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The Joy of Art: How to Look At, Appreciate, and Talk about Art
An Artist’s Insights on Art Appreciation Written by a practicing artist, this book decodes and maps the basic elements of visual art, leading the reader to a greater understanding and appreciation. Not an art history lesson per se, this illustrated guide is rather a tool kit to make the study of art and a visit to the museum truly rewarding. An entertaining and informative read, The Joy of Art offers the working art vocabulary to help you identify and explain what you’re looking atAnswers to many of the questions you may have about visual art in generalA summary of the basic criteria to consider when looking at artHighlights of the primary art genres and an introduction to the artists who pursued themMany visual examples of aesthetic considerations and practicesInteresting facts about your favorite artists and clues to why they made the choices they didA few games to test your new skillsThe Joy of Art contains 150 color photographs and many interesting insights from an artist-author who takes readers behind the curtain and into the studio to uncover what actually goes into making a work of art. If you love art, this book will take your appreciation to a new level. Not only will your enjoyment of art increase, you’ll be able to clearly communicate your understanding to others.
425 pages, Kindle Edition
First published April 7, 2020
447 people are currently reading
531 people want to read
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Displaying 1 - 26 of 26 reviews
May 12, 2023
I applaud any attempt to encourage people to engage with art. However, as a teacher of arts appreciation I get frustrated with appreciation attempts that concentrate on people learning about individual artists and historical style periods instead of giving people the tools to look at any piece of art and be able to analyze it according to principles of design and composition. This book started with promise but the artistic composition information quickly gave way to art history.
One interesting inclusion in this book was a quiz at the end. But once again, it focused on the reader’s recall of artists and styles rather than an opportunity to test analytic techniques.
A decent book, but I wish someone would do it differently.
One interesting inclusion in this book was a quiz at the end. But once again, it focused on the reader’s recall of artists and styles rather than an opportunity to test analytic techniques.
A decent book, but I wish someone would do it differently.
November 2, 2023
Helpful info
July 6, 2021
I loved this book. The writer's passion and enthusiasm made it a delightful read. It was interesting, easy to understand, thought-provoking, and very nicely written.
Unlike most books on art, it does not dive into art history or the personal background of famous artists. Instead, this book teaches you how to observe, appreciate, and find meaning in any work of art in front of you. I especially loved the "Decoding Works of Art" chapter and the exercises at the end to apply what you learn. Fabulous book!
Unlike most books on art, it does not dive into art history or the personal background of famous artists. Instead, this book teaches you how to observe, appreciate, and find meaning in any work of art in front of you. I especially loved the "Decoding Works of Art" chapter and the exercises at the end to apply what you learn. Fabulous book!
March 10, 2026
I did not find this book joyful. It focused exclusively on the visual aspects of each artwork, with virtually no attention given to the artist's intended message or historical context.
Schlam chooses to concentrate on giving the viewer some basic vocabulary about art. She refers to the elements of art (line, color, shape, etc), big categories like figurative art and still life, ideas like light and realism. She equips the viewer to be able to stand in front of an artwork and talk about visual elements that they perhaps would not have previously noticed. But the meaning of artworks is almost completely absent, which makes this vocabulary lesson seem not worth the bother.
An example of this is her treatment of Jacques-Louis David's The Death of Marat. She says that David "was a supporter of Marat, a journalist, so this may be considered a political painting." Marat was a whole lot more than just a journalist, but that's all the info we get because she immediately breezes on to say that the painting is "notable in this context not because of its subject, but rather the very decisive and deliberate way it was painted and depicts the subject in a most favorable light under the circumstances." According to her, the "clarity of its line and illustrative mission" is more important than any point that David was trying to make with his art. No mention of the French Revolution, or that the whole purpose of the light is to make Marat look like the martyr that David felt him to be.
