Metal Techniques for Craftsmen by Oppi Untracht (review)

440 Books-Lirres succeeds admirably in its function as a reference tool for all those interested in the plastic arts and how the other fails to provide a clear, comprehensive package of useful information. In criticizing the above two volumes, it must be remembered that the subject matter of each differs in one important respect :the Annuairede “art internationale isconcerned mainly with the listing and presentation of artists, galleries and works that will be sold at sometime after publication of the book ;the Annuaire internationale des i’entesexists as a catalogue of,faitsaccomplis of art works already sold and, therefore, can assume a far more historical approach. Both are, however, intimately connected to the world of commerce, although the former’s ties are more immediate due to an anticipation of sales rather than the recording of their conclusion. A valid point of criticism remains, I feel, as to the manner in which each editor attacked his particular problem and with what success. The Annuaire de I’art internationale may be criticized from two points of view: either objectively, on the basis of its success as a reference tool or, more subjectively, concerning its presentation, its inclusions and omissions, and its various prejudices, all of which determine in some measure its effectiveness as a reference book. In considering the first objectiveaspect, it must be said that although the format is convenient, ease of usage stops there. Neither indexing nor the general graphic layout of each page contributes to an ease of reading or finding information. Although indexes appear both in the front and at the back of the volume, they follow different systems of classification (one by topic, the other by pagination) which are, in some cases, misleading or ambiguous and, upon closer investigation , often prove to be utterly confusing. For instance, under the heading ‘Les artistes et leurs galeries (planche en couleur)’, one finds that in some instances the name of the artist and the gallery is given but no city or country is cited. Perhaps the m x t irritating and confusing fact of all is the terrible disorganization and variety of type faces, page layouts and section organization. There is absolutely no continuity or overall style in the publication. Subjectively, reflecting upon the overall quality of the book, aside from the practical inconveniences stated above, one must conclude that it is quite low. It is indeed a shame that a book with as worthwhile a goal, with good photo reproductions, should be so confusing to the user and so drastically limited to the promotion of highly figurative paintings t‘iat show little relation to new directions in painting. The Annuaire internationale des i’entes, on the other hand, is an excellent example of what a reference book can and should be. The organization of the book becomes immediately clear upon perusing the index, which follows immediately after a simple title page and an introductory quote by La Bruyere. It is not hidden on the left page behind a barrage of advertising without so much as a heading proclaiming it an index, as in the book reviewed above. The index here is followed by a lucid one-page explanation of the system employed throughout the book and even includes a short explanation of what has been omitted, such as all pictures whose attribution is not certain or the birth place and nationality of the artists cited. One then proceeds without further ado to the listing of all sales for the preceding year by month, day and place; this section also includes a table of concordances of sizes of the traditional dimensions of French paintings in centimeters, a table of equivalent values for the franc, a table of the comparative buying power of the franc beginning in 1900 up until 1962 and, finally, a listing of the addresses of experts in Paris in various fields of antiquities, including medals, autographs, lace, ceramics, stamps and the like. Starting with page 1, artists are listed in alphabetical order according to medium, i.e. poster, etchings, lithographs, engravings, drawings, watercolors , tempera, pastel, paintings and sculptures. At the very back of the book, a short section listing the union of auctioneers is given, with...