Book Description
Situated in the heart of Paris, the Musée d'Orsay boasts the greatest collection of Impressionist and Post-Impressionist art in the world, unparalleled in its diversity and quality. Since its opening in 1986 in a spectacularly renovated train station, the museum has welcomed more than 50 million visitors to its collection of works by Bouguereau, Courbet, Renoir, Cézanne, Van Gogh, Monet, Manet, Redon, Whistler, Gauguin, and other artists of the mid-19th century to the early 20th century.
In this deluxe, oversize volume, the museum's director, Serge Lemoine, and his team of curators and specialists examine this extraordinary collection, ranging from the primacy of Academic painting through the shock of Impressionism to the rise of modern art. With 830 full-color illustrations of masterpieces by some of the world's best-loved artists-from Van Gogh's Bedroom at Arles to Cézanne's Apples and Oranges-this is the definitive guide to paintings in one of the world's most popular museums. The exhaustive scope of this book and the richness of its imagery make Paintings in the Musée d'Orsay an essential addition to the bookshelves of all lovers of Impressionism and of great art. AUTHOR BIO: Serge Lemoine is director of the Musée d'Orsay and a professor at the Sorbonne. He has published numerous books, articles, and essays, particularly on abstract, Constructivist, and Dadaist art. He has also organized many exhibitions in France and elsewhere.
Customer Reviews:
Great book...but it could have been better.......2005-01-11
The concept of this book is very good: minimum text - maximum pictures. All art monographs should follow the same principle.
The book is split into the chapters dealing with dominant artistic trends of the time, and subchapters dedicated to the most important artists within each trend/movement.
The brief introductory essays are well written and help understand background behind the movements or artistic groups whose most representative works are displayed on the subsequent pages.
If one hasn't seen d'Orsay's magnificent collection in person, they'll be amazed by this lavishly illustrated monograph.
In most cases there is one plate per page, sometimes two and very seldom three. However, what I don't understand is 2 inches wide margin around the reproductions (???) Why? Why they were not printed at least an inch larger at all sides?
Besides, though even the best repros can't do justice to the original, many pictures could have been much better. Don't get me wrong - majority of reproductions is of good quality, but there are those (I'd say one third of the total number) which are considerably lighter than the originals and/or have rather compressed values - Manet's Olympia being the most obvious example. (I've visited d'Orsay two months ago and the paintings are still vivid in my memory).
However, these remarks shouldn't stop you from purchasing the book, since monsieur Lemoine in this monograph included works of many great but usually neglected artists, those which one can very rarely (or never) see in the books on art of the 19th century. There are enough books on Impressionists to fill all the world's garbage landfills many times over (and thousands upon thousands more are printed every year), yet it is so hard to find one monograph on the likes of Cabanel, Delaunay, Fromentin, Bonnat, Laurens, Carriere, Levy-Dhurmer, Hammershoi etc etc.
Average customer rating:
- with a sort of esprit ...
- I.N.R.I.
- Making christianity vogue...
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I.N.R.I.
Bettina Rheims , and
Serge Bramly
Manufacturer: Monacelli
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ASIN: 1580930433 |
Customer Reviews:
with a sort of esprit ..........2005-07-27
Like Renaissance artists who transposed the Jesus-story to Florence, the famous French Photographer Bettina Rheims (* December 18, 1952, Neuilly-sur-Seine, Paris, descendant of Amschel Moses Rothschild) and Serge Bramly (* January 31, 1949, Tunisia, now french philosopher and scientist of art history) tried to ignore the visual traditions, largely that of the Renaissance, willing to create a new modern iconography by turning the subject to photography. A little bit irritating, because the project is fluctuating between serious art and stylistic kitsch, influenced by quotations of art-history and, on the other hand, influenced by modern advertising camerawork. Illustrating the 'Xmas-scene in the stable to Bethlehem they try an optical translation into our present: Jesus is born in the location of an automobile repair workshop illuminated by the pair of headlights of a small transporter van. Instead of a donkey a cat watches the birth, mother Maria sits easily dressed not on straw but on a cement bag, in place of shepherds some garage-mechanics hurried in, who present daisy-flowers to Mary, taking care not to stamp into the puddles of oil on the floor. Of course it is an impressive, strange attack on our figurative conception traditions, which can be forgotten not easily. We see the naked-dancing Salome with the bloody head of the Johannes on the tray; we see Mary Magdalene with legs spread, breasts exposed and stiletto heels; we see locations in the Hospital Cochin, others on the isle Mallorca - and after all (or at first?) we are shocked by Jesus hanging on the cross as a naked young woman, clad only in a loincloth - seen on the book cover; but if you are looking inside, you will notice, that the woman is crucified on the left cross of three, the middle-cross is empty, on the right side you will notice a man. But please consider: Jesus' crucifixion is a symbol for every human being, women inclusive. Nevertheless it provoked just enough outrage in Europe. However I think this project shows an acceptable way of searching for a new kind of modern iconography. Between all infuriated sacrilege-sensitive souls of the political correctness-wing you can find some amusing stories of art-reception: The models, actors and musicians, posing for the great last evening diner-scene - they a few weeks later established a music group with the name "12 Apostles". Bettina Rheims and Serge Bramly linked gravity and irony, majesty and triviality - maybe this is the sort of esprit, which can only prosper in France ...