Another example is a two-page spread taken up entirely by Titian's Venus of Urbino, Giogione's Sleeping Venus, Francisco Goya's The Nude Maja, and Edouard Manet's Olympia. Four completely nude recumbent white women are used to illustrate a section on "Expertise and Homage." This section begins with the statement "The female reclining nude has been a popular theme in Western painting for centuries." There are no questions about why this may have been. There is not a Guerilla Girl to be seen. When she discusses Manet's painting, she points out that it was considered scandalous for seeming to be a painting of a prostitute, "But this is no concern to us, just a blip in history. What we do want to look at are the aesthetic elements that characterize this work and distinguish it from the Titian." DO we though? There is meaning in how Manet poses his subject slightly more aggressively and puts in different visual cues. His artwork is visually similar to Titian's, while forcing viewers to think of the model in a context that challenged their ideas about the role of women in art.
The joy of art is to be confronted with new insights into big ideas about power, beauty, death, justice, oppression, love, spirituality, and other universal human ideas. You can't get these insights without knowing about the context in which the artist was/is creating. Craftsmanship and aesthetics are important but are typically not the reason why the artist took the trouble to produce that artwork in the first place.
In looking all all of Schlam's chosen artworks, they all fall into a single category: pretty. There is not a single artwork that provokes any kind of strong reaction in the viewer. The only work by Goya is "Dog," there are no messy nudes by Egon Schiele, no Judith Slaying Holofernes. In the third chapter, Schlam asks the question "Does a work of art have to be beautiful?" Her answer is No, but her only examples of non-beautiful art are the women depicted by Rubens and El Greco, which are described but not pictured in the book. This is a very limited definition of beauty, and the reader is left with the idea that real art is supposed to be pleasing and beautiful and if you don't see the beauty then you are looking at it wrong.
Finally, in the introduction, she also says that she is limiting her examples to "Western visual art throughout history." Besides the fact that she does not say why just Western art, even that is too broad a description. The only artwork from before the Renaissance is the bust of Nefertiti, "a symbol of everlasting feminine beauty." Reading through this book, I was reminded of Adam Neely's excellent YouTube video "Music Theory and White Supremacy." In it, he argues that it is more than a little racist when Western academics and musicians refer to "Music Theory," when what they really mean is just "European Music Theory of the 18th-20th centuries." There is no reason why works of art from Latin America, Asia, and Africa couldn't also have been used to illustrate the terms explored in this book.
Schlam chooses to concentrate on giving the viewer some basic vocabulary about art. She refers to the elements of art (line, color, shape, etc), big categories like figurative art and still life, ideas like light and realism. She equips the viewer to be able to stand in front of an artwork and talk about visual elements that they perhaps would not have previously noticed. But the meaning of artworks is almost completely absent, which makes this vocabulary lesson seem not worth the bother.
An example of this is her treatment of Jacques-Louis David's The Death of Marat. She says that David "was a supporter of Marat, a journalist, so this may be considered a political painting." Marat was a whole lot more than just a journalist, but that's all the info we get because she immediately breezes on to say that the painting is "notable in this context not because of its subject, but rather the very decisive and deliberate way it was painted and depicts the subject in a most favorable light under the circumstances." According to her, the "clarity of its line and illustrative mission" is more important than any point that David was trying to make with his art. No mention of the French Revolution, or that the whole purpose of the light is to make Marat look like the martyr that David felt him to be.
Another example is a two-page spread taken up entirely by Titian's Venus of Urbino, Giogione's Sleeping Venus, Francisco Goya's The Nude Maja, and Edouard Manet's Olympia. Four completely nude recumbent white women are used to illustrate a section on "Expertise and Homage." This section begins with the statement "The female reclining nude has been a popular theme in Western painting for centuries." There are no questions about why this may have been. There is not a Guerilla Girl to be seen. When she discusses Manet's painting, she points out that it was considered scandalous for seeming to be a painting of a prostitute, "But this is no concern to us, just a blip in history. What we do want to look at are the aesthetic elements that characterize this work and distinguish it from the Titian." DO we though? There is meaning in how Manet poses his subject slightly more aggressively and puts in different visual cues. His artwork is visually similar to Titian's, while forcing viewers to think of the model in a context that challenged their ideas about the role of women in art.
