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Rating: 
Summary: But Poison in His Pen!
Review: Bachardy's skill as an artist is evident. The book demonstrates that with his recognizably stylish renderings of celebrities who have subjected themselves to a sitting. Most of his subjects must be very sorry they did! The portraits are never flattering although always interesting. The basis for the book is not the art, but Mr. Bachardy's tattle-tale telling of the circumstances of the sitting. He may visually nail his subjects with the portraits, but he crucifies them with the stories he tells. He may have stars in his eyes (accessible to him through his lifelong connection with Isherwood, of course), but he has poison in his pen and no love for his subjects in his heart.
Rating:
Summary: But Poison in His Pen!
Review: Bachardy's skill as an artist is evident. The book demonstrates that with his recognizably stylish renderings of celebrities who have subjected themselves to a sitting. Most of his subjects must be very sorry they did! The portraits are never flattering although always interesting. The basis for the book is not the art, but Mr. Bachardy's tattle-tale telling of the circumstances of the sitting. He may visually nail his subjects with the portraits, but he crucifies them with the stories he tells. He may have stars in his eyes (accessible to him through his lifelong connection with Isherwood, of course), but he has poison in his pen and no love for his subjects in his heart.
Rating: 
Summary: A Great Artist Creates A Great Collection of Drawings
Review: Don Bachardy's collection of excellent drawings in his STARS IN MY EYES would make a wonderful gift for a friend, or for anybody interested in the craft of drawing. This is Don Bachardy at his finest, and Bachardy's commentary is a delight and gives insight into both artist and the person being drawn! If you want something unique, unusual, and well-crafted, STARS IN MY EYES by artist/writer Don Bachardy is a must-have for your book collection! You will find many famous entertainment & arts people in this book. Bachardy has a fine sense of style, observation, and understanding in his commentary, and the book is revealing in many insightful ways into the people he is drawing. It is an entertaining reading and viewing experience, one not to be missed. A highly original work, it is a showcase for the genius of Don Bachardy. Five stars. Great book! Reviewed by Lee Prosser, author of ISHERWOOD, BOWLES, VEDANTA, WICCA, AND ME.
Rating:
Summary: Notes from the eye of the Artist
Review: Don Bachardy's stature as a gifted draughtsman continues to grow. And now with the current growing respect and exposure of his beloved Christopher Isherwood vis a vis the posthumous Diaries and the notes and essays recently published, Bachardy's gifts as a writer are keeping pace with his important drawings, documenting the art culture of the past century. This beautifully designed book shares the wholeness of his craft: not only do we see important drawings of important people, we also hear the secrets of the encounter that resulted in the drawings. Sitting for Don Bachardy is tough - a joy, but hard work. To read how his silent sessions are processed in his mind and subsequently in his notes written concurently with his drawings opens an important door, not only for understanding Bachardy's keen observations but for the entire genre of portrait making. This is a delightful read and visual excursion....and contains secrets about famous prople we all thought we knew well!
Rating:
Summary: Notes from the eye of the Artist
Review: Don Bachardy's stature as a gifted draughtsman continues to grow. And now with the current growing respect and exposure of his beloved Christopher Isherwood vis a vis the posthumous Diaries and the notes and essays recently published, Bachardy's gifts as a writer are keeping pace with his important drawings, documenting the art culture of the past century. This beautifully designed book shares the wholeness of his craft: not only do we see important drawings of important people, we also hear the secrets of the encounter that resulted in the drawings. Sitting for Don Bachardy is tough - a joy, but hard work. To read how his silent sessions are processed in his mind and subsequently in his notes written concurently with his drawings opens an important door, not only for understanding Bachardy's keen observations but for the entire genre of portrait making. This is a delightful read and visual excursion....and contains secrets about famous prople we all thought we knew well!