I.N.R.I........2000-12-08
The cover of this book will make some outraged at first but I strongly recommend they read the text and then view the photos again. Unlike some photographers who use modern religious images to purposely provoke Christians this book is provocative yet very respectful of religion. The ancient telling of Christs life is beautifully shown in the setting of today with thought provoking images ranging from angels to his birth.Good view.
Making christianity vogue..........1999-10-28
That's right, this is Christ's life and gospels portrayed as if it were for a special millenial edition of Vogue. Quick summary: lots of dramatic stills of beautiful, androgenous, young adults playing the roles of Christ, Mary, the Apostles, Judas, etc. in contemporary settings like a garage (aka, the manger) or a ghetto in the USA.
Even if you are staunchly anti-christian, the images have their own evocative appeal. Re-envisioning the monopoly of renaissance icongraphy into contemporary media and form is an interesting premise (which the book jacket alludes to) but the images smack too much of hipsterism and model-pretty allure to stand as a serious enough retelling of an old story. It does, however, reinvigorate and loosen the stodgy fixity that bibil ical references often have for many folks. (I realize these last two sentences may sound a bit at odds with each other but the book does bring up contradictory feelings). The book may bring up questions of blashpemy but I think the textual support helps substantiate the photographs which otherwise would appear as mere stylizations passing for something more meaningful. There's quite a bit of frontal nudity which may offend many Christians and prudes but as the Book of Ecclesiastes says, and I only paraphrase, "For what does a person who has never experienced temptation really know?".
Book Description
This chronological study traces the evolution of graphic form, from Antiquity through the Middle Ages and up through the age of technology. Each period is explained in detail, from Classical craftsmanship to the changes brought on by the Industrial Revolution and the modern-day potential of the digital world. As computers now play an integral role in academic and professional environments, virtually everyone makes font choices on a regular basis, rendering typography more relevant than ever before. This thorough, scholarly, and visually-appealing volume combines the history of the letter formâfrom the invention of printing to the relationship between graphics and totalitarian regimesâwith intricate analysis of graphic design and typography, all supported by 850 images with extensive notes and a bibliography. This is an indispensable handbook for understanding our daily visual environment, and essential reading for all graphic arts professionals.
Book Description
"A provocative interpretation of the political and cultural history of the early cold war years. . . . By insisting that art, even art of the avant-garde, is part of the general culture, not autonomous or above it, he forces us to think differently not only about art and art history but about society itself."—New York Times Book Review
Customer Reviews:
Social and political context of Abstract Expressionism.......2007-08-06
Guilbaut offers an compelling account of the European-American situation during and immediately following WWII, when the center of Western culture was transferred from Paris to New York. It was not an easy shift; although Paris was in ruins, Europeans and the French especially did not want to see their centuries-long monopoly put in the hands of such a young and, in their view, naïve country. A major theme throughout this text is the shifting alliances of the left in regard to Marxism and socialism. While most liberals espoused Communism in the 30s, by the early 40s it had come to be seen as another form of fascism, and for artists this meant censorship. American artists were challenged to prove themselves unique from the Parisian avant-garde while at the same time not promoting a national style, which was seen as provincial (due to regionalism in the previous decade) and dangerous (since nationalism had just produced a world war). To make things even more interesting, Guilbaut also describes how contemporary audiences and the US government went from hating the new abstract art to valuing it, or at least creating a new American art market for it (the former) and using it as a form of propaganda during the Cold War (the latter, by touting it in Europe as a symbol of American freedom and individuality, in contrast to state-dictated art). Aside from having a bizarre ending, and overusing the word shibboleth, I love this book! It provides a much more solid and interesting foundation than other books on Ab Ex, such as those by Dore Ashton and Irving Sandler.