The joy of art is to be confronted with new insights into big ideas about power, beauty, death, justice, oppression, love, spirituality, and other universal human ideas. You can't get these insights without knowing about the context in which the artist was/is creating. Craftsmanship and aesthetics are important but are typically not the reason why the artist took the trouble to produce that artwork in the first place.
In looking all all of Schlam's chosen artworks, they all fall into a single category: pretty. There is not a single artwork that provokes any kind of strong reaction in the viewer. The only work by Goya is "Dog," there are no messy nudes by Egon Schiele, no Judith Slaying Holofernes. In the third chapter, Schlam asks the question "Does a work of art have to be beautiful?" Her answer is No, but her only examples of non-beautiful art are the women depicted by Rubens and El Greco, which are described but not pictured in the book. This is a very limited definition of beauty, and the reader is left with the idea that real art is supposed to be pleasing and beautiful and if you don't see the beauty then you are looking at it wrong.
Finally, in the introduction, she also says that she is limiting her examples to "Western visual art throughout history." Besides the fact that she does not say why just Western art, even that is too broad a description. The only artwork from before the Renaissance is the bust of Nefertiti, "a symbol of everlasting feminine beauty." Reading through this book, I was reminded of Adam Neely's excellent YouTube video "Music Theory and White Supremacy." In it, he argues that it is more than a little racist when Western academics and musicians refer to "Music Theory," when what they really mean is just "European Music Theory of the 18th-20th centuries." There is no reason why works of art from Latin America, Asia, and Africa couldn't also have been used to illustrate the terms explored in this book.
April 22, 2024
What a hidden gem this is!
Over the years, I have attempted to read several introductory art books. This is by far the best one and the most accessible I have read thus far.
The author clearly knows about the subject and conveys the message in a concise and conversational manner.
One of the highlights of this book is the chapter focusing on Q&A, where several important questions are raised, in regard to how art is perceived.
Several questions are relevant not just for art, but more importantly, for life in general.
I would highly recommend this book as an introductory course to anyone who wants to begin their artistic journey.
Over the years, I have attempted to read several introductory art books. This is by far the best one and the most accessible I have read thus far.
The author clearly knows about the subject and conveys the message in a concise and conversational manner.
One of the highlights of this book is the chapter focusing on Q&A, where several important questions are raised, in regard to how art is perceived.
Several questions are relevant not just for art, but more importantly, for life in general.
I would highly recommend this book as an introductory course to anyone who wants to begin their artistic journey.
December 26, 2024
A different approach to teaching art history (and there is art history in here), in that it tries to teach how and why certain artists did what they did in their works, and how you can use this knowledge to better appreciate visual art.
But there's also a bit of "How to talk about art you don't really understand" going on here. (And I almost put the book down for good when the author started talking about Myers-Briggs types of artists and their works).
Some interesting ideas, especially towards the end when she encourages you to think about a painting and write out what you are thinking and why, using some of the tools she gave earlier in the book.
But there's also a bit of "How to talk about art you don't really understand" going on here. (And I almost put the book down for good when the author started talking about Myers-Briggs types of artists and their works).
Some interesting ideas, especially towards the end when she encourages you to think about a painting and write out what you are thinking and why, using some of the tools she gave earlier in the book.
November 9, 2021
I have an e-reader copy of it and now I want to buy the hardcover! The writer is very earnest and never stuck-up about art, nor is she dismissive of the great masters. This is a fantastic book to assign to an art appreciation class, or to give to someone who is setting out to go to museums (but hate the intellectual atmosphere of it all). I love the tip about seeing more underrated works vs the tourist trap-y ones because from there you can better hone your analysis and criticism of art. Cannot recommend this enough!
