Sister Wendy's Story of Painting in 450 masterpieces--reproduced in full color--chronicles the developments and movements in painting over the past 800 years from Gothic to Renaissance, Romanticism to Impressionism, and Post-Impressionism to Modernism. Each movement is introduced by visual timelines that provide an instant overview of the important artists and paintings of that era. As she discusses various schools and movements as well as the work of dozens of individuals artists, Sister Wendy not only tackles the technical topics of perspective, color, and symbolism, she delves into the spiritual, political, and personal aspects of each painting, making art come alive for even the most novice admirer. Sister Wendy analyzes more than 30 of the world's most famous paintings, using enlarged details to explain techniques and reveal symbolism in works that include Botticelli's The Birth of Venus, Rembrandt's The Jewish Bride, Monet's The Waterlily Pond, and Van Gogh's Self-Portrait. Sister Wendy's Story of Painting is an accessible overview of a subject often thought to be overwhelming and complex.
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As a history of painting, Sister Wendy's book has its strong points (works with religious or spiritual themes and those that lend themselves to psychological interpretation) as well as its lapses (a very skimpy discussion of Cubism and inadequate treatment of works from the late 20th century). Even the title is a bit of a misnomer. The painting in question is purely Western; there is nothing here about Indian or Persian miniatures, or the great tradition of Chinese landscapes.
But what Sister Wendy alone offers are vivid, personal interpretations that come from a deep well of emotional sympathy with works of art. Who else would notice the way the bagpiper in The Wedding Feast by Pieter Breughel "stares at the porridge with the longing of the truly hungry"? Who else would point out how Venus--the "older woman" pleading with "virile" Adonis not to go off to war in Titian's "Venus and Adonis"--shows us "her superb back and buttocks, beguilingly rounded, full of promise." Rather than portraying Western art as the dutiful production of "masterpieces," she revels in the physicality of paint and the variety of human experience these works represent. --Cathy Curtis
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