Answers to several questions.......2007-05-28
I am an Argentine art critic and curator. I knew of this book but had not read it. I ordered it because I found the title ingenious. I thought it would be entertaining as well as good. It goes further. It is an in-depth study of the social and political circumnstances that accompanied the intellectual and creative processes of American artists previous, during and after the Second World War. It is an articulate explanation of why artists who were thouroughly conscious of social shortcomings chose to create their own ivory towers through styles that bore, for the most part, no recognizable physical references. This road into a spiritual realm beyond recognizable styles, influenced, but not derivative of European Modern art, was a way out of political engagement in a world they could no longer abide. And, the interesting part is that they were promoted by the political powers that were, not through an appreciation for their creative qualities, but to show that the US was the new cultural center of the world: strong, energetic and competitive.
Another most important point for me. I had always wondered why so many of the Abstract Expressionists had committed suicide. Why this deeply neurotic vent? The answer, I think, is in this book. Their deep dissillusion with socialist ideals after Stalin, the failure of the US to create a truly democratic society in which idealistic notions of equality and freedom were respected, were fatal to their belief in a better world.
Average customer rating:
- Chic but not fatal.
- dissapointing
- I just HAD to have it!
- Great Idea, mediocre execution
- Thank you, Michael Thompson.
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Femme Fatale: Famous Beauties Then and Now
Serge Normant , and
Bridget Foley
Manufacturer: Studio
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ASIN: 0670030279
Release Date: 2001-10-25 |
Book Description
Chic, sexy, and sophisticated, Femme Fatale pays tribute to a century of feminine glamour. Invoking not only iconic beauties like Jean Harlow, Brigitte Bardot, and Marilyn Monroe but also the looks that defined each decade from the 1900s to the new millennium, celebrity stylist Serge Normant crafts clothes, setting, hair, and makeup to transform today's most beautiful women. He re-creates Julia Roberts as Louise Brooks, and Cindy Crawford as a forties glamour goddess, a savvy paparazzi-stalked nineties superstar, and a twenties ingenue. Elizabeth Hurley frolics as a flower child and vamps as Mata Hari. Isabella Rossellini is a curvaceous fifties pinup and an eighties punk. And Britney Spears exudes all the poise of Grace Kelly.
This lavish exploration of fashion history, imagination, and stylish beauty carries with it Bridget Foley's cultural survey of each decade—from social and political issues to art movements and key style makers. Beauty, fashion, celebrity, and photography mavens will all love Femme Fatale—and so will every woman who has ever fantasized about looking like a star.
Text by Bridget Foley
Photography by Michael Thompson
Customer Reviews:
Chic but not fatal........2003-10-28
This book presents beautiful pictures of famous and enticing modern women: but to call them "femmes fatales" would be to mischaracterize them.
By definition, the term "femmes fatales" was coined to gorgeous women whose actions were detrimental or harmful to their men or partners. Thus, in real life a woman could be gorgeous without being fatal, or vice versa, she could be fatal without being exceptionally gorgeous. Cleopatra was one such woman, who although not extraordinarily beautiful, was able to charm two Roman generals and to lead them to their downfall.
Although hairstyle was an important component of a woman's appearance, it was certainly not the unique feature of a person. Her eyes, smile, demeanor, sleek appearance, and clothing also played important roles. Therefore, to reduce a woman's character to her hairdo, as the hairstylist-author had suggested, was to overly simplify the matter.
The women photographed in the book were certainly "chic," although not necessarily "fatal."
dissapointing.......2003-05-10
Because of the title The Femme Fatale, Famous Beauties Then and Now, I was expecting a sort of photographic history book. I would be very interested in seeing how the image of a Femme Fatale has changed over the years, from the glamourous pencil browed vixens of the 1920's to the much more volupt modern beauties. (Think pulp fiction novel cover vs. Catherine Zeta Jones) I would have liked to read up on how even though what is considered beautiful (and dangerous) has changed, the character of the Femme Fatale predominates our culture, in literature and film.
