When I began sculpting stone in the late 1990’s, several seasoned sculptors recommended Liebson’s book to me for additional guidance. I found the book to be most helpful and it has occupied a prominent spot on my bookshelf since. Particularly with the growing number of new NWWSA members in mind, I decided that Liebson’s book would be appropriate to review to inaugurate this column.
As for many of our members, stone sculpture was a second career for Liebson. After attaining success in business, he took up painting and then moved on to stone sculpture where he has received a good deal of recognition. For many years he has taught direct stone sculpture at Mercer County College, Artworks (The Visual Art School of Princeton), and the Clearbrook Community Association; all in New Jersey.
Direct Stone Sculpture begins with a photographic overview of early 20th century stone sculpture, which includes work by Rodin, Modigliani, Brancusi, and others. A latter chapter features more recent work by artists such as Arp, Noguchi, Moore, and Rivera.
The instructional chapters cover stone essentials, the use of basic tools, direct carving, power tools, advanced techniques, and marketing. The book closes with a bibliography, suggested readings list, and a list of suppliers (mostly from the East coast).
Liebson’s extensive teaching experience is well reflected in his writing. His instructions and advice are clear and concise, and he does not hesitate to offer his opinions derived from his years of practice. Throughout the book, his commentary is supplemented with numerous helpful photos and illustrations. Although he does include a relatively short, basic chapter on power tools, he makes it very obvious that he feels that the mastery of hand tools is of the utmost importance to the beginning sculptor.
For this reason, while advanced, power carvers may certainly learn some important “tricks of the trade” from the book, they might be better served by attending some of Dan Michael’s excellent power tool workshops at one of NWSSA’s symposia.
The only significant difference between the two editions of this book is the inclusion of a chapter in the second edition on the work of some of Liebson’s students. The photos of these works, as well as those of the author, offer a variety of forms that should stimulate the imagination.
I recommend this fine “how-to-do-it” book for your serious consideration. I think you will find it to be a valuable addition to your bag of tools.
