Barron's Sculpture in Stone

Rating:
Summary: Beautiful book
Review: A VERY FINE BOOK, especially for the diversity of carving processes. I recommend it.

Rating:
Summary: stone sculpture in color
Review: At last a stone sculpture book in color. I have the other leading stone sculpture books and most of the photos are in
black and white. This book is now my favorite, and is very well illustrated. I love this book and I think you will too.

Rating:
Summary: Want a be sculpture
Review: Great simple approach to tools and techniques. Identifies what is needed and why. Actual techniques are disccussed for copying those things you like or how to master the process. Strength is the great studio and workshop needs descriptions. Has some inspirational sculpture photos for the begining sculpturer to pick up concepts from as well.

Rating:
Summary: Want a be sculpture
Review: Great simple approach to tools and techniques. Identifies what is needed and why. Actual techniques are disccussed for copying those things you like or how to master the process. Strength is the great studio and workshop needs descriptions. Has some inspirational sculpture photos for the begining sculpturer to pick up concepts from as well.

Rating:
Summary: Outstanding
Review: This is the best book on stone sculpture since CONTEMPORARY STONE SCULPTURE by Dona Z. Meilach and with both books, one has all the knowledge they need to get started carving a block of stone. I have been sculpting professionally for 45 years and collecting reference books, on my profession, since day one. Go for it! EJ Sculptor

Rating:
Summary: Just plain silly
Review: This slim volume is disappointingly brief in its treatment of the process of sculpture, and confoundingly obscurant in its discussions of capital-A-Art. "Nature, forming caverns, wanted to open up its heart to reveal moments of living intimacy," this book begins. What?!?

Except for 10 pages on direct carving, the whole first half of this book is utterly useless. The second half delves into process in slightly greater depth, but Camí frustratingly concentrates on such professional aspects as large-scale sculpture, enlarging from models, and site selection and preparation for public monumental sculpture; all of this is beyond the journeyman, and anyone advanced enough to be creating public commissions will have no need for such a summary overview.

The primary problem here is with Camí himself -- he identifies himself as a sculptor as distinct from a "practitioner." In other words, Camí generates the concept of his sculptures, but leaves the actual carving of the stone to subordinates. Almost none of the photos show Camí himself doing anything more than supervising the creation of "his" works, and he spends as much time explaining why the people who do work of carving the stone are less important than the one who envisions the form as he does explaining how that form is created. I wish his "practitioners" had written this book instead of the "sculptor" himself.

While in general disappointing, this book does actually have a few insights -- and, more importantly, photographs -- that expand slightly upon the instruction offered in Liebson's book, but that alone is hradly enough to recommend it. You'd be better served spending the money on a new chisel than on this slim and spuerficial homage to Camí's own genius.

Rating:
Summary: Just plain silly
Review: This slim volume is disappointingly brief in its treatment of the process of sculpture, and confoundingly obscurant in its discussions of capital-A-Art. "Nature, forming caverns, wanted to open up its heart to reveal moments of living intimacy," this book begins. What?!?

Except for 10 pages on direct carving, the whole first half of this book is utterly useless. The second half delves into process in slightly greater depth, but Camí frustratingly concentrates on such professional aspects as large-scale sculpture, enlarging from models, and site selection and preparation for public monumental sculpture; all of this is beyond the journeyman, and anyone advanced enough to be creating public commissions will have no need for such a summary overview.

The primary problem here is with Camí himself -- he identifies himself as a sculptor as distinct from a "practitioner." In other words, Camí generates the concept of his sculptures, but leaves the actual carving of the stone to subordinates. Almost none of the photos show Camí himself doing anything more than supervising the creation of "his" works, and he spends as much time explaining why the people who do work of carving the stone are less important than the one who envisions the form as he does explaining how that form is created. I wish his "practitioners" had written this book instead of the "sculptor" himself.

While in general disappointing, this book does actually have a few insights -- and, more importantly, photographs -- that expand slightly upon the instruction offered in Liebson's book, but that alone is hradly enough to recommend it. You'd be better served spending the money on a new chisel than on this slim and spuerficial homage to Camí's own genius.