"Occasionally, Renoir would paint landscapes and still lifes, but his favorite subjects were always people.", p. 29

The young reader will learn about Renoir's birth in Limoges, France; his family's move to Paris when he was young; his early drawings using his tailor father's chalk; his working years in a workshop painting decorations on china; his learning the formal method of painting in the studio of Charles Gleyre; and his participation in the creation of the "Impressionism".

Renoir was a rarity in that he was successful at painting in many styles. He was very versatile. Most painters lock themselves into a painting method and stick with it for awhile. All their paintings during that period of time use the same method. Renoir locked into what he painting and let it determine the method. If he were painting outdoors, he would choose impressionism with an emphasis on people having a good time more so than the outdoor setting. If he were doing a portrait, he would typically choose the older style but with less formality. His chose of method would be similar to a photographer choosing to use black and white film for certain shots and color film for others. Children are very sensitive to their surroundings. Their response can at time be instantaneous. They go with the moment and therefore will appreciate Renoir's similar approach.

My favorite painting in the book is Renoir's "Umbrellas". He let the figures chose the method. He chose impressionism for the more formally attired, and he utilized a more formal method for the less formally dressed woman on errands with her basket.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His embellishment of the variety of surfaces on which the young Renoir chose to draw with chalk is creatively done.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 20th in Venezia's "Getting to know the World's Greatest Artist" series. His series is a wonderful way for the young to be first introduced to the brilliance of artists. He also has a similar series on composers. Venezia's back cover illustration ties back to the subject. "While studying Renoir and the Impressionist movement of the 19th century, Mike was inspired to ...".

The price of the book is well worth paying. Venezia includes pieces by the artist, pieces by the artist's colleagues and art styles referenced. The book contains the following: Renoir's paintings (16); Venezia's illustrations (6); Others' paintings (8) and paintings on a vase (1).

"One of the things that made Michelangelo such a great artist was his ability to give a special energy and strength to the people he painted and sculpted," p.29

The young reader will learn about Michelangelo's beginnings in a city near Florence, the brief time he spent as a baby with a family of stonecutters, his years of study at the workshop of Ghirlandaio, his years under the patronage of Lorenzo de' Medici and his years working for Pope Julius II.

Michelangelo did things on a grand scale. His "David" of Goliath fame is 16 ft., 10 in. in height and took 2.5 years to complete. His "Ceiling of the Sistine Chapel" is 5800 sq. ft. in area and took 4 years to complete. The young when doing an art piece are frequently never able to complete it within the allotted time, regardless of the length of the allotted time. It seems there is a reluctance on the young's part to feel it is complete, because it seems there is always some additional work required. They share Michelangelo's art ethic and will appreciate his dedication.

My favorite sculpture in the book is Michelangelo's "Pieta," sculpted in 1498-1499. There is both an expressed fragility to Jesus' body and an overwhelming gentle strength in Mary's holding of him. It gives testimony to Michelangelo's complete oneness with the roughness and hardness of marble. The marble was putty in his hands.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His portrayal of Pope Julius II in the Sistine Chapel offering unsolicited comments on Michelangelo's work jokingly brings to the fore the conflict that existed between the two.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 11th in Venezia's "Getting to know the World's Greatest Artist" series. He also has a similar series on composers. Venezia's back cover illustration ties back to the subject. "Mike found it easy to relate to Michelangelo's painting the Sistine Chapel ...".

The price of the book is well worth paying. The book contains the following: Michelangelo's sculptures (5), chapel ceiling fresco (1), chapel wall fresco (1), marble relief (1), dome from building plan (1), and sculptures unfinished (2), Venezia's illustrations (7), Others' sculptures (2), frescoes (2) and gilt bronze panel (1).

"... she seemed to understand the love between mothers and their babies better than any other artist", p. 26.

The young reader will learn about Cassatt's early years in Pennsylvania, her family moving to France for two years when she was 7, her years at the Pennsylvania Academy of Fine Arts, and her moving to France at the age of 22 to learn more about art.

Cassatt's paintings have a current day presence to them. Regardless of how far we as a society progress, most children will be lovingly cared for by their parents. She captured the mothers and fathers in a relaxed state with their children going about their every day activities. Children will readily relate to the paintings given their own very recent experiences. The young are very sensitive to feelings. The warmth expressed in the paintings will easily be absorbed by their delicate nature. They will come away from the book with a warm tummy feeling.

My favorite painting in the book is Cassatt's "Little Girl in a Blue Armchair," painted in 1878. It remains contemporary. It could be any one of my nieces or even myself. When I was young, my mother used to make me dress up for family functions to which I agreed if I could bring my play clothes with me. This picture reminds me of what I must have looked like until I could change into my play clothes.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His re-enactment of why Mary joined the impressionist group pokes fun at the upheaval they caused.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 6th in Venezia's "Getting to know the World's Greatest Artist" series. He also has a similar series on composers. Venezia's back cover illustration ties back to the subject. "Working on Mary Cassatt inspired Mike to paint his own family's portraits, capturing ...".

