John McEwen

This pleasant book, easy on the eye and (as importantly with art books) the thigh, has a pretty picture containing a dog or cat on virtually every page, so the fact that its extended essay of a text is disappointing hardly matters. To give Professor Rubin his due he tries to descend from his academic rostrum and treat the subject as a pet-lover as much as an art historian. That the book is dedicated to a couple of cats, Coco and Girlfriend, carries coochy-coo too far; but it is refreshing these deconstructive days to hear he ‘adores Impressionist paintings and quotidian quadrupeds’ — even if one could do without the prolixity.

This handsome book should be given to all those non-Waltonians who say, 'I don't fish because I haven't got the patience', because it shows that fishing is ultimately about contemplation. Winslow Homer: Artist and Angler is an exhibition catalogue for the show which was recently at the Fine Arts Museums of San Francisco and soon will be at the Amon Carter Museum, Fort Worth (11 April-2 June); but it is presented as a book, and an exceptionally pleasing one, thanks to the fidelity of the illustrations and the generosity of Ann Karlstrom's design. The text inevitably is very much the bread of the sandwich.

This book succeeds The Painters of Ireland, published in 1978, which established the Knight of Glin and Anne Crookshank as supreme authorities on the subject. The update adds a further 20 years and takes account of an abundance of new research; but it remains what they describe as 'a general survey on traditional lines', a simple, chronological, account in what some critics of their first collaboration disapprovingly called 'a conversational style'. What a relief, will surely be most readers' reaction. The authors have no delusions of grandeur. They quote the artist and critic, Brian O'Doherty, who has described Irish art as 'the gate lodge beside the big house of Irish Writing'.