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Masterpieces of Fantasy Art
Fantasy art, that colorful blend of myth, muscle and sexy maidens, is explored from 1400 to the modern day in this monster-sized volume gathering original paintings, sketches, sculptures, magazines, paperback covers, and calendars. Features masters of the genre including Frank Frazetta, Philippe Druillet, Jeff Jones, Boris Vallejo, HR Giger, and up-to-date bios on over 100 artists.
528 pages, Hardcover
First published September 19, 2020
About the author
Dian Hanson
123 books88 followersDian Hanson (born November 2, 1951) began her publishing career as an American pornographic magazine editor, historian, and occasional model, helping found the 1970s hardcore journal Puritan, then moving on to Partner, OUI, Adult Cinema Review, Outlaw Biker and Big Butt, among others. She was most famously the editor of Juggs and Leg Show sexual fetish magazines from 1987–2001.
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Displaying 1 - 30 of 41 reviews
September 5, 2023
Absolutely five stars. If you like fantasy art, or art in general, you will enjoy this book; which simply shows us some masterpieces of the best fantasy artists, as well as a brief historical note and the biography of each author.
December 27, 2023
absolute banger. this is the greatest hits IMAX heavy metal bible. it’s all the fantasy art you could ever want to see and a perfect selection of great pieces and moments in spec fic art. The historical breakdowns of each A-list cast member for those that visually shaped fantasy was super fun, and the link to the christian source was fascinating as hell
an actually readable eternally horny coffee table book
an actually readable eternally horny coffee table book
August 19, 2024
I did not read 500 pages just now. It's half pictures (which is the appeal) and then from there it's two-thirds French and German translations of the English essays for each artist. Another coffee-table titan from Taschen. I love you Julie Bell and Boris Vallejo ❤️
August 21, 2023
Now to start with a word of caution - even though the book page count is over 500 the book itself is actually only about a 1/3 of that due to the fact that the test is reading in French and German. That said even on those pages that are repeated the artwork is different so you actually get more artwork and less words - not complaining there
So the book itself is really in 2 parts the first is history and understanding of fantasy artwork with various authors and experts contributing and commenting on how this evolved over the years - while the second part focuses in on some the more famous and influential artists of this era - and this is where things get interesting as yes there are a good few artists here I not only love but actively follow.
So yes this is a heavy books (physically and word count) but it is worth it and a real beauty - am going to enjoy going through this again in the future
So the book itself is really in 2 parts the first is history and understanding of fantasy artwork with various authors and experts contributing and commenting on how this evolved over the years - while the second part focuses in on some the more famous and influential artists of this era - and this is where things get interesting as yes there are a good few artists here I not only love but actively follow.
So yes this is a heavy books (physically and word count) but it is worth it and a real beauty - am going to enjoy going through this again in the future
November 23, 2025
A lot of these are not masterworks. In many cases this is proved by their own neighbours in this book. No Blanche, no Miller, no Beksinski, and very little of the pre-60's or even 19th century fantasy illustrators, I see ONE N.C. Wyeth image and very little from a dozen others - a mention of Sidney Sime but no article.
This is a little mini-guide to popular anglo-american sphere, post 60's fantasy artists, which includes within it, some articles on some Actual Masters making Actual Masterworks, but with a whole lot of frankly 'good' or 'fun' or technically excellent artists, who are all a cut above the absolute baseline, but more in the 'high middle' of the ladder.
And this is only my view from the adjacent anglosphere, anyone French or middle-European or Latin may have a whole range of masters who were let out.
But anon on this - what is actually there?
A BOOK OF STORIES
It’s still a good book and a book worth having. while Julie Bell and Boris Vallejo, to me, will never match the Masters, the story of their love affair and the Julie Bells self-actualisation as an artist is truly fascinating.
An article on Rowena Morrill also tells a great story; three marriages, one son, didn't really love fantasy "I thought they were truly dreadful, even the Lovecraft books. I would skim quickly to find a concept." endlessly painted herself as the heroine/victim "I just liked my face, I would pose for myself and have someone photograph me", an apartment on the west side and apparently an enviable life; "I've had a great career and a great life; I always just painted what I thought was exciting and fun and colourful. I pleased myself, and how many can look back on life and say that?"
An article on Moebius convinced me that no matter how good he is I will never really be interested in him, others on Jeffery Cathrine Jones and Sanjulian showed me remarkable artists I was unfamiliar with. The Brothers Hildebrandt don't seem that good but do seem highly American.
A LICH RISES FROM THE DARKNESS
Zak Smith is in this book. Somehow, he has crept his way back onto my shelves. While Dian Hansons articles are potted autobiographies, Smiths are largely better; layers of concentrated prose which go deeper into each artists distinctive nature, pet techniques, place in art and perhaps-unexpected effects on the culture.
- a decent miscellany or commonplace book of some artists of a certain era, with some slightly hidden figures and a lot left out. Also, get the big version if you can afford it, there are lots of pictures here but many are too small.
This is a little mini-guide to popular anglo-american sphere, post 60's fantasy artists, which includes within it, some articles on some Actual Masters making Actual Masterworks, but with a whole lot of frankly 'good' or 'fun' or technically excellent artists, who are all a cut above the absolute baseline, but more in the 'high middle' of the ladder.
