selective. Collings is good on those artists he knows personally or has interviewed for his TV shows but this is to the detriment of many important and influential artists who are ignored completely or mentioned only in passing. Highly recommended as an introduction to the field but please don't think this is definitive (let alone "the Bible") - I am sure Collings would make no such claims. And if you are in doubt as to which is the better, this or his other contribution "Blimey" I can reassure you this is the better by far.

Something to get your teeth into, 16 Jan 2008
Collings' writing style will not be for everyone. He can be quite infuriatingly dense about some artists or concepts, and I found myself having to reread some sentences several times to see if it was 'just me'. It wasn't. On the other hand, most of the time he writes about art in a very accessible, and interesting way. His seems to be a fairly personal view, which is not going to suit anyone looking for an authoritative guide to art, but it is entertaining and thought provoking.
The paragraphs are quite clipped, and he just gets into his stride only to move to another subject or idea or artist, which when I was enjoying myself I found quite frustrating. I wanted more. This is not a particularly bad thing. I just found myself on Wikipedia a lot.
There are good illustrations, unlike some art books, and plenty of them. What could be a little challenging was him talking about paintings or works for which there were then no accompanying illustrations, which then sent me back to Wiki.
The potted history of the artists in the margins is a useful feature. I liked the way the book was broken up into manageable chapters and sub headings within chapters. The balance of prose to pictures was good. All in all a very satisfactory book given the dearth of affordable and useful books on what modern art actually is.

Breezy and informal introduction to modern art, 04 Dec 2002
Collings has a breezy writing style that exactly matches the way he talks on television during the Turner Prize or on one of his documentaries. It won't appeal to all readers, but if you've got a sense of humour about modern art (for example you found Craig-Martin's Oak Tree in the Tate Modern amusing), you'll definitely like this book. Collings isn't afraid to tell you that he doesn't really know what some pieces of art are about, or that he is only guessing. I've re-read this book several times, and I still enjoy it.

Explaining how great the Master Collings is, 29 Dec 2001
Reading this book was a really refreshing experience. Matthew Collings must be one of the only art critics in all history who A: Knows something about art and B: Doesn't talk complete bull****. As an art lover and artist my self I can honestly say this is one of the most humourous, truthful and enlightening books I have read in a long, long time.

The 20th century Art book, 07 Apr 2006
This a really good book for any art student, Artists are listed alphabetically and there is a page devoted to each. Photo of their typical work and brief synopsis and names of similiar artists. Want to buy a pressy for your favourite art student? This is the one. Also a very good book for anyone wanting to know a bit about art, take it round the galleries, slip it in your pocket. Just the right size.

An excellent synopis, 31 Dec 2002
A pocket-sized delight of a book and a great companion to any bookshelf, The 20th Century Art Book: Mini Edition is something you'll want to flick through regularly. Each page features an analysis of the greatest artists of this century, along with an image of a related artwork. Apart from the familiar faces, this book will educate and inspire you with stories of little-known artists you'll want to find out more about.

it's got everything, 08 Jun 2001
this is a good book, especially for art students or any big art fan. It has artists that even i have never heard before and the pictures are so clear that it shows the original colours

simple but effective, 27 Oct 2000
this book is not full of great detail about the works or the artists, but is a great reference tool to discover the names of similar artists and further areas to investigate. images are brilliant and captions are consise.

one of the best introductions to visual culture, 24 Feb 2004
This book is a splendid introduction to theories about visual culture. It opens up the sociological / psychodynamic / anthropological theories that exist about the visual media to laymen. Another good thing is that they do not focus on high culture visual media, but also on film, television, advertising, etc. This is what makes the book valuable to people who are specialized in neighbouring fields and who wish to know more about visual media (for instance, marketeers, perception psychologists, therapists, people studying politics, etc.). On every topic the background literature is made accessible by good references and a short introduction to these references. This is really helpful! For instance, i always wanted to know more about Barthes theorizing about myths, and how that applies to advertising, with this book i have a good introduction, but also a good guide that tells me how to find the relevant and more up to date literature on this topic.

the lighter fun book on the subject, 20 Nov 2003
This book is easy going introductory reading for undergraduate courses on the subject. It's relatively short, has lots of pictures and photos and is mostly about advertising, tv, and popular culture. It makes a nice change from weighty pompous academic essays and it's engaging and intelligent.