Rating:
Summary: Artist and Writer
Review: I have been familiar with the superb drawings of Don Bachardy for many years, but had no idea how well he wrote. Insightful, clear, and sometimes waspish, the various pieces accompanying the drawings deflate the pompous and offer an original and unique view of the famous made vulnerable. Reading this book is like dipping into a delicious box of chocolates.
Rating:
Summary: Fascinating accounts of making honest, unflattering drawings
Review: This book showcases Bachardy drawings and his journal account of the sittings with. primarily, aging movie stars he admired as an adolescent in the late-1940s along with some later stars (Jack Nicholson, Charlotte Rampling, Mia Farrow, Maggie Smith), the official portrait of Jerry Brown for the California state capitol, and some other artists (Robert Mapplethorpe, Aaron Copland, Iris Murdoch, Julian Schnabel, James Merrill) and directors Vincente Minnelli and William Wyler. The responses of the subjects to the drawings are usually very interesting, with greater paranoia on the part of other visual artists than of the aging movie stars. The best stories are in the sittings with Ginger Rogers, Bette Davis, Jack Nicholson, Robert Mapplethorpe, and Louise Brooks. The accounts of those "stars" in whom I have no particular interest (Alice Faye, Ruby Keeler, Helmut Newton) contained insights (both from sitter and portraitist) and Bachardy's prose shows the admirable qualities of those whom I hoped would display them (Ingrid Bergman, Myrna Loy, Maggie Smith, Iris Murdoch, Louise Brooks, Henry Fonda, James Merrill, Barbara Stanwyck, Olivia de Havilland, Alec Guiness, Laurence Olivier). The only one whom he comes to despise in the course of the interactions of drawing a portrait is Joan Fontaine. He remains a fan of most and gives even the devil (Miss Fontaine) her due. The drawings are never flattering and the artist does not flatter himself either, but I find it interesting to read about a professional doing his or her job professionally. The reader gets a very good idea of what it is like to try to portray honestly movie stars and other cultural icons, as well as getting the portraits. Most of his subjects are interesting (not least in their insecurities) people and I look forward to the eventual publication of his diaries from half a century at the edges of Hollywood ) encountering a stream of writers, artists, and film stars.
Rating:
Summary: Fascinating accounts of making honest, unflattering drawings
Review: This book showcases Bachardy drawings and his journal account of the sittings with. primarily, aging movie stars he admired as an adolescent in the late-1940s along with some later stars (Jack Nicholson, Charlotte Rampling, Mia Farrow, Maggie Smith), the official portrait of Jerry Brown for the California state capitol, and some other artists (Robert Mapplethorpe, Aaron Copland, Iris Murdoch, Julian Schnabel, James Merrill) and directors Vincente Minnelli and William Wyler. The responses of the subjects to the drawings are usually very interesting, with greater paranoia on the part of other visual artists than of the aging movie stars. The best stories are in the sittings with Ginger Rogers, Bette Davis, Jack Nicholson, Robert Mapplethorpe, and Louise Brooks. The accounts of those "stars" in whom I have no particular interest (Alice Faye, Ruby Keeler, Helmut Newton) contained insights (both from sitter and portraitist) and Bachardy's prose shows the admirable qualities of those whom I hoped would display them (Ingrid Bergman, Myrna Loy, Maggie Smith, Iris Murdoch, Louise Brooks, Henry Fonda, James Merrill, Barbara Stanwyck, Olivia de Havilland, Alec Guiness, Laurence Olivier). The only one whom he comes to despise in the course of the interactions of drawing a portrait is Joan Fontaine. He remains a fan of most and gives even the devil (Miss Fontaine) her due. The drawings are never flattering and the artist does not flatter himself either, but I find it interesting to read about a professional doing his or her job professionally. The reader gets a very good idea of what it is like to try to portray honestly movie stars and other cultural icons, as well as getting the portraits. Most of his subjects are interesting (not least in their insecurities) people and I look forward to the eventual publication of his diaries from half a century at the edges of Hollywood ) encountering a stream of writers, artists, and film stars.
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