And this is only my view from the adjacent anglosphere, anyone French or middle-European or Latin may have a whole range of masters who were let out.
But anon on this - what is actually there?
A BOOK OF STORIES
It’s still a good book and a book worth having. while Julie Bell and Boris Vallejo, to me, will never match the Masters, the story of their love affair and the Julie Bells self-actualisation as an artist is truly fascinating.
An article on Rowena Morrill also tells a great story; three marriages, one son, didn't really love fantasy "I thought they were truly dreadful, even the Lovecraft books. I would skim quickly to find a concept." endlessly painted herself as the heroine/victim "I just liked my face, I would pose for myself and have someone photograph me", an apartment on the west side and apparently an enviable life; "I've had a great career and a great life; I always just painted what I thought was exciting and fun and colourful. I pleased myself, and how many can look back on life and say that?"
An article on Moebius convinced me that no matter how good he is I will never really be interested in him, others on Jeffery Cathrine Jones and Sanjulian showed me remarkable artists I was unfamiliar with. The Brothers Hildebrandt don't seem that good but do seem highly American.
A LICH RISES FROM THE DARKNESS
Zak Smith is in this book. Somehow, he has crept his way back onto my shelves. While Dian Hansons articles are potted autobiographies, Smiths are largely better; layers of concentrated prose which go deeper into each artists distinctive nature, pet techniques, place in art and perhaps-unexpected effects on the culture.
- a decent miscellany or commonplace book of some artists of a certain era, with some slightly hidden figures and a lot left out. Also, get the big version if you can afford it, there are lots of pictures here but many are too small.
December 2, 2020
This book is even more impressive than I thought it would be. First of all, it's huge and heavy. The production values are absolutely top notch. The text is concise, informative and well researched. The reproductions of the artwork are incredibly vibrant and the handling of each artist represented is beautifully executed. The book also comes in a sturdy and attractive cover container, with the book's Frazetta cover emblazoned on it. An amazing book. I do wish though, that they had included the art of Richard Corben and a bit more Bernie Wrightson. I know, I know; Wrightson is a horror artist and not so much a fantasy artist. That being said, this book is well worth the price. Sure to become scarce in the years to come. Hold on to your copy. I know I will.
April 15, 2025
I did NOT expect to like a non-fiction book so much, granted the subject matter is totally me, but then again Dian Hanson managed to give us the details of the artist's lives in such a fun way, I expected Wikipedia pages but I got so much more.
And don't get me started on the ACTUAL art in the book... it's phenomenal!
And don't get me started on the ACTUAL art in the book... it's phenomenal!
November 30, 2024
A book I picked up on a whim at the Metropolitan Museum of Art in New York City, and I am glad I did. From the beginnings in children’s stories in the late 1800’s and early 1900’s to the paperback cover art of the late 1900’s this book covers the top names in fantasy art in America and Europe. I saw some art I was not familiar with, and some pieces I knew of but was unfamiliar with the author. The text is very informative, but as the author was an editor for years we should expect nothing less. This version is in English, German, and French, so much of the interior is repeated text, which was useful for my French study but wasteful otherwise. A worthwhile read nonetheless, and I am interested in some of the author’s other works but my wife might not be.
Want to Read
March 8, 2024
Gorgeous book!
Cracked it open right here:
https://youtu.be/WTm3fqxmBdU
July 19, 2022
Masterpieces of Fantasy Art is a book I love having, not just for the amazing prints of gorgeous art, but also so I can metaphorically bludgeon my friends with how cool it is in order to instill wild jealousy in them. There have been too many dirty looks and half-joking claims they'll steal it from me to count. (I suspect the sheer weight and size of the book is the major factor in why I still have it)
Even if I love having it, I'd be lying if I didn't admit that I'm a little disappointed in the contents of the book. While the art is lovely, the accompanying text is, at best, a brief artist bio or a general short story of fantasy's place in art history, and at worst it doesn't cover the sheer amount of racism, sexism, and criticisms in general one can have towards the style of the fantasy art style.
In short, it's a book made as fan service, where the art does have a lot more to say than the author wants to admit because it's there for the people who don't want to think critically about art. It's there to give you something to look at.
If you're one of those insufferable people who want fantasy to be taken more seriously, but only when it benefits you, then this book is perfect for you. If you're more serious about art, it can still be fun to look through and comment on with friends, just ignore most of the bios.
Even if I love having it, I'd be lying if I didn't admit that I'm a little disappointed in the contents of the book. While the art is lovely, the accompanying text is, at best, a brief artist bio or a general short story of fantasy's place in art history, and at worst it doesn't cover the sheer amount of racism, sexism, and criticisms in general one can have towards the style of the fantasy art style.
In short, it's a book made as fan service, where the art does have a lot more to say than the author wants to admit because it's there for the people who don't want to think critically about art. It's there to give you something to look at.
If you're one of those insufferable people who want fantasy to be taken more seriously, but only when it benefits you, then this book is perfect for you. If you're more serious about art, it can still be fun to look through and comment on with friends, just ignore most of the bios.