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Disappointing, 18 Mar 2008
I was so exhilarated by Collings' Channel 4 mini-series "This is civilisation" that I had to search the web to find something similar in book form. I didn't, but came across This is modern art, with its amazon.co.uk collection of high ratings, which convinced me to take the plunge. I don't know, this may be a personal issue, but I think I can generally appreciate good writting, even when it's not to my taste. This book, however, I found confusedly written, with no flow and no inspiration. As I say, it may be just me, or it may be that Collings comes across better on tv. Nonetheless, I thought it healthy to add my view as a healthcheck on the total.

Idiosyncratic introduction to contemporary art, 21 Feb 2008
Well-illustrated and easy to read but highly idiosyncratic and selective. Collings is good on those artists he knows personally or has interviewed for his TV shows but this is to the detriment of many important and influential artists who are ignored completely or mentioned only in passing. Highly recommended as an introduction to the field but please don't think this is definitive (let alone "the Bible") - I am sure Collings would make no such claims. And if you are in doubt as to which is the better, this or his other contribution "Blimey" I can reassure you this is the better by far.

Something to get your teeth into, 16 Jan 2008
Collings' writing style will not be for everyone. He can be quite infuriatingly dense about some artists or concepts, and I found myself having to reread some sentences several times to see if it was 'just me'. It wasn't. On the other hand, most of the time he writes about art in a very accessible, and interesting way. His seems to be a fairly personal view, which is not going to suit anyone looking for an authoritative guide to art, but it is entertaining and thought provoking.
The paragraphs are quite clipped, and he just gets into his stride only to move to another subject or idea or artist, which when I was enjoying myself I found quite frustrating. I wanted more. This is not a particularly bad thing. I just found myself on Wikipedia a lot.
There are good illustrations, unlike some art books, and plenty of them. What could be a little challenging was him talking about paintings or works for which there were then no accompanying illustrations, which then sent me back to Wiki.
The potted history of the artists in the margins is a useful feature. I liked the way the book was broken up into manageable chapters and sub headings within chapters. The balance of prose to pictures was good. All in all a very satisfactory book given the dearth of affordable and useful books on what modern art actually is.

Breezy and informal introduction to modern art, 04 Dec 2002
Collings has a breezy writing style that exactly matches the way he talks on television during the Turner Prize or on one of his documentaries. It won't appeal to all readers, but if you've got a sense of humour about modern art (for example you found Craig-Martin's Oak Tree in the Tate Modern amusing), you'll definitely like this book. Collings isn't afraid to tell you that he doesn't really know what some pieces of art are about, or that he is only guessing. I've re-read this book several times, and I still enjoy it.

Explaining how great the Master Collings is, 29 Dec 2001
Reading this book was a really refreshing experience. Matthew Collings must be one of the only art critics in all history who A: Knows something about art and B: Doesn't talk complete bull****. As an art lover and artist my self I can honestly say this is one of the most humourous, truthful and enlightening books I have read in a long, long time.

The 20th century Art book, 07 Apr 2006
This a really good book for any art student, Artists are listed alphabetically and there is a page devoted to each. Photo of their typical work and brief synopsis and names of similiar artists. Want to buy a pressy for your favourite art student? This is the one. Also a very good book for anyone wanting to know a bit about art, take it round the galleries, slip it in your pocket. Just the right size.

An excellent synopis, 31 Dec 2002
A pocket-sized delight of a book and a great companion to any bookshelf, The 20th Century Art Book: Mini Edition is something you'll want to flick through regularly. Each page features an analysis of the greatest artists of this century, along with an image of a related artwork. Apart from the familiar faces, this book will educate and inspire you with stories of little-known artists you'll want to find out more about.

it's got everything, 08 Jun 2001
this is a good book, especially for art students or any big art fan. It has artists that even i have never heard before and the pictures are so clear that it shows the original colours

simple but effective, 27 Oct 2000
this book is not full of great detail about the works or the artists, but is a great reference tool to discover the names of similar artists and further areas to investigate. images are brilliant and captions are consise.

