A Dictionary of Art Terms and Techniques by Ralph Mayer (review)

Books 299 Carving Shells and Cameos. Carson I. A. Ritchie. Arthur Barker, London, England, 1970. 156 pp., illus. €1.75. Reviewed by: Mortimer Borne* The author describeshow the ‘completeamateur’ can produce inexpensive cameos by using British sea shells,tropical shellsand ‘exoticmaterials’, such asjet, mother ofpearl, coral and amber. Simplestep by step instructions are given and illustrated. Addressesofsomedealersinmaterialsandtoolsmay be found in the Appendix of the book. Cameoshave beenused asdecorationsforjewelry, jewel caskets, vases, candelabras, religious medals, paper weights and a host of other ornamental and utilitarian objects. In the early twentieth century, there was an extensivetrade in cut-shell cameosthat were largely imported into England and.mounted as broochesby Birminghamjewelrymanufacturers. The shellsused were those mainly found in East Indian and West Indian seas. The author believes that British shells should be used as they are less expensive. A Dictionary of Art Terms and Techniques. Ralph Mayer. Thomas Y. Crowell Co., New York, 1969. 447 pp., illus. $8.95 Reviewed by: George A. Agoston** Thisis an excellentup-to-date referencebook that should be particularly useful to artists and art students. While adequate coverage is given to the traditional forms of Western painting, drawing, sculpture,graphic arts, ceramicsand mosaic, and to new forms of expressionin the visualarts, the major emphasis is in the domain of artists’ materials and techniques. The range and depth are significant. Thus, one can find here the definitions of cauteria used in encausticpainting by the ancientsand of ball mill from current paint technology. Bremen blue, apigmentusedinthe nineteenthcentury,isdiscussed and so is the recently adopted quinacridonered (also known in the trade as acra red or thalo red rose). Mata Kuching damar resin from Singapore, no longer available, and the synthetic resinpolymethyl methacrylate of recent years are both defined. Amongthe techniquesthere are aquatint, the lostwax process, serigraphy, blister glaze and transfer Zithography. Pertinent terms from science and technology are included such as chalking, moire‘ effect, spectrophotometer, Munsell system and eflorescence. Also trade names of products of * 107 SouthBroadway, Nyack, N.Y. 10960, U.S.A. ** 31 rue de Seine,75-Paris6, France. current interest are given, for example, Plexiglas, Bocour blue,Liquitex and Transite. The author deserves special praise for his efforts to promote a standard terminology for artists’ materials. This is particularly important to avoid confusion and even deception in commerce. In his definitions of pigments, he indicates, in addition, whether each is acceptable from the standpoint of permanency. Helpfuladviceisoftengivenregarding materials and supplies, for example,in the selection of wallboard as a paint support, in preparing sunrefined oiland about the use of processoilcolorsfor silk-screen applications. The author cites the terms ‘acrylic colors’ and ‘plastic paints’ for solvent-base acrylic resin paints and the term ‘polymercolors’ for water-base acrylic resin and water-base acrylic-vinyl(copolymer)resin paints. The choice of these particular terms to differentiate between the two important classifications is clearly unfortunate; in the opinion of the reviewer they should be changed. The make-up of the book is exemplary. The definitions are clear and precise. The format is excellent. There are many well-selectedillustrations and photographs, including four color plates. ThePainter’sPocketBookofMethodsandMaterials. Hilaire Hiler. Revised by Colin Hayes. Third edition. Watson-Guptil, New York, 1970. 266 pp., $4.95. Reviewedby: GeorgeA. Agoston* This is a handy reference book on traditional methods and materials. Its breadth is indicated by its chapter titles: ‘Drawing Materials’, ‘WaterColour Methods’, ‘Oil-Painting’, ‘Supports’, ‘Grounds’, ‘Varnishes’, ‘Wax Painting’, ‘Murals’, ‘Tools’ and ‘Pigments’. The appendix contains a glossary and discussionson the principles of colour and on new artists’materials. Much useful information is given in detail. But, perhaps inevitably, someis slightedor omitted. For example,ordinary pastelsare onlymentioned,while the subject of oil pastels is given a half page. Much practical experienceand individualityunderlies the presentation. For example, the preparation of canvasand wooden supports is amplydescribedand the suitability of each is discussed. Both types, however, are rated inferior and, in their stead, good quality paper, cardboard, composition board and aluminum sheet are recommended as supports. Among the colorants discussed are several of the new synthetic pigments. Modern paints based on acrylicandpolyvinylresinsareonlybrieflyreviewed. * 31 rue de Seine, 75-Paris 6, France. BOOKS RECEIVED Art andPornography,M. Peckham,Basic Books, New York,N.Y., 1969,305pp., $6.95. Art...