September 2, 2021
Excellent compilation of the giants of fantasy artwork. Giger, Vallejo, Frazetta, Moebius, and many more. HUGE book, heavy as shit. Worth the price for all the wonderful artwork.
April 6, 2026
Gratka dla wszystkich miłośników fantasy i science fiction, która zbiera najsilniej oddziałujące na wyobraźnię (choć w wielu przypadkach i pewnych aspektach pozostawiające jej zaskakująco niewiele miejsca) dzieła mistrzów malarstwa i ilustracji związanych z różnymi nurtami oraz mediami szeroko pojętej fantastyki. Wśród artystów, których prace znalazły się w albumie, pojawiają się takie nazwiska jak Frank Frazetta, Boris Vallejo (który dodatkowo popełnił otwierający album esej "My Fantasy Life", opowiadający o jego inspiracjach i drodze do kariery), H.R. Giger, Moebius, Michael Whelan, bracia Hildebrandt, Jeffrey Catherine Jones, a także Julie Bell, Philippe Druillet, Rodney Matthews, Rowena Morrill i Sanjulian - twórcy, którzy w dużej mierze ukształtowali wizualny język współczesnej fantastyki.
Wiele z wysokiej jakości reprodukcji, które znajdziecie w tym albumie, w tej czy innej formie obiło się już pewnie o Wasze oczy - czy to jako plakaty, okładki albumów muzycznych (zwłaszcza rockowych i heavy metalowych), książek - w Polsce lat 90. zdobiące wydania powieści najpewniej bez wiedzy i zgody twórców lub właścicieli praw - ilustracje komiksów, periodyków (fantasy, science fiction, satyrycznych oraz męskich magazynów lifestyle’owych i erotycznych) czy wreszcie gier fabularnych i karcianych. Dzięki temu publikacja niesie w sobie, poza czysto estetycznymi doznaniami, również silny ładunek nostalgii, ale też swoisty rodzaj satysfakcji i radości płynącej z odkrywania na nowo, tudzież poznawania źródeł obrazów, które od lat funkcjonują w naszej wyobraźni.
Autorka i redaktorka albumu, Dian Hanson (znana z publikacji eksplorujących raczej cielesne niż fantastyczne aspekty kultury wizualnej), oprócz samego wyboru prac wzbogaciła album o wyjątkowo rozbudowaną, jak na tego typu wydawnictwo, warstwę merytoryczną. Obok obszernych not biograficznych znajdziemy tu przekrojowe eseje śledzące rozwój wizualnej sztuki fantastycznej od jej korzeni w sztuce religijnej i mitologicznej, przez estetykę magazynów pulp i narodziny kultury ilustracyjnej, aż po jego ekspansję w obrębie komiksu, filmu i gier.
Całość przygotowano w wersji trzyjęzycznej (francuski, niemiecki i angielski), zaś album, który trafił w moje ręce, to jedna z późniejszych reedycji - tzw. 45th Edition - wariant jubileuszowy wydawany przez Taschen w mniejszym, bardziej przystępnym formacie niż pierwotna, duża edycja kolekcjonerska. Niestety, ten rozmiar ma swoje ograniczenia: trudno w pełni nacieszyć się dwustronicowymi rozkładówkami, a wysokiej jakości papier, choć świetnie oddaje nasycenie kolorów i detale reprodukcji, ma tendencję do łapania odcisków palców i refleksów światła.
Ogółem publikację gorąco polecam - zwłaszcza jeśli uda się Wam, co graniczy z cudem, dorwać pierwotne wydanie kolekcjonerskie w rozsądnej cenie.
Wiele z wysokiej jakości reprodukcji, które znajdziecie w tym albumie, w tej czy innej formie obiło się już pewnie o Wasze oczy - czy to jako plakaty, okładki albumów muzycznych (zwłaszcza rockowych i heavy metalowych), książek - w Polsce lat 90. zdobiące wydania powieści najpewniej bez wiedzy i zgody twórców lub właścicieli praw - ilustracje komiksów, periodyków (fantasy, science fiction, satyrycznych oraz męskich magazynów lifestyle’owych i erotycznych) czy wreszcie gier fabularnych i karcianych. Dzięki temu publikacja niesie w sobie, poza czysto estetycznymi doznaniami, również silny ładunek nostalgii, ale też swoisty rodzaj satysfakcji i radości płynącej z odkrywania na nowo, tudzież poznawania źródeł obrazów, które od lat funkcjonują w naszej wyobraźni.
Autorka i redaktorka albumu, Dian Hanson (znana z publikacji eksplorujących raczej cielesne niż fantastyczne aspekty kultury wizualnej), oprócz samego wyboru prac wzbogaciła album o wyjątkowo rozbudowaną, jak na tego typu wydawnictwo, warstwę merytoryczną. Obok obszernych not biograficznych znajdziemy tu przekrojowe eseje śledzące rozwój wizualnej sztuki fantastycznej od jej korzeni w sztuce religijnej i mitologicznej, przez estetykę magazynów pulp i narodziny kultury ilustracyjnej, aż po jego ekspansję w obrębie komiksu, filmu i gier.