one of the best introductions to visual culture, 24 Feb 2004
This book is a splendid introduction to theories about visual culture. It opens up the sociological / psychodynamic / anthropological theories that exist about the visual media to laymen. Another good thing is that they do not focus on high culture visual media, but also on film, television, advertising, etc. This is what makes the book valuable to people who are specialized in neighbouring fields and who wish to know more about visual media (for instance, marketeers, perception psychologists, therapists, people studying politics, etc.). On every topic the background literature is made accessible by good references and a short introduction to these references. This is really helpful! For instance, i always wanted to know more about Barthes theorizing about myths, and how that applies to advertising, with this book i have a good introduction, but also a good guide that tells me how to find the relevant and more up to date literature on this topic.

the lighter fun book on the subject, 20 Nov 2003
This book is easy going introductory reading for undergraduate courses on the subject. It's relatively short, has lots of pictures and photos and is mostly about advertising, tv, and popular culture. It makes a nice change from weighty pompous academic essays and it's engaging and intelligent.

One of the best overviews of Modern Architecture available, 26 Feb 2002
In covering well-trodden ground, William Curtis still manages to shed new light on the subject of Modern Architecture. Much has been written over the years, including Sigfried Giedion's seminal work, Space Time and Architecture, which sought to give Modern Architecture its proper perspective. Mr. Curtis seems greatly beholden to Giedion, especially in his interpretations of Le Corbusier, which comprise a sizeable chunk of this volume. Mr. Curtis downplays the polemics and focuses more on the individual contributions of an incredibly broad range of architects from the early 19th century to the present day.

Wonderful chapters encapsulate the various movements such as his piece on the Revolutionary Architecture of Russia, and how these ideas filtered through the various European architectural movements. He also covers the diaspora of Russian avant-garde architects, in subsequent chapters, to Germany, England, Israel and the United States and the tremendous impact they had in these countries.

However, the main focus is the way in which Modern architecture was constantly being reshaped into a regional architecture, highlighting such major figures as Alvar Aalto, Luis Barrigan, and Oscar Niemeyer, all of whom owed some debt to Le Corbusier.

This is a very even-handed account, perhaps too even-handed at times. It is a most valuable resource for anyone interesting in Modern architecture and the many forms and variations that it has taken over the 20th century.

A good book !, 12 Mar 1999
A good price for a book that all architecture students should have.

Exhausting rather than exhaustive, 30 Jul 1998
This is the 3rd edition of this book, and Curtis has certainly expanded his knowledge, to encompass areas of the world not covered in previous editions. In all fairness this is a useful primer for undergraduate students (though one is fearful that they will cling to Curtis's stereotypes), and the book is worth buying just for the chapters on Le Corbusier alone - Curtis being without doubt a major authority on Le Corbusier. But most of the other chapters are very thin and stero-typed. Curtis says that great architecture is felt with the heart, which is why he needs to see every building he writes about - a very fair and worthy comment - and yet he more or less reproduces received history, and clings to stereotypes; German Nazi architecture, for instance, is seen as very bad - even though of course one can only inspect them via photographs, as they were destroyed in the 2nd WW, BECAUSE they were Nazis. I have a particular interest in Finnish architecture, and was amazed t! o see that he has gotten one of the key names completely wrong! He writes about the constructivist architecture of Vormala, when in fact Vormala was not a constructivist; the person he really means is Vormala's former partner Heikki Kairamo!

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly what it is.
The book is a wonderful encapsulation of the wit and considerable wisdom of the inimitable Humph, with at least one laugh per page and frequently more as Humph seamlessly elides from the consideration of 3 a.m. transport caff meals to the subject of crimes against the decent pronunciation of English within the space of about 30 words. Devoting six hilarious pages to this, he moves, with his own brand of logic to school days at Eton and and thence to dispense a cornucopia of stories and anecdotes about eccentric relations, jazz greats and his own life.
In no particular order we are treated to a wondrous sequence of cameos from the very full and fully-lived life of a man whose humour never conceals his innate wisdom and humanity.
If you enjoy the lunatic humour of "I'm Sorry I haven't a Clue" or if you have an interest in jazz or if you just want a good read, this is it!


