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Notebooks
In this gorgeously illustrated book, join Betty Churcher on a personal tour of her most beloved works, including masterpieces by Rembrandt, Goya, Manet, Velázquez, Courbet, Vermeer and Cézanne.
A trained artist, Betty's sketches reveal the secrets within the artworks and the processes of their creation.
With the gift for making art accessible that characterised her popular television series, she gently leads your eye to these paintings' intimate details, describing their kinship with other masterpieces and their place in the history of art.
Betty Churcher's deeply held belief that art has the power to transport the viewer to another place and time is evident in this delightful book. Here, there is no doubting the magic of great art.
A trained artist, Betty's sketches reveal the secrets within the artworks and the processes of their creation.
With the gift for making art accessible that characterised her popular television series, she gently leads your eye to these paintings' intimate details, describing their kinship with other masterpieces and their place in the history of art.
Betty Churcher's deeply held belief that art has the power to transport the viewer to another place and time is evident in this delightful book. Here, there is no doubting the magic of great art.
- GenresArtNonfiction
264 pages, Paperback
First published March 16, 2011
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Displaying 1 - 18 of 18 reviews
January 21, 2012
This book was a gift for my birthday last year but I have only now read it. The timing was perfect as I had the time to read it in just a few sittings and immerse myself in the world of great art that Churcher describes. She was the Director of the National Gallery of Australia from 1990-1997, but also trained as an artist in London. In the brief autobiographical introduction she writes of her childhood in Brisbane and her awakening to the wonder of art at the Queensland Art Gallery, then located at the Old Museum Building. She attended Somerville House and when her father wanted to withdraw her, the Principal insisted she stay and pay no fees, in return for teaching art to the younger students. During her many trips to the great Galleries of the world, she always sketched artworks that she loved. These are the jumpimg off point for the book, along with Churcher's personal description of why they move her - a combination of sublime technique, the life story of the artists (eg the change in Rembrandt's self portraits as he aged and lost patrons) or the memory of a painting that was important to her at a particular time in her own life. And she gives an explanation (and permission) for moving slowly through a Gallery and standing before some works for a long time. I am exonerated!!
February 17, 2020
A graduate of the Royal College of Art London, Churcher also holds a Master of Arts from the Courtauld Institute of Art. For as long as her now failing eyesight held out, she would sketch artworks in the galleries that she visited, and jotted down notes about the paintings, especially if she was hoping to persuade the gallery to lend the artwork for exhibition in Australia. Selections from these notebooks have now been assembled into books that every art-lover will want to have. The first Notebooks was published in 2011, and its successor Australian Notebooks has just been released.
You can see examples of Churcher’s sketches and notes on the front cover of the book, and the book is profusely illustrated with full colour reproductions of the paintings, accompanied by her sketches. But be warned, immersing yourself in this wonderful book will give you itchy feet and make you long to be in the galleries represented so that you can see for yourself the paintings so lovingly described.
To read the rest of my review please visit http://anzlitlovers.com/2014/04/11/no...
You can see examples of Churcher’s sketches and notes on the front cover of the book, and the book is profusely illustrated with full colour reproductions of the paintings, accompanied by her sketches. But be warned, immersing yourself in this wonderful book will give you itchy feet and make you long to be in the galleries represented so that you can see for yourself the paintings so lovingly described.
To read the rest of my review please visit http://anzlitlovers.com/2014/04/11/no...
February 18, 2023
This stunning book with its lavish pictures and sketches was a delight to read. This is an inspiring account, through Betty Churcher's personal anecdotes and notes, on those pieces of art that moved her in her life. By revealing the fine details in art that she noticed sketching these works - she provides an inspiration to art lovers on how they can take more time to fully absorb the works that move them. Includes some wonderful references.
September 11, 2022
A great book, with the first part describing her interests and biography.
Great detail of each painting, of the little observations that the ordinary person may miss. Also has Betty's own drawings of some details of the paintings featured.
Great detail of each painting, of the little observations that the ordinary person may miss. Also has Betty's own drawings of some details of the paintings featured.
October 14, 2019
Churcher’s writing is truly enchanting. I only wish I would have listened to the audiobook version so I could stare at the paintings uninterrupted.
June 17, 2024
Lovely to look at, and being led to see in different ways.
January 23, 2014
Knowing that she was going blind Betty Churcher traveled to London, Paris, Madrid and New York to commit to memory some of the paintings she held most dear. Drawing had always been her way of committing paintings to memory, so these ‘notebooks’ are her drawings, annotated with her observations while looking and drawing.