Całość przygotowano w wersji trzyjęzycznej (francuski, niemiecki i angielski), zaś album, który trafił w moje ręce, to jedna z późniejszych reedycji - tzw. 45th Edition - wariant jubileuszowy wydawany przez Taschen w mniejszym, bardziej przystępnym formacie niż pierwotna, duża edycja kolekcjonerska. Niestety, ten rozmiar ma swoje ograniczenia: trudno w pełni nacieszyć się dwustronicowymi rozkładówkami, a wysokiej jakości papier, choć świetnie oddaje nasycenie kolorów i detale reprodukcji, ma tendencję do łapania odcisków palców i refleksów światła.
Ogółem publikację gorąco polecam - zwłaszcza jeśli uda się Wam, co graniczy z cudem, dorwać pierwotne wydanie kolekcjonerskie w rozsądnej cenie.
May 14, 2025
Absolutely fantastic. At first I was confused with the layout of the book itself, having English as well as French and German translations of each section. What makes this cool though is that each section has its own pieces of artwork so the translated sections are not repeats.
There is a wide variety of artists in display and a cornucopia of visuals to match. The book itself is laid out very well and the print quality is wonderful. As a big fan of the likes of Frazetta, Whalen, and Giger, I ended up discovering more artists that I need to check out and become more familiar with as well. My only criticism is that the book dimensions itself are rather small, so you won’t get the full effect of some large blown up reprints of the images just because the size of the book. Therefore, some of the two page spreads can be a bit hard to see all of the detail in the images, however the print quality is great. All that to say, if this book was the size of a coffee table book it would weigh a ton. What it lacks in size it makes up for in bulk of content. The pages are filled with illustrations, captions, and writeups with plenty of information.
There is a wide variety of artists in display and a cornucopia of visuals to match. The book itself is laid out very well and the print quality is wonderful. As a big fan of the likes of Frazetta, Whalen, and Giger, I ended up discovering more artists that I need to check out and become more familiar with as well. My only criticism is that the book dimensions itself are rather small, so you won’t get the full effect of some large blown up reprints of the images just because the size of the book. Therefore, some of the two page spreads can be a bit hard to see all of the detail in the images, however the print quality is great. All that to say, if this book was the size of a coffee table book it would weigh a ton. What it lacks in size it makes up for in bulk of content. The pages are filled with illustrations, captions, and writeups with plenty of information.
August 17, 2025
A beautiful book available in two sizes: a large-format deluxe coffee-table edition with oversized plates that allow for a fuller appreciation of the artwork, and a smaller but still hardcover edition that is more portable and readable. The larger tome includes an extra chapter.
The book spans masterpieces from the medieval period to the present day, covering names from Jan van Eyck to Michael Whelan. It traces the origins of fantasy (wisely avoiding works that contemporaries would have considered “real” rather than fantastical) through the pulp era, specialized magazines, the booming book-cover industry, D&D and RPGs, and much more. Dian Hanson also draws clear distinctions between fantasy and science fiction, and between fantasy and surrealism, which helps set the scope of the collection.
Although the written portion is relatively concise, the book still packs in a wealth of information. Don’t be deceived by the format: at over 500 pages, with multilingual text (English, German, and French) and hundreds of full-color plates, it is an impressively substantial volume.
That said, there are a few mistakes scattered throughout; errors that could have been easily avoided and which seasoned fantasy art fans will spot right away.
After the introductory chapters that trace the evolution of the genre, the book presents dedicated sections on some of the most eminent names in fantasy art. Each includes a short biography, discussion of influences, and a showcase of their most recognizable works. The featured artists are:
Julie Bell
Philippe Druillet
Frank Frazetta
H. R. Giger
The Brothers Hildebrandt
Jeffrey Catherine Jones
Rodney Matthews
Moebius
Rowena Morrill
Sanjulian
Boris Vallejo
Michael Whelan
Some of these names lean more toward science fiction (Giger with his biomechanical nightmares and strange beauties, or Moebius with his visionary worlds) but their inclusion feels justified. Of course, there are countless other artists who could have been considered for a collection like this, and no single volume could ever satisfy every reader. Still, I believe the selection is solid, even if it tends toward the “classic” imagery of muscle-bound heroes and scantily clad damsels in distress. While this aesthetic may not resonate with all modern readers, it was undeniably iconic for the genre. Given Dian Hanson’s professional experience and curatorial eye, the choices feel both deliberate and coherent.
The book spans masterpieces from the medieval period to the present day, covering names from Jan van Eyck to Michael Whelan. It traces the origins of fantasy (wisely avoiding works that contemporaries would have considered “real” rather than fantastical) through the pulp era, specialized magazines, the booming book-cover industry, D&D and RPGs, and much more. Dian Hanson also draws clear distinctions between fantasy and science fiction, and between fantasy and surrealism, which helps set the scope of the collection.
Although the written portion is relatively concise, the book still packs in a wealth of information. Don’t be deceived by the format: at over 500 pages, with multilingual text (English, German, and French) and hundreds of full-color plates, it is an impressively substantial volume.
