Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.
Experience this amazing re-imagining of Pride and Prejudice, Jane Austen's classic story of love and misunderstanding. This modern edition features illustrations for a new range of readers.
After years of pinching pennies and struggling to get through art school, Emma Makie's hard work finally pays off with the offer of a dream job. But when tragedy strikes, she has no choice but to make a cross-country move to Colorado Springs to take temporary custody of her two nieces. She has no money, no job prospects, and no idea how to be a mother to two little girls, but she isn't about to let that stop her. Nor is she about to accept the help of Kevin Grantham, her handsome neighbor, who seems to think she's incapable of doing anything on her own. Prejudice Meets Pride is the story of a guy who thinks he has it all figured out and a girl who isn't afraid to show him that he doesn't. It's about learning what it means to trust, figuring out how to give and to take, and realizing that not everyone gets to pick the person they fall in love with. Sometimes, love picks them.
In Elizabethan England, dramatists and painters were both achieving the greatest degree of artistic excellence yet witnessed, but they were also in a state of transition, vying for social status and patronage, as well as struggling against religious reformers' accusations of idolatry and eroticism. This interdisciplinary study brings to light the radical, inventive ways in which dramatists such as Shakespeare, Lyly, and Marston appropriated painting and subtly competed with painters to advance their own art and defend theater against Puritan attacks. They transformed painting into a provocative stage property and trope that enhanced the language of their scripts and the audience's imaginative participation in the drama. At the same time, they reflected a profound ambivalence towards painting by staging scenes with painters and pictures that emphasized the dangerous powers inherent in visual images and image-making.
Overturning the long-held assumption that the Xuanhe Catalogue of Paintings was the work of the Northern Song emperor Huizong (r. 1100–1126), Amy McNair argues that it was compiled instead under the direction of Liang Shicheng. Liang, a high-ranking eunuch official who sought to raise his social status from that of despised menial to educated elite, had privileged access to the emperor and palace. McNair’s study, based on her translation and extensive analysis of the text of the Xuanhe Catalogue of Paintings, offers a definitive argument for the authorship of this major landmark in Chinese painting criticism and clarifies why and how it was compiled. The Painting Master’s Shame describes the remarkable circumstances of the period around 1120, when the catalogue was written. The political struggles over the New Policies, the promotion of the “scholar amateur” ideal in painting criticism and practice, and the rise of eunuch court officials as a powerful class converged to allow those officials the unprecedented opportunity to enhance their prestige through scholarly activities and politics. McNair analyzes the catalogue’s central polemical narrative—the humiliation of the high-ranking minister mistakenly called by the lowly title “Painting Master”—as the key to understanding Liang Shicheng’s methods and motives.
"Previous accounts remember Nevinson as a Futurist and war painter, but in recent years academic interest has grown in his role in the inter-war period and the Second World War. ... Painter, social commentator, novelist and society host, Nevinson can now be remembered as a prominent and distinguished artist of his generation. ... This book gives the reader a wider understanding of the changing cultural landscape of Britain between 1889 and 1946 ..."--Page 4 of cover.
Today my name is colorful. Yesterday my name was dead souls. Tomorrow my name will be lively spirits. My friends think my name is fire. The police think my name is burden. My parents think my name is symphony. Secretly I know my name is anything I want it to be. Paint Me Like I Am is a collection of poems by teens who have taken part in writing programs run by a national nonprofit organization called WritersCorps. To read the words of these young people is to hear the diverse voices of teenagers everywhere. Included are a foreward by acclaimed poet Nikki Giovanni, an essay from Kevin Powell, another poet associated with WritersCorps, and writing tips from WritersCorps instructors. WritersCorps was started in 1994 to help at-risk youth in three American urban centers: San Francisco, Washington, DC, and New York City (the Bronx). Thousands of children and teenagers have since benefited from finding creative expression through writing.
When thinking about the title for this book....early on, I thought of the idea that man will fade from sight but will never vanish....Life is good and bad, happy and sad....We come and go with nothing to show....But our souls in the mist thus the title for this....EVANESCE.... ....Enjoy......God Bless....