September 21, 2024
An interesting and thoughtful book
I really enjoyed this book and how Carolyn discussed the various ways of looking at and appreciating art in its many forms, genres and attitudes. She picked interesting pieces to illustrate her points, and introduced me to artists I had not met before and new viewpoints of artistic works. Her enthusiasm has encouraged me to delve more into both my favourite and new-to-me artists and their focuses and motives.
I really enjoyed this book and how Carolyn discussed the various ways of looking at and appreciating art in its many forms, genres and attitudes. She picked interesting pieces to illustrate her points, and introduced me to artists I had not met before and new viewpoints of artistic works. Her enthusiasm has encouraged me to delve more into both my favourite and new-to-me artists and their focuses and motives.
May 28, 2021
This is a delightful as well as useful book in its approach to helping the reader appreciate art. After reading this book, I know that my next visit to an art gallery will be quite different from previous visits. This book equips one with tool to truly engage with art and enjoy it without necessarily being a student of art history. I highly recommend it.
April 26, 2023
This book wasn't for me. Growing up in a Chicago burb my mom and I went to the Art Institute often. Even as a child, I liked what I liked. I did not care if it was a masterpiece or even who painted it. Some things never change.
This entire review has been hidden because of spoilers.
May 3, 2023
UNDERSTANDING ART
Before reading this book I really didn't understand what thought processes were involved in making art look and feel like it does to each individual. Now I do. After reading this book I have gained a new appreciation for art and the different forms of art.
Before reading this book I really didn't understand what thought processes were involved in making art look and feel like it does to each individual. Now I do. After reading this book I have gained a new appreciation for art and the different forms of art.
November 26, 2023
This was a really great Intro to Art book, incredibly accessible with the right balance of breadth and depth. I have a feeling I will come back to this book over the years as my interest in art increases.
July 14, 2024
I give this book 3.5 stars. It is more for beginning artists than for laypeople wanting to better appreciate artwork. The author covers topics like colors, perspective, and other minutia that were too technical for an introduction to art appreciation.
November 2, 2025
After completing this book, looking forward to visiting museums in Paris with my daughter. Appreciated that it wasn't formal. Gaines new perspectives on how to appreciate artwork and styles and techniques to look out for.
February 23, 2026
4.5 stars. It started off a bit simplistically but then got nicely into the various styles and eras and artists. Lots of brief intros to various artists. Nice collection of artwork and samples. A nice broad brush approach to art.
January 25, 2022
A great book if you want to learn about art pieces and what makes them masterpieces.
March 23, 2022
beautiful overview
Beautiful overview of art viewing and art making from a passionate and thoughtful artist. I learned a lot about having an expert mindset when approaching art.
Beautiful overview of art viewing and art making from a passionate and thoughtful artist. I learned a lot about having an expert mindset when approaching art.
June 5, 2023
It has neither depth nor much intelligence in this rather introductory book.
September 30, 2024
As “textbooks” go this one was delightfully useful, readable, and provided a good art appreciation overview. I’d love to go through it again!
Read
November 26, 2024I could come back to this one.
March 31, 2025
Dnf
Don't bother, so many better art books around
Don't bother, so many better art books around
February 22, 2023
Because English is not my first language, I do not comprehend the entire book that well. But I found this book very informative, and I might read it again in the future.
September 4, 2022
Reads like a journal or diary. Inspiring but uninformative. I might expect to find a book like this at a fancy stationary shop.
December 25, 2024
Im learning so much from the art-related books I’m reading (I’m not an “art person”) and this book was recommended as a good one to “study”!
December 18, 2023
“In a sense, one can look at the history of art as a march from the darkness into the light, an evolution of consciousness.” While I have difficulty seeing the light in abstractionism, I agree wholeheartedly with impressionism. From Monet's "water lily" to Van Gogh's "sunflowers", let there be light!
December 27, 2022
Enlightening
Displaying 1 - 26 of 26 reviews