The effect of this book is like traveling to various great galleries to look at some of the greatest paintings ever executed, with a great gallery director as your own personal guide. You are given the art historical facts and interpretations not only of the pictures but also of their storehouses (which having been a gallery director is of particular interest to Churcher), as well as, Churcher’s own discoveries and interpretations regarding the paintings, which have come through looking and drawing. And like the gallery visit you feel rushed between paintings, sometimes a little overloaded with the facts, and you cannot linger over the paintings, as Churcher did using her pencil or her biro. There are no pauses between paintings. I would have liked a few blank pages – resting passages for eyes and for thoughts, and to refocus.
Sure as a reader, you can put the book down and you can pick it up again and flick back through the pages, something you’re unable to when visiting the Louvre for instance, where sometimes you only have a few hours to compress your looking, or you find yourself at the back of a huge crowd and unable to sight the painting at all. Or just when you get close, someone asks you to move because you’re obstructing their photo opportunity. Reading the book is just as breathless, as a gallery visit, though more intimate. Yet there is a lot to recommend it despite this paradox – and perhaps it is this that is reinforced – to truly see you must linger and there’s no better way of lingering than engaging in a drawing. It’s not only a way of retaining it to memory but it is also a more satisfying way of looking. Churcher is a privileged looker, however, as she often had the collections to herself after opening hours. This doesn’t occur for the average gallery visitor.
Overall, it’s incredibly generous of Betty Churcher to share her personal drawings, as well as personal insights with us. To show us how an artist looks at pictures.
The effect of this book is like traveling to various great galleries to look at some of the greatest paintings ever executed, with a great gallery director as your own personal guide. You are given the art historical facts and interpretations not only of the pictures but also of their storehouses (which having been a gallery director is of particular interest to Churcher), as well as, Churcher’s own discoveries and interpretations regarding the paintings, which have come through looking and drawing. And like the gallery visit you feel rushed between paintings, sometimes a little overloaded with the facts, and you cannot linger over the paintings, as Churcher did using her pencil or her biro. There are no pauses between paintings. I would have liked a few blank pages – resting passages for eyes and for thoughts, and to refocus.
Sure as a reader, you can put the book down and you can pick it up again and flick back through the pages, something you’re unable to when visiting the Louvre for instance, where sometimes you only have a few hours to compress your looking, or you find yourself at the back of a huge crowd and unable to sight the painting at all. Or just when you get close, someone asks you to move because you’re obstructing their photo opportunity. Reading the book is just as breathless, as a gallery visit, though more intimate. Yet there is a lot to recommend it despite this paradox – and perhaps it is this that is reinforced – to truly see you must linger and there’s no better way of lingering than engaging in a drawing. It’s not only a way of retaining it to memory but it is also a more satisfying way of looking. Churcher is a privileged looker, however, as she often had the collections to herself after opening hours. This doesn’t occur for the average gallery visitor.
Overall, it’s incredibly generous of Betty Churcher to share her personal drawings, as well as personal insights with us. To show us how an artist looks at pictures.
May 6, 2012
People that can draw well fascinate me and so I was inspired to read this book after flicking through the pages to find drawn excerpts from some of the most well-known paintings from throughout history.
In her various positions in Australian and international galleries, Betty Churcher was able to gain access to those paintings that have held a fascination over generations and literally draw an insight into what ‘makes them tick’. Many of the paintings would be well-known to readers, but why is this so? What makes one portrait so famous while others fade into obscurity?
Betty is adept at finding those little details of inspiration that only become apparent after long consideration and reflection on the paintings. Betty used to gain after-hours access to galleries so that she could spend all the time she needed to look at and draw the paintings. Her drawings helped her to understand and commit the details and observations to memory.
The book takes us to some of the key pieces contained in The National Gallery, Kenwood House and the Hourtauld Galleries in London, The Met in New York, Le Petit Palais in Paris, The Prado in Madrid and the Doria Pamphilj Rome. Whilst many of the paintings are well-known, the book also introduces less famous pieces that are worthy of our consideration.
The whole book is beautifully tactile, from the linen cover to the coloured glossy pages inside. There are many pages filled with reproductions of the paintings as well as excerpts of particularly interesting details. Betty’s drawings are also reproduced along with her hand-written observations.
Not having a strong background in art studies, I found this book valuable and interesting. It has shown me how to look at paintings and to actually stop and take the time required to observe all the details that cannot be picked up in a cursory glance while trying to cover all the territory of a gallery.