Splitting Attractive Hairs, 08 Jul 2007
This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual.

When I first saw this book at Birkbeck College (2003 History of Art MA) I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia.

This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and the ability to judge quantities by eye.

The only reason this book works as a book is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'


Lapis at 4 ducats the ounce..., 28 Jul 2004
As well as being a splendid introduction to the paintings and the philosophy behind them, this book is particularly good on the relationship between the artists and their rich patrons, and between the artists and their materials. It's full of intriguing details. Why, for example, pure blue is so rare as well as so rich -- at this period, all the lapis lazuli that European painters could use was mined from one mine (somewhere in Afghanistan) and imported solely through Venice... So it's no surprise to see patrons putting clauses in their contracts with their artists: "use the best blue at 4 ducats the ounce; don't try palming me off with any 2-ducat rubbish!"

If this is the sort of thing that makes you go "yippee!" and grin, as the past comes alive for you, then this is definitely the book for you.

A wonderful read, 04 Mar 2004
This is one of those books you can read (after believing you have a good grip on the subject) to discover how much you have missed! Excellent for those starting to study Italian fifteenth century art and very readable.

Almost uniquely among fine art books this one fits in a jacket pocket as it is a standard sized paperback. I disagree with the other reviewer who complained that it was lacking in illustrations (it isn't) but its small size does make the provision of sensible illustrations impossible and if you have other books on the period (or can use the Internet or a public library) you should have no trouble finding illustrations of any of the works mentioned.

Highly recommended, 24 Nov 2003
This tiny book is immensely helpful and interesting. It focuses on the ways in which critics in the fifteenth century judged paintings, and provides tools which can be used in analysing paintings from pretty much any period. So many art books are pretentious or difficult: this one is really informative and enlightening. It is educational in the best sense of the word.

An interesting perspective, 25 Aug 2003
I very much like this book. Although obviously an academic text, it's written in an easy-to-read style that's not overwhelming. I've studied this period of art history at some length, but the information provided in this brief work provides a fresh perspective, and I've seen some of my favourite paintings in a fresh light. I especially like the chapter on the 'language' of body posture - the idea that every posture had a specific meaning which viewers of that period would have immediately understood. It's made me go back and look at lots of works from the period and 'translate' their gestures! Great fun for lovers of art history! Recommended.

After Modern Art, 21 Sep 2002
I'm amazed nobody has reviewed this book yet! Among the various studies of post-war art it is by far the best. Driven by the relationship between American and European art it seems to cover all of the main debates and is not afraid to tackle complex theoretical issues in a very readable manner. The book contains lively discussions of all the key names: Warhol, Beuys, Rauschenberg, Bourgeois etc. as well as being excellent on Modernism/Postmodernism. Very impressive all round.

Disappointing, 18 Mar 2008
I was so exhilarated by Collings' Channel 4 mini-series "This is civilisation" that I had to search the web to find something similar in book form. I didn't, but came across This is modern art, with its amazon.co.uk collection of high ratings, which convinced me to take the plunge. I don't know, this may be a personal issue, but I think I can generally appreciate good writting, even when it's not to my taste. This book, however, I found confusedly written, with no flow and no inspiration. As I say, it may be just me, or it may be that Collings comes across better on tv. Nonetheless, I thought it healthy to add my view as a healthcheck on the total.

Idiosyncratic introduction to contemporary art, 21 Feb 2008
Well-illustrated and easy to read but highly idiosyncratic and selective. Collings is good on those artists he knows personally or has interviewed for his TV shows but this is to the detriment of many important and influential artists who are ignored completely or mentioned only in passing. Highly recommended as an introduction to the field but please don't think this is definitive (let alone "the Bible") - I am sure Collings would make no such claims. And if you are in doubt as to which is the better, this or his other contribution "Blimey" I can reassure you this is the better by far.