I really got the wrong book. Instead of what I was expecting, this book features celebrities made over to appear like they would in different time periods, and the photos are high quality, oversized and printed on slick glossy paper. Some of the transformations are very well done (the girl on the front cover is Julia Roberts, believe it or not) So the book is not without merit, but they could have done a lot more.
If I wanted to see pictures of Britney Spears, I'd just read People magazine.
I just HAD to have it!.......2002-10-28
I have been a fetish model for almost two years, and a close photographer friend and myself are kicking off a new project which showcases high end fetish photographs. While my husband was searching for a poetry book in a Barnes and Nobles store, I snuck to the photography section to see if I could be inspired for this new peoject. My eye fell on this book immediately. I looked at no other book! The photographs are simply too beautiful for words, and I was heartbroken by the cover price... Reluctantly, I put it back on the shelf. When I came home however, I searched your site immediately and found a used copy in mint condition .... Obviously, I was nothing less than thrilled!
This book is based on the photography of hair, and showcases original photographs from the 1800's as samples. Serge Normant then re-creates these by using well known models and celebraties of today, dressing them in period clothing, changing their looks dramatically.
If you are a hairdresser, model, or photographer, you MUST own this book!
Great Idea, mediocre execution.......2002-03-08
Much, if not all this material has been published elsewhere, so you may have seen it. However, it has not been presented together organized around the interesting concept that Julia Roberts, Elizabeth Hurley, Susan Sarandon, Britney Spears and a host of beautiful women are paying homage to women of a previous age. (Yes, that Britney Spears).
In an interview with a French magazine, the photographer described himself as awed or intimidated when Susan Sarandon showed up. He only relaxed when she took charge and he just responded to what he saw. The mutual respect shown by the professionals on both sides of the camera is what makes these images good.
This is not just a catalog of beatiful pictures of contemporary icons playing dress up. If it is authentic it makes a convincing statement about the power and stature of these famous modern women and a lot of not so famous all around us.
If you know a young woman who wants to be in the next book like this, show it to her. I have handed it to several young women I've photographed recently. "Oh, my God! Britney Spears is beautiful." "That can't be Claudia Schiffer." "Elizabeth Hurley scares me!" Isabella Rossellini as Betty Page is the show stopper, however.
The photography is as good as it gets, but the material added to hang it all together weakens the book. Some of it is completely contrived and bogus.
Next time let the women and the photographer do their work and let the readers draw the conclusions. Meanwhile a lot of wannabe photographers and young models have some catching up to do.
Thank you, Michael Thompson........2002-02-08
Serge Normant may have been the creator of the styles pictured within, but it's the aritisty of the photographer Michael Thompson that's truly responsible for the incredible images in this book. Thompson is, perhaps, the most talented of current fashion photographers, but he's also the most overlooked by all but those "in the industry." He's classic, and contemporary, and as versatile as Meisel or Demarchelier. He may not be as well known as his contemporaries, but that's because he lives a quiet life in Pennsylvania, and stays out of the limelight.
I'm looking forward to a massive collection of Michael's photographs, a 'Part One' retrospective, but i don't believe it's forthcoming. Doesn't seem to be his style.
Book Description
Breathtaking paintings and drawings from the Neue Galerie New York, which holds the largest collection of works by Egon Schiele in any American public museum, are included in this sumptuously illustrated book.
Austrian Expressionist painter Egon Schiele was one of the greatest artists of the twentieth century. While his explicit nudes and self-portraits created controversy in Europe and America, his skill as a draftsman and his artistic passion are unquestionable. In addition to presenting superb reproductions of more than 150 paintings and drawings in the collection, this monograph traces the history of Schiele's reception in the American art world. It offers fascinating background information concerning Schiele collectors, promoters, critics, and followers, as well as the exhibitions, public acquisitions, publications, and other projects relating to the artist that have taken place in the United States. Essays pertaining to Schiele's life in Austria, the lost Schiele collections, and the censorship of the artist during and after his lifetime round out this stunning volume.
Customer Reviews:
Absolute Eye Candy.......2006-04-19
If you are buying this book because you are an artist or an art student and you really like Egon's art...you are going to love this book! The quality of the illustrations are excellent. They are large and the color is perfect. If you want eye candy more than something to read, again this book is perfect. I thought the book contained just enough text to make you knowledgeable but left lots of room for really nice photographic material.