In her various positions in Australian and international galleries, Betty Churcher was able to gain access to those paintings that have held a fascination over generations and literally draw an insight into what ‘makes them tick’. Many of the paintings would be well-known to readers, but why is this so? What makes one portrait so famous while others fade into obscurity?
Betty is adept at finding those little details of inspiration that only become apparent after long consideration and reflection on the paintings. Betty used to gain after-hours access to galleries so that she could spend all the time she needed to look at and draw the paintings. Her drawings helped her to understand and commit the details and observations to memory.
The book takes us to some of the key pieces contained in The National Gallery, Kenwood House and the Hourtauld Galleries in London, The Met in New York, Le Petit Palais in Paris, The Prado in Madrid and the Doria Pamphilj Rome. Whilst many of the paintings are well-known, the book also introduces less famous pieces that are worthy of our consideration.
The whole book is beautifully tactile, from the linen cover to the coloured glossy pages inside. There are many pages filled with reproductions of the paintings as well as excerpts of particularly interesting details. Betty’s drawings are also reproduced along with her hand-written observations.
Not having a strong background in art studies, I found this book valuable and interesting. It has shown me how to look at paintings and to actually stop and take the time required to observe all the details that cannot be picked up in a cursory glance while trying to cover all the territory of a gallery.
May 28, 2016
An amazing depiction of the works of some of the world's most famous artists, reproduced and described by Churcher, as she documents them to recall her favourites as she progressively becomes blinder. The foreword tells her inspiring story, from studying art, to working for Murdoch, and being 'head-hunted' to head up our Australian National Gallery. These experiences give her a broad understanding and experience of much of the world's art galleries and their contents, some of which she shares in this book. Her own drawings document her thoughts and interpretations and the text adds depth to each piece.
This is a great 'taster' book, to use as a means of becoming exposed to new artists or pieces, and also helps to understand the geography and chronology of art a little.
One I will revisit throughout my life and will share with children as a way of enticing them to consider some of the less enticing art periods.
This is a great 'taster' book, to use as a means of becoming exposed to new artists or pieces, and also helps to understand the geography and chronology of art a little.
One I will revisit throughout my life and will share with children as a way of enticing them to consider some of the less enticing art periods.
January 20, 2017
A delight to look at right from the front cover and the textured feel of the linen like cover on this impressive hardback book. The colored pages are also superbly reproduced.
This has been a joy to read especially her 42 page introduction which was basically a personal introspective biography. Her words about her innate ability to draw were wonderful to read. " I'd been born with the ability to draw, just as some are born with perfect musical pitch, and thought that this held for all children."
After the introduction, I just chose certain chapters at will especially those relating to paintings that I too had been lucky enough to see. This wonderful book has inspired me to return, book in hand to revisit London and Madrid.
This has been a joy to read especially her 42 page introduction which was basically a personal introspective biography. Her words about her innate ability to draw were wonderful to read. " I'd been born with the ability to draw, just as some are born with perfect musical pitch, and thought that this held for all children."
After the introduction, I just chose certain chapters at will especially those relating to paintings that I too had been lucky enough to see. This wonderful book has inspired me to return, book in hand to revisit London and Madrid.
Read
July 17, 2014I loved reading this book as I felt that the author was standing beside me in front of the beautiful paintings discussing what made them special to her. She highlighted aspects of the artist's technique that I would not have noticed but I know that I will look at each painting very differently. She made the artists and their paintings come alive.
February 2, 2017
This is the 3rd Churcher Notebook I have read and I have loved them all. I think this was the first and in the Introduction she described how, when she discovered she was losing her sight she visited Galleries to see for the last time, her favourite paintings. Her knowledge of artisits and their approach to their work was stunning. The reproductions are beautiful.
July 11, 2011
Interesting to learn about Betty Churcher's path from assistant art teacher to director of the National Gallery of Australia. Her notes about the different collections she visits are fascinating, as are the background information about the way various artists painted.
January 8, 2016
Churcher's insights into art are profound and this is a wonderful primer to get yourself down to a gallery and look. I would have liked her to go deeper and experiencing this in a larger format would have added value.
March 27, 2012
What a beautiful book. Gives a really personal insight into how BC "sees" paintings. I really learned something. The plates and sketches add so much to the reading experience.
October 3, 2012
I particularly liked the dogs.
February 20, 2013
Betty Churcher's early years in Brisbane and her drawings were a revelation
July 10, 2017
A wonderful read from a National Treasure. Se this heartwarming interview with Leigh Sales just a few weeks before Betty died in 2015. http://www.abc.net.au/7.30/content/20...
Displaying 1 - 18 of 18 reviews