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The Colossus of 1812

Author: Lee H. Nelson

Publisher: ASCE Publications

Published: 1990

Total Pages: 80

ISBN-13:

Lee Nelson narrates the structural evolution in bridge design that culminated with the Colossus of Philadelphia, a 340 ft, clear span wooden bridge designed and built by Lewis Wernwag in 1812.

The Naval War of 1812; Or, the History of the United States Navy During the Last War with Great Britain, to Which Is Appended an Account of the Battle of New Orleans; Volume 1

Author: Theodore Roosevelt

Publisher: Franklin Classics

Published: 2018-10-12

Total Pages: 398

ISBN-13: 9780342577903

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Francisco Goya

Author: Paul Rockett

Publisher: The Rosen Publishing Group, Inc

Published: 2015-12-15

Total Pages: 50

ISBN-13: 1508170584

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The eighteenth-century Spanish artist Francisco Goya is renowned for challenging conventional notions of art and inspiring later movements such as Romanticism, Impressionism, and Surrealism. Unafraid of pushing the boundaries of tradition, Goya created scenes of human suffering as well as fantastical images such as witches and demons, though he was also a skilled portraitist and painted events such as Napoleon’s 1808 invasion of Spain. Filled with paintings from every stage of Goya’s career, this resource highlights why he has been such an inspiration to modern artists, especially those who use their art to express the unspeakable.

The Grove Encyclopedia of Materials and Techniques in Art

Author: Gerald W. R. Ward

Publisher:

Published: 2008

Total Pages: 848

ISBN-13: 0195313917

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"The Grove Encyclopedia of Materials and Techniques deals with all aspects of materials, techniques, conservation, and restoration in both traditional and nontraditional media, including ceramics, sculpture, metalwork, painting, works on paper, textiles, video, digital art, and more. Drawing upon the expansive scholarship in The Dictionary of Art and adding new entries, this work is a comprehensive reference resource for artists, art dealers, collectors, curators, conservators, students, researchers, and scholars." "Similar in design to The Grove Encyclopedia of Decorative Arts, this one-volume reference work contains articles of various lengths in alphabetical order. The shorter, more factual articles are combined with larger, multi-section articles tracing the development of materials and techniques in various geographical locations. The Encyclopedia provides unparalleled scope and depth, and it offers fully updated articles and bibliography as well as over 150 illustrations and color plates." "The Grove Encyclopedia of Materials and Techniques offers scholarly information on materials and techniques in art for anyone who studies, creates, collects, or deals in works of art. The entries are written to be accessible to a wide range of readers, and the work is designed as a reliable and convenient resource covering this essential area in the visual arts."

Goya's "black" Paintings

Author: Priscilla E. Muller

Publisher:

Published: 1984

Total Pages: 264

ISBN-13:

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"A review of Goya's life as it unfolded before he bought the quinta in 1819 will provide an impression of the complexion of the man who soon offered such awe-inspiring imagery on the walls of two of its rooms. An examination of the quinta setting which yields a somewhat revised plan of how the 'black' paintings were seen will then demonstrate that the paintings were envisioned as a program consisteing of two separate, though not unrelated, cycles. (Unhappily, Goya's placement of the scenes cannot yet be repeated in full.) An analysis of the subjects set forth upon the quinta walls will illustrate the significances and relevancies they should have held at the time in which the were created, and thus, their raison d'être. A consideration of possible antecedents which may have given impetus to the formulation and format of the program, and indications of Goya's alertness to works by his contemporaries in art, literature and the theater, will furnish insight into the plans he may have held for the 'black' paintintgs he brushed with such urgency within his quinta rooms."--Introduction, page 13