Customer Reviews:
The genius that is Leonardo from a different perspective.......2005-06-21
This book is more than a simple biography. Mr Bramly writes about his subject with such warmth and familiarity that you forget this is all based on meticulous research, that our subject died nearly 500 years ago and that only a small portion of his art, inventions and writings remain. Far from a dry "birth to death" review, this book has succeeded in bringing the multi-faceted genious that is Leonardo to life - not as an unaccessable giant but as a dreamer, inventer, loyal son, adventurer, self-educated scholar, perfectionist ... all the while possessing of a tortured soul. This is by far one of the most readable and well written biographies I have read and I applaud Mr Bramly for writing such a scholarly information-pacted page turner.
Renaissance Sun.......2005-02-02
I turned to this books to get a second opinion on Dan Brown's "The DaVinci Code." I found this book very helpful in dispelling some of the myths that Brown advocates, such as the nature of the two "Virgin Of The Rocks," the mysterious knife in "The Last Supper," and several hypothesis of "The Mona Lisa."
By the way, there is no mention of the Priory of Sion.
Bramly is very engaging. He can tell a tale that grips you. I suggest reading the first chapter about DaVinci's wizened self-portrait. The whole books reads like it. Admittedly, he read emotions into DaVinci that we cannot verify. This is no different that what Steven Ambose or Fawn M. Brodie have done with their biographies. It helps the presentation of the material, even if fudges the facts a bit. People do have emotional lives, and we would react similarly in similar situations.
Another of Bramly's strengths is that he puts DaVinci's life in the context of Renaissance Italy. The Boot was very different than today, made up of the independent city-states. It was the milieu that Machiavelli wrote about in "The Prince." It was among these warring princes, and DaVinci's patronage by the Medic family that helped underwrite his famous works. DaVinci's life is almost a political thriller and he moves from city-state to city-state and mingling with the great men.
Other reviews have commented on this books scanty biography material, and the many diversion into politics and so forth. This is because we have so few detail's about DaVinci's day-to-day life. We do not have the usual memories, diaries, and documents that we would have for a contemporar5y person. All we have are the notebooks, the biography made a few years after DaVinci's death, and the masterworks themselves. To his credit, Bramly works around this paucity of material in such a way that you do not notice it.
This book has B&W images from his astounding notebooks, and several pages of color inserts. There is only one flaw-the Mona Lisa is one of the images in B&W. This is more than a shame, and I hope it can be corrected in future editions.
Bramly devotes a hefty section dealing with DaVinci's homosexuality. He also includes some rather graphic images from his notebooks, and a rudely funny homage to the male member. Parents who home school their children may want to use another biography of DaVinci, since this material is college level.
I recommend this book. His has the right vide and fell for DaVinci's life and history. I think one of his best moments what when he made a connection between Massacio's painting of the inverted Peter being crucified, and the Virtuvian Man. After tracking down the images on the internet, I was dumbfounded about how right he was. Thank-you Bramly.
Horrible.......2005-01-04
This was a painful book to read. There was actually very little about Leonardo in this book ... rather it was filled with the historical happenings. I was sorely disappointed by the lack of valid material ... much of the book was the author surmising and assuming Leonardo's motives and thoughts.
I forced myself to finish this book - but it was extremely painful!
Best Bio of L available.......2004-07-30
This was the first of four Leonardo bios I've read and it is still the best for its distillation of the turbulent events in this paradigmatic genius' life. In a readable way it touches upon the amazing breadth of L's interests while keeping the temptation to psychological explanations to a minimum. In discovering Leonardo one must contend with at least three different Leonardos--mainly those creations of Renaissance painter/historian Giorgio Vasari, the 19th century art historian Walter Pater (who rediscovered Leonardo for modern audiences), and Sigmund Freud, each of whom gave rise to their own cottage industries of legend-building and hermeneutic veilings about the Tuscan polymath. Bramly wisely keeps the wiseacrings to a minimum and infuses the reader with the sense of wonder and passion this complex and daunting man must have felt towards the world around him.