The price of the book is well worth paying. The book contains the following: Cassatt's paintings (17) and print (1), Venezia's illustrations - 7, Others' paintings - 4.

"Leonardo used what he learned from nature and science to make his paintings look real", p 9

The young reader will learn about Leonardo's beginnings in Vinci, the time he spent in Florence learning more about painting, his painting years in Milan and his final years of painting in France.

Leonardo's depictions were noticeable more "alive" than his Renaissance contemporaries. His use of beautiful backgrounds behind the main object of attention makes this a good choice for the young. Their attention will initially be drawn to the main figure in the painting and then will be sustained by the natural settings in the background. His paintings almost appear that they are done while the person being painted in on vacation. The young will intuitively pick up on the relaxed composure of the main figures

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His illustration of some folks deciphering Leonardo's notes and their findings is cleverly presented.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 4th in Venezia's "Getting to know the World's Greatest Artist" series. He also has a similar series on composers. Venezia's back cover illustration ties back to the subject. "Mike's portrait was painted by an artist who claims to be a direct descendant of ...".

The price of the book is well worth paying. The book contains the following: da Vinci's Paintings (10.5), Drawings (8) and Underpainings (2), Venezia's Illustrations - 7, Others' paintings - 1.5.

"Being able to show people in simple, real moments of their lives was one of Henri's greatest talents", p 18

The young reader will learn about Henri's being born into a rich family, his having broken both of his legs in his early teenage years resulting in his small stature, and his years in Paris painting the life with which he came in contact.

Toulouse-Lautrec's painting of lively scenes of the theaters, dance halls and circuses makes this a perfect choice for young children. His Moulin Rouge advertisement prints are easy to read, uncluttered and therefore grab the young reader's attention. The young are frequently in motion. As a result they will appreciate Toulouse-Lautrec's ability to capture a scene in mid motion. The young reader will be drawn in by Henri's choice of brilliant colors and will have fun finding Henri in some of his paintings.

Henri's portrait of van Gogh is breathtaking. He van Gogh'd van Gogh. He does honor to the painter by mimicking van Gogh's style.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His illustration of the Parisian friends that Henri may have introduced to his parent's is jokingly exaggerated.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 18th in Venezia's "Getting to know the World's Greatest Artist" series. He also has similar series on composers. Venezia's back cover illustrations tie back to the subject. "Greatly influenced by Henri de Toulouse-Lautrec, Mike also tries to capture the private moments ...".

The price of the book is well worth paying. The book contains the following: Toulouse-Lautrec's Paintings (13) and Prints (4), Photos of Toulouse-Lautrec - 2, Venezia's Illustrations - 6, Others' paintings/prints - 3.

"Georgia often rearranged the natural things she saw, and simplified them", p. 8

The young reader will learn about O'Keeffe's young years on her family's big Wisconsin farm, her years in Texas teaching art and during her free moments painting, her years with Stieglitz in New York painting, and her years in New Mexico painting.

O'Keeffe's choice of enlarging objects in her paintings makes this a perfect choice for young children. Everything is larger than life for the young. If there is anyone who will have nearly an innate appreciation for O'Keeffe's style it will be the young. They will readily identify her objects. Her color choices in her paintings are few and therefore not busy and distracting. The young reader will be drawn in by her bold and bright selection of colors.

Venezia's illustrations are humorous. His narrative is delightfully entertaining. His approach brings the artist within reach of the young. His re-enactment of an opening at Stieglitz's gallery of new artists' paintings is precious.

The size of the book is perfect for smaller hands. It enables the young to have art within their grasp. Venezia gives the locations of the paintings and as result if the child lives near one of the museums or will be near one on vacation, she/he would be able to see the original.

This is the 15th in Venezia's "Getting to know the World's Greatest Artist" series. He also has similar series on composers. Venezia's back cover illustrations tie back to the subject. "Like O'Keeffe, Mike searches near his home for objects in their natural surroundings ...".

The price of the book is well worth paying. The book contains the following: O'Keeffe's Paintings - 18, Photos of O'Keeffe - 3, Venezia's Illustrations - 8, Others' paintings - 3.

"How can you print a piece of your own soul," Dickinson, p. 51

This is the 2nd in the Krull and Hewitt's "Lives of ..." series. The book contains 19 chapters on 20 writers in birth order: Murasaki Shikibu (973?-1025?), Miguel de Cervantes (1547-1616), William Shakespeare (1564-1616), Jane Austen (1775-1817), Hans Christian Andersen (1805-1875), Edgar Allan Poe (1809-1849), Charles Dickens (1812-1870), Charlotte & Emily Bronte (1816-1855 & 1818-1848), Emily Dickinson (1830-1886), Louisa May Alcott (1832-1888), Mark Twain (1835-1910), Frances Hodgson Burnett (1849-1924), Robert Louis Stevenson (1850-1894), Jack London (1876-1916), Carl Sandburg (1878-1967), E. B. White (1899-1985), Zora Neale Hurston (1901?-1960), Langston Hughes (1902-1967), Isaac Bashevis Singer (1904-1991)

This is a perfect book for young adolescents and pre-teens who as they grow and mature frequently feel awkward. Krull introduces us to the idiosyncrasies of the literary. Some of the authors were loners, eccentric, a wee bit peculiar. Michael Jackson's behaviors might seem normal when held in comparison. Some retreated into themselves. Some sought out adventures. Some as adults were unsuccessful at the ordinary.