Something to get your teeth into, 16 Jan 2008
Collings' writing style will not be for everyone. He can be quite infuriatingly dense about some artists or concepts, and I found myself having to reread some sentences several times to see if it was 'just me'. It wasn't. On the other hand, most of the time he writes about art in a very accessible, and interesting way. His seems to be a fairly personal view, which is not going to suit anyone looking for an authoritative guide to art, but it is entertaining and thought provoking.
The paragraphs are quite clipped, and he just gets into his stride only to move to another subject or idea or artist, which when I was enjoying myself I found quite frustrating. I wanted more. This is not a particularly bad thing. I just found myself on Wikipedia a lot.
There are good illustrations, unlike some art books, and plenty of them. What could be a little challenging was him talking about paintings or works for which there were then no accompanying illustrations, which then sent me back to Wiki.
The potted history of the artists in the margins is a useful feature. I liked the way the book was broken up into manageable chapters and sub headings within chapters. The balance of prose to pictures was good. All in all a very satisfactory book given the dearth of affordable and useful books on what modern art actually is.

Breezy and informal introduction to modern art, 04 Dec 2002
Collings has a breezy writing style that exactly matches the way he talks on television during the Turner Prize or on one of his documentaries. It won't appeal to all readers, but if you've got a sense of humour about modern art (for example you found Craig-Martin's Oak Tree in the Tate Modern amusing), you'll definitely like this book. Collings isn't afraid to tell you that he doesn't really know what some pieces of art are about, or that he is only guessing. I've re-read this book several times, and I still enjoy it.

Explaining how great the Master Collings is, 29 Dec 2001
Reading this book was a really refreshing experience. Matthew Collings must be one of the only art critics in all history who A: Knows something about art and B: Doesn't talk complete bull****. As an art lover and artist my self I can honestly say this is one of the most humourous, truthful and enlightening books I have read in a long, long time.

The 20th century Art book, 07 Apr 2006
This a really good book for any art student, Artists are listed alphabetically and there is a page devoted to each. Photo of their typical work and brief synopsis and names of similiar artists. Want to buy a pressy for your favourite art student? This is the one. Also a very good book for anyone wanting to know a bit about art, take it round the galleries, slip it in your pocket. Just the right size.

An excellent synopis, 31 Dec 2002
A pocket-sized delight of a book and a great companion to any bookshelf, The 20th Century Art Book: Mini Edition is something you'll want to flick through regularly. Each page features an analysis of the greatest artists of this century, along with an image of a related artwork. Apart from the familiar faces, this book will educate and inspire you with stories of little-known artists you'll want to find out more about.

it's got everything, 08 Jun 2001
this is a good book, especially for art students or any big art fan. It has artists that even i have never heard before and the pictures are so clear that it shows the original colours

simple but effective, 27 Oct 2000
this book is not full of great detail about the works or the artists, but is a great reference tool to discover the names of similar artists and further areas to investigate. images are brilliant and captions are consise.

one of the best introductions to visual culture, 24 Feb 2004
This book is a splendid introduction to theories about visual culture. It opens up the sociological / psychodynamic / anthropological theories that exist about the visual media to laymen. Another good thing is that they do not focus on high culture visual media, but also on film, television, advertising, etc. This is what makes the book valuable to people who are specialized in neighbouring fields and who wish to know more about visual media (for instance, marketeers, perception psychologists, therapists, people studying politics, etc.). On every topic the background literature is made accessible by good references and a short introduction to these references. This is really helpful! For instance, i always wanted to know more about Barthes theorizing about myths, and how that applies to advertising, with this book i have a good introduction, but also a good guide that tells me how to find the relevant and more up to date literature on this topic.

the lighter fun book on the subject, 20 Nov 2003
This book is easy going introductory reading for undergraduate courses on the subject. It's relatively short, has lots of pictures and photos and is mostly about advertising, tv, and popular culture. It makes a nice change from weighty pompous academic essays and it's engaging and intelligent.

One of the best overviews of Modern Architecture available, 26 Feb 2002
In covering well-trodden ground, William Curtis still manages to shed new light on the subject of Modern Architecture. Much has been written over the years, including Sigfried Giedion's seminal work, Space Time and Architecture, which sought to give Modern Architecture its proper perspective. Mr. Curtis seems greatly beholden to Giedion, especially in his interpretations of Le Corbusier, which comprise a sizeable chunk of this volume. Mr. Curtis downplays the polemics and focuses more on the individual contributions of an incredibly broad range of architects from the early 19th century to the present day.