An Enthralling Book on Da Vinci.......2004-05-31
Normally I am not a fan of non-fiction books. Yet, this book somehow has managed to enthrall me in a way that no other non-fiction book ever has. This alone is the reason that I would recommend it to others. Then, the question of who I would recommend this book to must also be answered. In this case, I would say that I would recommend for a reading level of high school senior and beyond.
Overall, this was a very encapsulating book, covering numerous aspects of da Vinci's life. I throughly enjoyed the book and actually learned interesting information from it. I look forward to a time when I might be able to read it again to get even more information from it.
Book Description
The fierceness of the Japanese warrior and his fighting arts has fascinated Westerners since Europeans first came into contact with Japan more than 450 years ago. Classical Fighting Arts of Japan: A Complete Guide to Koryu Jujutsu is the first comprehensive English-language book on traditional
jujutsu.
Author Serge Mol-working almost exclusively from original Japanese source materials-vividly outlines the history of the close-quarter fighting methods that warriors developed not only to prove themselves on the battlefield and in daily life, but also to the constantly ready to defend their feudal
lords.
A great number of jujutsu styles and techniques-armed and unarmed-have existed over the centuries, and many of the classical weapon schools also instructed in the use of jujutsu. The Classical Fighting Arts of Japan expertly guides readers through the rise and development of many of the major
schools.
The classical martial arts as practiced in the ancient ryuha were deeply interwoven. For this reason, this definitive guide to koryu jujutsu will not only be invaluable to practioners of traditional and modern jujutsu, but will be of great interest to enthusiasts of modern budo such as judo, aikido,
kendo, and iaido.
Mol explores the historical and cultural factors that helped shape jujutsu and the martial arts in general. He offers a detailed look at individual jujutsu ryuha, giving details on the school's history (where possible including illustrations of their founders and photos of ancient manuscripts).
This book is richly illustrated with numerous photographs of rare documents and with many photos of exponents demonstration techniques, many of which have never before been shown outside Japan. In addition to his extensive research in original source material, Mol had regular access in conversation,
over the course of years, to the insights of the grandmasters of several of the most important jujutsu schools that remain active today.
Classical Fighting Arts of Japan will be a welcome addition to the personal collection of every serious student of Japanese martial arts.
Customer Reviews:
Serious historical treatment of Koryu Jujutsu.......2006-01-03
Many are the books available on jujutsu, however few truly shed any light on the real roots of the art and lineages from which they came. Serge Mol does an outstanding job in this.
The book is also put together beautifully by Kodansha and with excellent quality photographs, many of the current headmasters of the traditional jujutsu ryu performing techniques, to give the reader a sampling of what the arts look like.
When Koryu books first started publishing their books there was an endorsement which read something to the effect that the Skosses were continuing the work of Don Draeger. This may be so but Serge Mol's text is much more representative of Draeger's approach; both historical research and new information, gleaned first hand, from personal research in Japan. The Skoss books are really collections of essays by long time Western Koryu practitioners. Mol seeks rather to provide us with a very comprehensive historical text and succeeds brilliantly in this.
Outstanding for study but not so much application.......2004-11-10
This is one of those books that belongs in every serious martial artists libraries. It is not a "how-to" beginners guide,even though it demonstrates the proper techniques; if you are searching for a guide to martial arts without the dojo this is not for you. However, if you are already practicing martial arts and wish to find every in-depth and quality source of reference to expand your knowledge of the martial arts, their origins, and the spirit that is within them, then this book is top of the line and a must have. This book will intrigue anyone eager to just learn a little more...or maybe alot more, depending on the person. It is VERY high quality with many photos (mostly b&w). It is well written, and very clear in most areas. I would think it to be fairly confusing to the novice, who has little or no in-depth knowledge of Japanese martial arts however, because it traces the lineages of the main Japanese styles to their roots. But that is what this book is about: studying the techniques as they began, and following their evolution. Basically, I find this book to be an outstanding addition to my library, in a class of its own; but once again it is not the "master book of martial arts", but the ideal addition to the ones you may already have of similar subjects. Serge Mol is an outstanding writer and a very qualified authority on the subject.
Not Very Good.......2004-04-14
To be honest, I bought this book in the United States when it first came out. I read it and my reaction was less than stellar. If I had not been exposed to other far better writings offered up by say, Koryu Books (ie Koryu Bujutsu) I would have thought it was great and would have been satisfied with my purchase and choice of reading material. However, anyone buying this book with serious intentions to study koryu is better off not wasting money.
