Although it is subtitled “a course of 50 lessons” and is intensely practical throughout, this is also a philosophical approach to both the landscape and the practice of its representation.
The use of a variety of media, from oils and acrylics to pencil, ink, oil bar and pastel betokens a book that isn’t heavily centred on technicality, even though those 50 demonstrations remain at its heart. Think of it, if you will, as an artist working and musing about creativity while they paint.
That variety of media may put some readers off. I’ve had “I only paint in …” said to me many times by buyers who literally weigh the book up and count the number of pages they wouldn’t allow to sully their delicate hands. While it’s true that most amateurs will concentrate on one or two mediums for largely practical reasons (time, cost, ability), the idea of working with what the subject suggests is an attractive one and leads to a discussion of interpretation that can be illuminating even if the details of the work are less than relevant.
There is much to get stuck into here, from the many illustrations to the well-written text that maintains your interest throughout. The icing on the cake, though, is the inclusion of the work of several other artists, which expands immeasurably the theme of understanding and interpretation.
Overall, this is a book which is a great deal more than just the sum of its parts and a worthwhile, perhaps even essential, read if you enjoy landscapes.
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