Wonderful chapters encapsulate the various movements such as his piece on the Revolutionary Architecture of Russia, and how these ideas filtered through the various European architectural movements. He also covers the diaspora of Russian avant-garde architects, in subsequent chapters, to Germany, England, Israel and the United States and the tremendous impact they had in these countries.

However, the main focus is the way in which Modern architecture was constantly being reshaped into a regional architecture, highlighting such major figures as Alvar Aalto, Luis Barrigan, and Oscar Niemeyer, all of whom owed some debt to Le Corbusier.

This is a very even-handed account, perhaps too even-handed at times. It is a most valuable resource for anyone interesting in Modern architecture and the many forms and variations that it has taken over the 20th century.

A good book !, 12 Mar 1999
A good price for a book that all architecture students should have.

Exhausting rather than exhaustive, 30 Jul 1998
This is the 3rd edition of this book, and Curtis has certainly expanded his knowledge, to encompass areas of the world not covered in previous editions. In all fairness this is a useful primer for undergraduate students (though one is fearful that they will cling to Curtis's stereotypes), and the book is worth buying just for the chapters on Le Corbusier alone - Curtis being without doubt a major authority on Le Corbusier. But most of the other chapters are very thin and stero-typed. Curtis says that great architecture is felt with the heart, which is why he needs to see every building he writes about - a very fair and worthy comment - and yet he more or less reproduces received history, and clings to stereotypes; German Nazi architecture, for instance, is seen as very bad - even though of course one can only inspect them via photographs, as they were destroyed in the 2nd WW, BECAUSE they were Nazis. I have a particular interest in Finnish architecture, and was amazed t! o see that he has gotten one of the key names completely wrong! He writes about the constructivist architecture of Vormala, when in fact Vormala was not a constructivist; the person he really means is Vormala's former partner Heikki Kairamo!

Sea, Sun and Piracy, 19 Sep 2006
This is a gorgeous,sumptuous book. It works precisely because it let's Vivienne's clothes speak for themselves. The full page glossy pictures of the most influential designer of the 20th Century almost make you salivate. I used to shop at World's End and wore the original Pirate range, but even then I'd still forgotten just how stunning it was. If you are interested in fashion, music, history, art, literature, anarchy and chaos, then this is for you.

worth it!!, 08 Jun 2005
If like me, you are fascinated by Vivienne westwood's achievements in fashion then you wont be disappointed. This book was released to accompany the V&A exhibition last year, which was fantastic. I orginially intended to buy this book at the exhibition as a souvenir of the wonderful show, however i lacked the money at the time and was over the moon when i found it on amazon.

The book itself, is better than any of the attempts at writing a decent biography of her career. This is because of the huge contribution westwood made towards the book, which includes pictures from her own collection- and most notably the foreward at the beginning from the designer herself. She worked closely with clare wilcox, who organised the V&A exhibition so she knows her stuff!

And so it begins with the foreward, then a concise history of her career. From her childhood where she made her own clothes, to her punk days with mclaren and onto the present day.
The vast majority of the book is made up of pictures/photos of her much of her collections up to the present day.

It is such an amazing book, i like to flick through it every now and then to draw some inspiration from this truly amazing designer.

A charming and delightful book, 13 Oct 2007
I enjoyed this book immensely. It is very tempting to describe the book by what it is not, not autobiography, not a companion to "Sorry I haven't a clue", not about Jazz... Though I think anyone with an interest in these areas will enjoy it.
The book is quite literally a collection of rambling thoughts and reminiscences - which does not sound very appealing. But Humphs love of language and music shine though continually, and it flows along in a delightful manner.
While his achievements in Jazz and Comedy are well known, Humph's journalism successes are perhaps less well known - and in my opinion his abilities as a writer are every bit as great, and that shines from the pages of this book. I really think anyone with a sense of humour will like it - a smile on every page!



Random thoughts of Chairman Humph, 17 Sep 2007
The title says it all - this is a collection of thoughts and memories and definitely NOT an autobiography. On the first page Humph desribes it as "a hotchpotch of thought and memories and this is exactly w