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204 Books-Livres Mosaic Techniques. Mary Lou Stribling, Allen & Unwin, London. 244 pp., illus. 50s. This American artist and writer covers extensively anartformwhichmaybecomparativelylittleknown. This book sets out to prove that almost any article worthy of being called an objet d’art, or worthily or not, a household fixture, can be made from mosaics, not necessarily bought from a shop nor built by a professional concern. Mosaic-making as a hobby is shown to be a satisfactory creative medium, as well as a way of producing artistic and/or useful objects. Amongst the innovations introduced in the book are new aspects of fragmented design as applied to panels, lamps, tables, clocks, mobiles, abstracts, jewelry, screens, walls, sculpture, and much other information, figures and fixtures. Detailed instructions are given for the production of works from awidevariety ofsuitablematerials. Someofthe latter may be regarded as unorthodox in some quarters but then it can be said that everything is regarded as unorthodox by somebody. All these prospects are fully revealed to the eye of the reader in the 456 illustrations. Photographs were made by Philip J. Planert. An excellent index is provided. Mosaic Techniques ventures far beyond the normal bounds of mosaiccraftsmanship. Indicators are given for experimentation and design, for the application of various materials and for the utilization ofunusual techniques. Prospectivepractitioners of this art will find valuable guide lines for the exercise of their talents for functional or purely aesthetic works. Naturally, the two aspects can be combined-there is no need for a functional article to look likea monstrosity out of a demented sciencefiction addict’s nightmare. In the early pages of the book there are practical descriptions for the selection and use of basic tools and supplementary equipment. Appropriate structural materials are classified according to their suitability for specific works. Points are discussed relating to the various materials which can be combined in the formation of mosaic patterns. These include materials which can be bought, collected and processed, and still others made by the artist himself. This discussion is followed by suggestions for developing the idea formulated in the mind of the artist into an original mosaic design. Leading on from the preliminary information and introduction come chapters describing how work with mosaiccan be done by the use of clay, polyester resin and fused glass-followed by instructions about the application of these materials to specific subjects and to various functional objects. The scope widens as the reader reads on, encountering on the waythrough the pagesofthis book a section dealing with instructions for modelling materials and directions for constructing threedimensional objects. Mary Lou Stribling places great importance on the use of imagination in design, emphasizing this point with illustrations from the works of mature artists. Mosaic Techniques will stimulate the artistic curiosity of the beginner, assist in the development of the student and enhance the style of the proficient in mosaics, whether amateur or professional. Aubrey Bush 104 Raleigh Street, Alfreton Road, Nottingham, England. BOOKS RECEIVED Alternative Attuali 3, Ed. Enrico Crispoliti,Centrodi/Edizioni,Firenze, 1968, 1041 pp., illus. Art andPhotography,A. Scharf,Allen Lane,ThePenguin Books,London,1968,314pp.,illus., Dada, Surrealism,and their Heritage, W. S. Rubin,The Museum of ModemArt Publications, Dictionnairede la ChansonFrancaise,F. Vernillatet J. Charpentreau,LibrairieLarousse,Paris, Educationfor Innovation,Daniel V. De Simone,Ed., Pergamon Press, Oxford, 1968, 180pp. Helmholtz on Perception: Its Physiology and Development,R. M. Warren and R. P. Warren, The History o f Surrealism,M. Nadeau, Jonathan Cape, London, 1968, 351 pp., 42s. in U.K. Lignano Biennale I , E. Crispoliti,Centro di/Edizioni,Firenze, 1968, illus. The Machine, K. G. Pontus HultBn, The Museum of Modern Art Publications,New York, Picasso’s Guernica,A. Blunt, Oxford University Press, London, 1969,60 pp., illus., 25s. Poems o f a Painter, G.Claessen,Mitre Press, London, 1967, 40pp., 10s. 6d. ThePoster-An Illustrated Historyfrom 1860, Harold F. Hutchinson, StudioVista, London, Prima Mostra: Intrarealismo,Marchi & Bertolli Editori, Firenze, 1967, 50 pp., illus. The Rays are not Coloured,W. G .Wright, Adam Highler, London, 1967, 153 pp., illus., 35s. The Reproduction o f Colour, R. W. G. Hunt, Fountain Press, London, 1967, 500 pp., illus., Sore1Ertog, C. L. Ragghianti,Centro di/Edizioni,Firenze, 1968, 73 pp...

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