That said, there are a few mistakes scattered throughout; errors that could have been easily avoided and which seasoned fantasy art fans will spot right away.
After the introductory chapters that trace the evolution of the genre, the book presents dedicated sections on some of the most eminent names in fantasy art. Each includes a short biography, discussion of influences, and a showcase of their most recognizable works. The featured artists are:
Julie Bell
Philippe Druillet
Frank Frazetta
H. R. Giger
The Brothers Hildebrandt
Jeffrey Catherine Jones
Rodney Matthews
Moebius
Rowena Morrill
Sanjulian
Boris Vallejo
Michael Whelan
Some of these names lean more toward science fiction (Giger with his biomechanical nightmares and strange beauties, or Moebius with his visionary worlds) but their inclusion feels justified. Of course, there are countless other artists who could have been considered for a collection like this, and no single volume could ever satisfy every reader. Still, I believe the selection is solid, even if it tends toward the “classic” imagery of muscle-bound heroes and scantily clad damsels in distress. While this aesthetic may not resonate with all modern readers, it was undeniably iconic for the genre. Given Dian Hanson’s professional experience and curatorial eye, the choices feel both deliberate and coherent.
August 12, 2026
Ich liebe alte Fantasy-Illustrationen, daher war „Masterpieces of Fantasy Art“ für mich natürlich ein Muss. Zudem sind 25 Euro für ein so dickes, wertiges Buch mit so vielen farbigen Abbildungen ein echt stabiler Preis.
Kurz gesagt: Das Buch ist gut und ich bereue den Kauf nicht, aber mir ist relativ schnell aufgefallen, dass Dian Hanson eine deutliche Vorliebe für das Genre „Titten-Fantasy“ zu haben scheint. Sprich: Nahezu jedes zweite Bild im Buch zeigt eine (halb)nackte oder sexualisierte Frau.
Die Überschrift des Klappentextes gibt die Richtung vor: „Myth, muscle and sexy maidens“. Damit verengt sich das Buch leider auf eine sehr klischeebeladene Art von Fantasy-Kunst, die in der Welt von Conan dem Barbar hängengeblieben ist. Dabei hat Fantasy wesentlich mehr zu bieten als leichtbekleidete damsels in distress, die von an muskelbepackten Kriegern gerettet werden müssen.
Das Buch konzentriert sich sehr auf Künstler*innen wie Frank Frazetta, Boris Vallejo, Julie Bell, Jeffrey Cahtherine Jones, Sanjulian und Rowena Morrill, die diese Motive ausgiebig bedienen. Aber was ist mit Bruce Pennington, Roger Dean, Alan Lee, Brian Froud, John Howe, Roger und Linda Garland? Von ihnen taucht in dem 500 Seiten starken Buch kein einziges Bild auf (!), obwohl ihre Arbeiten so viel origineller und vielfältiger sind als die der Obengenannten.
Insbesondere Boris Vallejo und Julie Bell, deren Bilder man zum Teil schwer auseinanderhalten kann, ergehen sich bis zum Erbrechen in den abgedroschensten Fantasy-Klischees, die man sich vorstellen kann: Nackte Frauen mit Engelsflügeln, nackte Frauen, die auf einem Pegasus reiten, nackte Frauen, die sich an Drachen schmiegen, … *schnarch*.
Dass Fantasykunst wesentlich mehr kann und auch mal herausfordernd, hintersinnig oder verstörend sein kann, zeigen andere Künstler wie H.R. Giger, Philippe Druillet, Moebius und Michael Whelan, die zum Glück auch mit eigenen Kapiteln im Buch vertreten sind.
Kurz gesagt: Das Buch ist gut und ich bereue den Kauf nicht, aber mir ist relativ schnell aufgefallen, dass Dian Hanson eine deutliche Vorliebe für das Genre „Titten-Fantasy“ zu haben scheint. Sprich: Nahezu jedes zweite Bild im Buch zeigt eine (halb)nackte oder sexualisierte Frau.
Die Überschrift des Klappentextes gibt die Richtung vor: „Myth, muscle and sexy maidens“. Damit verengt sich das Buch leider auf eine sehr klischeebeladene Art von Fantasy-Kunst, die in der Welt von Conan dem Barbar hängengeblieben ist. Dabei hat Fantasy wesentlich mehr zu bieten als leichtbekleidete damsels in distress, die von an muskelbepackten Kriegern gerettet werden müssen.
Das Buch konzentriert sich sehr auf Künstler*innen wie Frank Frazetta, Boris Vallejo, Julie Bell, Jeffrey Cahtherine Jones, Sanjulian und Rowena Morrill, die diese Motive ausgiebig bedienen. Aber was ist mit Bruce Pennington, Roger Dean, Alan Lee, Brian Froud, John Howe, Roger und Linda Garland? Von ihnen taucht in dem 500 Seiten starken Buch kein einziges Bild auf (!), obwohl ihre Arbeiten so viel origineller und vielfältiger sind als die der Obengenannten.
