The type of personality that flourishes as a painter at any given time is the product of many different factors. There must be skill, determination, and inspiration, but those essential qualities are never enough in themselves. It is a simple truth that most artists reflect their own times but no more, whereas the outstanding artist has the ability to capture the imagination of future generations and say something of direct relevance to them. It is a rare occurence and is possible only if the artist is working out of the deepest personal conviction with a wish to reveal something more than skill and with the intention to do more than impress or please an individual patron or a specific artist. The timelessness and universality of the work of a great artist exists because he or she has something exceptional to say, and because for such artists painting is not an end in itself but a means of trying to reach a fundamental human truth. This book is one of the annotated guides series. It shows a work or two from fifty great artists spanning the history of art. It is filled with large reproductions of the art which is the best part about the book. The annotations attempt to tell the story of each artist and the piece displayed. The book highlights artists and works that had an impact on other artists.
The art is wonderful, but I got annoyed with the annotations. With a dozen or more annotation boxes on each page, it was very difficult to pull the story of each piece together. Many of the annotations were insightful and pointed specifically to aspects of the piece that one may not have readily observed. There is no flow to the book, however, and the reader will be forced to jump around from historical facts, to details about style and composition. I wanted to like this book, and did at times, but it got laborious and I found myself wishing all the annotations were simply put into a coherent text.









When they write my obituary. Tomorrow. Or the next day. It will say, LEO GURSKY IS SURVIVED BY AN APARTMENT FULL OF SHIT. I'm surprised I haven't been buried alive. The place isn't big. I have to struggle to keep a path clear between bed and toilet, toilet and kitchen table, kitchen table and front door. If I want to get from the toilet to the front door, impossible, I have to go by way of the kitchen table. I like to imagine the bed as home plate, the toilet as first base, the kitchen table as second, the front door as third: should the doorbell ring while I am lying in bed, I have to round the toilet and the kitchen table in order to arrive at the door. If it happens to be Bruno, I let him in without a word and then jog back to bed, the roar of the invisible crowd ringing in my ears. 









It is time that we should know the person about whom we have been talking indiscreetly, if name and surnames could ever add anything useful to the normal identifying features and other statistics, age, height, weight, morphological type, skin tone, colour of eyes, whether the hair is smooth, curly, or wavy, or has simply disappeared, timbre of voice, clear or harsh, weight, characteristic gestures, manner of walking, since experience of human relationships has shown that, once apprised of these details and sometimes many more, not even this information serves any purpose, nor are we capable of imagining what might be missing.



