For a more or less complete volume, you might look at Bergman's own book,
Images, which gives Bergman's film-by-film appraisal of his work, with anecdotes, reflections, etc. However, I personally think that reading a filmmaker's thoughts on his/her own work can be stifling and even dull -- they are obviously going to be rather biased about their own work. (Hitchcock, for example, is very dismissive of much of his work in the Truffaut book, so it's not the best thing to read in tandem with the films, especially on first viewing.)
My favorite book on Bergman, and one that I've championed ad nauseum on this forum before, is
The Films of Ingmar Bergman, written by an undergrad professor of mine, Jesse Kalin. He's a philosopher and comes at Bergman with a strongly Cavellian bent, meaning he's smart, but quite readable, not rigorously academic or jargony. (I also think that while Cavell applied his model of skepticism to screwball comedy and Hitchcock, Bergman is actually much more appropriate -- emotional skepticism being at the very heart of Bergman's films. But that's another discussion entirely.) Kalin's book does not linger over every film: he has chapters on
Sawdust and Tinsel, The Seventh Seal and
Wild Strawberries, Smiles of a Summer Night, Shame, Cries and Whispers and
Scenes from a Marriage, and
Fanny and Alexander, with digressions about other films. But the book provides a very good framework (and the last three chapters are masterful readings of those films) and illuminates the fundamental cohesiveness of Bergman's career as a whole. This may be a good book to pick up if you're looking more for overarching themes (with some context) than individual film interpretations. It provides a useful model with which you can approach the rest of Bergman's films on your own.
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