Insbesondere Boris Vallejo und Julie Bell, deren Bilder man zum Teil schwer auseinanderhalten kann, ergehen sich bis zum Erbrechen in den abgedroschensten Fantasy-Klischees, die man sich vorstellen kann: Nackte Frauen mit Engelsflügeln, nackte Frauen, die auf einem Pegasus reiten, nackte Frauen, die sich an Drachen schmiegen, … *schnarch*.
Dass Fantasykunst wesentlich mehr kann und auch mal herausfordernd, hintersinnig oder verstörend sein kann, zeigen andere Künstler wie H.R. Giger, Philippe Druillet, Moebius und Michael Whelan, die zum Glück auch mit eigenen Kapiteln im Buch vertreten sind.
February 7, 2024
The book's title is rather misleading. Coverage of artists whose heyday was before 1965 is very skimpy, and the book is in no sense a collection of the greatest fantasy art of all time.
Its subtitle is closer to the mark: "Myth, Muscle, and Sexy Maidens". Of the twelve artists chosen for special focus three belong to the sub-Frazetta school that produces photo-realist depictions of body-builders and babes with maybe a dragon or something to justify the "fantasy" label.
A more comprehensive view of modern fantasy art would see one of the photo-realists replaced with a section on Roy Krenkel. I, personally, would gladly have traded yet another of the photo-realists for George Barr.
One of the other Goodreads reviewers recommends the book as a source of information. I have to say that I wouldn't depend on anything in Hanson's text, which is just about the most error-ridden copy I have ever encountered in my years as an editor. There are mistakes everywhere: in the body of the text and even in the captions. A very few examples: the Freas cover on p.123 illustrates Brackett's "Mars Minus Bisha", not Bradbury's "A Sound of Thunder". "Richard Matson" in the Whelan section should be "Richard Matheson". There is no such poet as "Orlando Furiosa": Hanson is thinking of the epic poem entitled "Orlando Furioso" by Ariosto. There are many, many more errors of this kind.
However, within its limitations, the book is good to look at and worth owning, and I don't regret buying it.
Its subtitle is closer to the mark: "Myth, Muscle, and Sexy Maidens". Of the twelve artists chosen for special focus three belong to the sub-Frazetta school that produces photo-realist depictions of body-builders and babes with maybe a dragon or something to justify the "fantasy" label.
A more comprehensive view of modern fantasy art would see one of the photo-realists replaced with a section on Roy Krenkel. I, personally, would gladly have traded yet another of the photo-realists for George Barr.
One of the other Goodreads reviewers recommends the book as a source of information. I have to say that I wouldn't depend on anything in Hanson's text, which is just about the most error-ridden copy I have ever encountered in my years as an editor. There are mistakes everywhere: in the body of the text and even in the captions. A very few examples: the Freas cover on p.123 illustrates Brackett's "Mars Minus Bisha", not Bradbury's "A Sound of Thunder". "Richard Matson" in the Whelan section should be "Richard Matheson". There is no such poet as "Orlando Furiosa": Hanson is thinking of the epic poem entitled "Orlando Furioso" by Ariosto. There are many, many more errors of this kind.
However, within its limitations, the book is good to look at and worth owning, and I don't regret buying it.
February 12, 2025
Masterpieces of Fantasy Art is a fun and engaging look at how fantasy art evolved from the 1970s to the 2000s. The book covers everything from fantasy and pulp magazines to book and album covers and posters, giving readers a neat overview of how these styles merged and evolved.
The collection features biographies of 12 iconic fantasy artists (with one entry covering a sibling duo, so it’s really 13 stories in all). It’s fascinating to see the diverse paths these artists took—ranging from bodybuilding to hard rock—even including one artist who isn’t even a fan of fantasy stories. Comparing the different artistic styles is a real treat, though I do wish there had been more background on each piece and a complete display of all the artworks mentioned.
A standout design element is the protective flap over the sides—a kind of half dust jacket—that adds an extra dash of flair to the book. On the flip side, the compact format sometimes limits how much you can really enjoy the detailed art, and the gold-printed drawings on a black background at the start of each bio can be a bit hard to make out. Of course the compact format makesa customer friendly pricing possible.
Additionally, it’s a shame that key figures like Anne Stokes and Luis Royo are missing, which leaves the collection feeling a little less diverse than expected.
Overall, this book is a delightful and informative journey through the world of fantasy art. While not completely exhaustive, its unique design and engaging mix of artists make it a worthwhile addition to any art lover’s collection.
The collection features biographies of 12 iconic fantasy artists (with one entry covering a sibling duo, so it’s really 13 stories in all). It’s fascinating to see the diverse paths these artists took—ranging from bodybuilding to hard rock—even including one artist who isn’t even a fan of fantasy stories. Comparing the different artistic styles is a real treat, though I do wish there had been more background on each piece and a complete display of all the artworks mentioned.
A standout design element is the protective flap over the sides—a kind of half dust jacket—that adds an extra dash of flair to the book. On the flip side, the compact format sometimes limits how much you can really enjoy the detailed art, and the gold-printed drawings on a black background at the start of each bio can be a bit hard to make out. Of course the compact format makesa customer friendly pricing possible.