On the plus side, there are nice pictures and at least it's in English!
Excellent history on Japan's Fighting arts........2004-03-14
In general, the West was introduced to oriental martial arts through Kano's judo, followed by karate. Many literature on karate trace its origins to Okinawa, and from there, to China. So many believe China, with its fabled Shaolin temple(s), to be the origin of most of the oriental martial arts.
This detailed and very well researched book gives a different perspective. It shows that Japan had its own schools of martial arts, virtually independent of foreign influence.
The book lumps these arts under the general term, "jujutsu" -- although it also gives various origins, synonyms and explanations of this word.
The methods in jujutsu were developments of the battlefield of those times. Armor-clad warriors faced each other, first from a distance using bows and arrows, then coming closer to use swords and later, grappling techniques.
As such, the arts included everything that was feasible for those times and battle conditions: use of various weapons, techniques against armor clad opponents, even techniques of tying up captured enemies. All that in addition to what most of the world knows of oriental fighting arts: striking and grappling technics.
Some "revelations" from the book which may surprise many modern day martial artists (like myself):
1. "Kenpo" is not a translation of the Chinese "kung fu" or "chuan fa" as many are made to believe. The term was long used in ancient jujutsu schools in times probably ante-dating known Shaolin temples.
2. "Judo" is not a word originally coined by Jigoro Kano. This term, too, was used long before Kano was even born and was even used in names of certain schools (ryuha).
While each of the above just had a sentence or two in the book, it shows the depth of the research of this book. There are a lot of such "revelations."
The book is, first and foremost, a history book. It shows the development of Japanese fighting arts in the time before the relatively peaceful Meiji period -- the time when techniques really meant life or death to the warrior in the battlefield. The various schools are presented, their origins, developments, notable characteristics, and lineage traced to as near the present as possible.
Martial artists looking for techniques would only be treated to a sampling. The illustrations of techniques were more for clearer understanding of particular schools, or even words, rather than being a "how-to" presentation.
In this regard, the title may be considered deceptive. The "complete"-ness of the book is only as far as history goes, not on technique presentation.
Another "fault" of the title is that it gives the impression that "Koryu Jujutsu" is a particular style or school of jujutsu, when actually, "koryu" simply means classical, or traditional. This is a problem to one who does not know Japanese. But this is an English book and the problem should have been addressed right on the cover, and not several pages later in the Introduction.
Something else about the title: It could give one the impression that it deals with all arts, and this is even reinforced by the subtitle. But the book only deals with the schools it considers jujutsu, and only those that originated before the Meiji period. While this is explained as one reads the book, the title could be misleading.
This enumeration of the problems I had with the title does not decrease the value of the book in any way. It is an excellent book. But the buyer must know what to expect out of it.
More than half of the book (the latter half) is devoted to the origins and lineage of the schools. As such, it would be boring for those not interested in such topics. However, there are some interesting bits of information scattered here and there among the discussion, such as stories about certain masters and students, both mythical and factual. The author even tries to resolve some controversies in certain stories.
The first half of the book is devoted to very revealing historical backgrounds, terminology and definitions, weapons, and presentation of mythical as well as actual origins of schools.
I would have preferred that the author stuck to English terms. In the book, a Japanese term is given with English translation(s) in parenthesis. And then, for the rest of the book, only the Japanese term is used. So you should remember the English meanings of all those terms as you go through the rest of the book.
I would have preferred the opposite: use the English, with the Japanese term(s) in parenthesis. Or better yet, have a glossary for all those terms! (it doesn't)
Overall, the book is an excellent work on the history of jujutsu.
Excellent for scholarly study.......2003-06-23
I recently used this book heavily in writing a paper on martial arts for a graduate course in the culture of Japan. This book is a gem in the rough when it comes to intelligent books on the subject of martial arts. Although the author is a practitioner of the art, this is not an instructional manual. It is very intelligently written. The author uses a lot of primary sources, as well as his own extensive experiences, to teach the reader a lot about the classical martial arts of Japan. It painted a picture of feudal Japan that is interesting for its violent yet honorable culture and much more complex than what is often painted in other books and media. There was a lot more to the life of the samurai than just the sword and, although they lived to a high moral code, their combat was quite fierce. I think this is a great read for one interested in Japanese culture and history, as well as one interested in martial arts.
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