Some worked at a young age to support the family. Some took daily walks, very long daily walks. Some were not healthy and therefore wrote in bed. There were some similarities and some differences, but they all shared a singular conviction to write and write they each did well.

Hewitt's delightful portraits of the writers are precious. My favorite portrait is of Frances Hodgson Burnett of "The Secret Garden" fame. Her hat is the secret garden.

Given the high price of the book, I was surprised that Krull did not include a list of the authors' books and/or poems and the publication years. END

"It's not what an artist does that counts, but what he is" - Picasso, p. 56

The book contains 16 Chapters on the following 17 artists in birth year order: Leonardo da Vinci (1452-1519), Michelangelo Buonarroti (1475-1564), Peter Bruegel (1525?-1569), Sofonisba Anguissola (1532-1625), Rembrandt van Rijn (1606-1669), Katsushika Hokusai (1760-1849), Mary Cassatt (1845-1926), Vincent van Gogh (1853-1890), Kathe Kollwitz (1867-1945), Henri Matisse (1869-1954), Pablo Picasso (1881-1973), Marc Chagall (1887-1985), Marcel Duchamp (1887-1968), Georgia O'Keeffe (1887-1986), William H. Johnson (1901-1970), Salvador Dali (1904-1989), Isamu Noguchi (1904-1988), Diego Rivera (1886-1957) & Frida Kahlo (1907-1954), Andy Warhol (1928-1987).

It contains a variety of gossipy tidbits about the artists' lives. The cross selection of artists is an interesting combination. Krull introduced me to three artists of which I was not familiar (Anguissola, Kollwitz and Johnson). As a result Krull has whet my appetite and I will now seek out further information. Hewett"s illustrations are entertainly and cleverly done. I am especially particular to her rendition of Hokusai (he is wearing a kimino with both "The Wave" and "Mt. Fuji" on it).

I'm not convinced that the book is intended for young readers (ages 9-12). The gossip is on occasion adult in content. No actual prints of any of the artist's paintings are included, which was a surprise given the high cost of the book. This proves cruelly aggravating given that Krull references select paintings with accompanying notes.

Additional tidbits missing from the book: Dali did the dream sequence in Alfred Hitchcock's "Spellbound" starring Gregory Peck and Ingrid Bergman. Chagall's "The Dead Man" was the inspiration for the title of the Broadway play "Fiddler on the roof." Rivera caused a scandal when he painted the portrait of Lenin in a Rockefeller Center mural in '33. In addition, he used his clout to enable Leon Trotsky to live in Mexico. Two years later Kahlo introduced Trotsky to her friend, a Stalinist agent, who killed him with an ice-axe.

From the start of the book, one knows that the characters are headed for disaster. Their lives are a wreck and there is little they will do to correct their situations. Barbarians, barbarians everywhere. Many act cruelly toward their "loved" ones. This is one very dysfunctional family. David Wong Louie accurately gives the readers an understanding of the depth and pervasiveness of the behavioral disability.

Louie's repetitive use of the car was creatively woven with the behaviors of the main characters. The main characters went about their lives careening out of control. Regardless of how many miles they traveled or years they lived they would remain the same tragic characters. The characters carry a lot of emotional package with them throughout their lives. As a reader I was an observer. I got the sense that the main characters approached their lives as observers as well. They acted as if they weren't in the driver seat of their destinies. Instead they traveled as if they were on a tour bus, with very few reflective stopping points, inactively going where ever it would take them.

It was an accurate painful portrayal of many people who passively sit by and let others' actions lead them. They opt for the coward's choice, freeing themselves from responsibilities. The book will carry the reader through the full gamut of emotions. It is brilliantly humorous at times and bitterly pathetic at others.

The San Francisco Chronicle Online Book Club chose David Wong Louie's "The Barbarian's are Coming" for it's 3/19 - 4/15 selection. Chime in on the online bulletin board.

Jane Smiley entertainingly introduces readers to the world of horse racing from nearly every perspective (selling, buying, owning, breeding, birthing, feeding, training, grooming, riding, racing, betting, and most importanly loving) from both the humans and the horses' points of reference. I delight in reading books that open new worlds. I learned a considerable amount about the world of horse racing and now as a result have a far greater appreciation for it.

The timing for the reading of this book is perfect. Over the last two weeks, when directed from the front page, I've been finding myself turning to the sport page. Imagine that. I've been keeping myself abreast of the Kentucky Derby and the Hall of Fame hoopla. The book swept me in. I even went so far as to be sure I was home in time to catch the race. Reading Smiley's book and watching the winner, $4 million Fusaichi Pegasus, run the race made me weepy eyed. He is a masterpiece, poetry in motion. The race lasted only 2:01 minutes but the book will remain with me forever. It has made me acutely aware of all that had led up to and will proceed from a horse race.