Additionally, it’s a shame that key figures like Anne Stokes and Luis Royo are missing, which leaves the collection feeling a little less diverse than expected.
Overall, this book is a delightful and informative journey through the world of fantasy art. While not completely exhaustive, its unique design and engaging mix of artists make it a worthwhile addition to any art lover’s collection.
August 30, 2025
This is a truly wonderful book-absolutely stunning. It’s overflowing with breathtaking art from some of the most talented names in Fantasy and Science Fiction illustration. (Admittedly, it leans a little heavily on husband and wife Boris Vallejo and Julie Bell, but given their stature, that makes sense.) You'll see art from the likes of Frank Frazetta (a personal favorite), Michael Whelan, Sanjulian, Moebius, Philippe Druillet, The Brothers Hildebrandt, and many more. The length can be deceiving, since about two-thirds of the text repeats in German and French after the English chapters. What’s especially cool, though, is that each language section includes new artwork, so you’re not losing visuals in favor of extra text. I loved this from start to finish. Highly recommended for anyone who enjoys speculative art.
October 7, 2025
Weirdly disappointing for a Taschen book. The physical quality of the book is of course great but the content is another matter.
The texts are mostly uncritical fawning without any depth. The only slightly analytical part is when the author wants for some reason to establish a distiniction between fantasy and sci-fi art with the only argument being "fantasy has dragons" and completely diregards that many illustrators were pretty indiscriminate when it came to genre...and also then including a massive amount of sci-fi artworks, including Giger's Alien, his work for Dune, Star Wars posters, pulp sci-fi covers etc in the actual book.
A bigger problem is also the absolutely uncritical way the blatant sexism and to some degree racism of many of these illustrations and the whole 20th century fantasy/SF publishing establishment is swept under the table or even celebrated. No, not all of use like fantasy art for female butts, sorry. The half naked bodybuilder ladies-style of illustration is overrepresented and got very boring after the 20th or so samey looking non-character posing improbably.
There are some interesting and beautiful artworks in there but I wish there was a lot more variety.
Also, how seriously should a collection of fantasy art be taken that completely ignores the existence of Yoshitaka Amano?
The texts are mostly uncritical fawning without any depth. The only slightly analytical part is when the author wants for some reason to establish a distiniction between fantasy and sci-fi art with the only argument being "fantasy has dragons" and completely diregards that many illustrators were pretty indiscriminate when it came to genre...and also then including a massive amount of sci-fi artworks, including Giger's Alien, his work for Dune, Star Wars posters, pulp sci-fi covers etc in the actual book.
A bigger problem is also the absolutely uncritical way the blatant sexism and to some degree racism of many of these illustrations and the whole 20th century fantasy/SF publishing establishment is swept under the table or even celebrated. No, not all of use like fantasy art for female butts, sorry. The half naked bodybuilder ladies-style of illustration is overrepresented and got very boring after the 20th or so samey looking non-character posing improbably.
There are some interesting and beautiful artworks in there but I wish there was a lot more variety.
Also, how seriously should a collection of fantasy art be taken that completely ignores the existence of Yoshitaka Amano?
October 28, 2021
It's the biggest and one of the most beuatiful books in my library, period. Of course, we all would have chosen one or the other artist different than the ones assembled here (what's up with Alan Lee or Brom for example?), but the little encyclopedia with 50 or so additional artists in the back partly compensates for that. A detail I appreciate, is that the vigilant reader will detect a clear connection between rock/heavy metal-music and fantasy art if he wasn't aware of that before. What I find somewhat irritating, however, is the completely uninformed almost-omission of Celtic Frost in the context of H.R Giger as "local band" whereas in fact it is one of the most important mentioned in this volume and arguably the band closest to Giger's vision. But that doesn't diminish the greatness of this tome in every (other) aspect.
October 20, 2023
Masterpieces? Maybe. There's no attempt to justify why this piece and not another and why this artist and not another. In fact the entire approach is scattershot: half deals with the history and development from the perspective of commercial art, and half is artist profiles. Fortunately the three translations of each written section do not repeat the accompanied artwork, though this does mean that it may reference artwork that you will have to search around to find.
The artist sections have two different styles: either a straightforward biography, or a deconstruction of the artist's style and an analysis of the common themes and features. Of these, the second is more rewarding for being material not easily referenced on Wikipedia.
The collection leans heavily into cheesecake and beyond-cheesecake to the point that I'd feel uncomfortable reading it in public.
The artist sections have two different styles: either a straightforward biography, or a deconstruction of the artist's style and an analysis of the common themes and features. Of these, the second is more rewarding for being material not easily referenced on Wikipedia.
The collection leans heavily into cheesecake and beyond-cheesecake to the point that I'd feel uncomfortable reading it in public.
January 22, 2025
This is propably more me then the book itself but I was not that engaged by the segments on the different artists. Thing is that I have not read many art books so its difficult for me to judge wheter I don't like this specific book and take or art books in general.
Concerning the art itself a beautiful selection of styles, different artists with emphasis on the 1920ties pulp magazines,50ties and 60ties comics the 1970tis Metal Hurlant, 8Oties movie posters and metal album covers up to today with everyting in between up to and including oil paintings. Fantasy art came a long way and it is interesting to see the connections and themes echo through. Something that could have perhaps been given more attention; the censorship aspect.
