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e) (Sporre 32) could be illustrated with the description of devastating toil and health losses which Sistine Chapel actually came to be for Michelangelo ("Michelangelo Paints the Sistine Chapel"). Plausibly, such explications are often given in the passages about photography: for instance, Stieglitz took his city photos with a new technology that allowed depicting the streets in motion but was virtually impossible for the previous generation of photographers (Sporre 41). Another interesting case of technique description occurs in the paragraph distinguishing between baroque and post-impressionism: the latter, Sporre insists, was more formalistic in a sense that it exhibited rather the very tools of picture making (brush strokes etc.) than mere content (31).
The list of exemplifying works is remarkable for its multiculturality: Sporre includes not only acknowledged Western painters but also the work by Native American watercolor painter Harrison Begay and Thomas Joshua Cooper’s photography with intriguing description (42); the author also mentions social and gender problems in the discussion of Dorothea Lange’s (45) and Betye Saar’s (33) works. Some of the described techniques and painting characteristics are distinctly Asian: for instance, wash and brush technique (Sporre 30) and shifting perspective (Sporre 58-59). What the chapter lacks is a section about painting and photography genres: there is a whole body of landscape, portrait, and still life theory that is useful in artwork interpretation.
A separate section is dedicated to the theory of colors (grayscale and the variety of colors) (Sporre 51-52). This section could be useful not only for art connoisseurs but also for those who would like to master graphic redactors. Again, several passages about optics could be added to this section, but it already contains enough of useful information.
Begay, Harrison. Women Picking Corn. N. d. National Museum of American Indian, Smithsonian Institution. Sporre,
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