For the art a yes, for the text? I don't quite know for sure.
Concerning the art itself a beautiful selection of styles, different artists with emphasis on the 1920ties pulp magazines,50ties and 60ties comics the 1970tis Metal Hurlant, 8Oties movie posters and metal album covers up to today with everyting in between up to and including oil paintings. Fantasy art came a long way and it is interesting to see the connections and themes echo through. Something that could have perhaps been given more attention; the censorship aspect.
For the art a yes, for the text? I don't quite know for sure.
January 1, 2025
This Art Book explores the development of Fantasy Art and Fantasy themes throughout History while showcasing many famous and popular artists of their time. I personally grew up with a lot of these artists work in the good ol' Paper Tiger publishing years, so this book holds a lot of nostalgic joy very close to my heart.
Well printed with nice and thick glossy pages, Taschen does not disappoint. The only strange quirk to point out is that the book is written in three languages (English, German, French) per chapter. Which is a...choice. Still, when every page features different examples of art work despite the text I'm certainly not complaining. Overall, it's a fantastic art book and one to treasure!
Well printed with nice and thick glossy pages, Taschen does not disappoint. The only strange quirk to point out is that the book is written in three languages (English, German, French) per chapter. Which is a...choice. Still, when every page features different examples of art work despite the text I'm certainly not complaining. Overall, it's a fantastic art book and one to treasure!
February 3, 2024
This is a book so full of talent and splendor that it would be hard not to appreciate it.
Learning about the most influential SFF artists has been thoroughly engaging; seeing such fascinating people from all over the world create art so full of passion and life... I have found it inspiring, even as a non-artist myself.
The art itself, of which there is a lot, is wonderfully presented here in full colour on high quality paper.
Each chapter is also written in English, French and German, so there can be less time spent reading and more time for oogling the awesome art.
This really is a brilliant piece of non-fiction and art history. Highly recommended.
Learning about the most influential SFF artists has been thoroughly engaging; seeing such fascinating people from all over the world create art so full of passion and life... I have found it inspiring, even as a non-artist myself.
The art itself, of which there is a lot, is wonderfully presented here in full colour on high quality paper.
Each chapter is also written in English, French and German, so there can be less time spent reading and more time for oogling the awesome art.
This really is a brilliant piece of non-fiction and art history. Highly recommended.
December 18, 2024
What a misleading book! There is nothing to justify why the images chosen are the 'masterpieces' and indeed its subtitle is a much more apt description: "Myth, Muscle, and Sexy Maidens".. This book seems outright damaging to the fantasy and fantasy art genres. It absolutely focuses on the period of fantasy art produced by white male artists obsessed with women in little to no clothing, large chests, and men with bodybuilder physiques. It stereotypes fantasy art in the worst way. I might go so far as to say that I hated this book. Frustrated by the contents, I will admit I read very little of the text but the little I did read was filled with typos and needed editing badly.
January 14, 2024
Now affordable in a compact format as part of Taschen’s 40 series, Masterpieces of Fantasy Art attractively presents many fabulous examples of fantastic art, together with essays about the origins and evolving history of the genre, plus brief but heavily illustrated summaries of some of its greatest exponents. The book’s print quality and overall presentation is excellent, with the art filling most pages. This is a fine edition for anyone who appreciates the art of imagination created by many highly creative minds.
January 11, 2026
"Some argue there is no appreciable difference between science fiction and fantasy art. AT first glance they seem so similar: bright primary colors, exciting action, fearless heroes, and improbable scenarios. One however, turns on the possibility; the other, the impossible." pp. 111.
I have a great love of this book, it is greatly inspirational - and being able to recognize the Fantasy art that has shaped much of my recreation and literature, placing the names and faces of the artists to the work - is most incredible.
I have a great love of this book, it is greatly inspirational - and being able to recognize the Fantasy art that has shaped much of my recreation and literature, placing the names and faces of the artists to the work - is most incredible.
August 10, 2024
I fell in love as soon as I saw this book. I'm glad that I could read it. It's a great book for getting information about fantasy art's history and artists' biographies with an interesting and gripping language. At some point I really wished for it to never end. Also, I want to mention that this book contains English, German and French for all of the parts. So if you're learning any of these and looking for books to help, this may be one of them. Apart from these, there isn't anything to say about paper and visual quality as it's just perfect. (*^-^)
August 25, 2025
A fantastic book of fantastic art. Loses a star because the pen/pencil illustrations are presented in negative as gold on black. I can see why they made the choice as it allows it to remain a "full colour" book without any black and white pages to spoil the theme but I'd rather have seen the originals.
Great art with an introduction to the genre and short biographies of the artists.
Great art with an introduction to the genre and short biographies of the artists.
November 11, 2025
I got this to use as inspiration and for reference. For my taste it has too much Boris Vallejo and his copycats, and I absolutely hate his painting style. The rest was interesting, I have discovered a number of interesting painters whose work I found interesting, enjoyable and will use for reference myself, especially when it comes to colour balance.
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