He owed his livelihood to the Tanners, not to mentionhis life. So when asked to keep an eye on theirestranged family member, Luke Jordan agreed. Heanswered Lauren Tanner's handy man ad…as directed…to spy on her.Soon the lovely new resdient of Tanner's Crossingbecame more than just an assignment for him. Shewas sensual, bold and able to look beyond the scarsLuke could never ignore. But she was of Tanner bloodand therefore hands-off. Until the threats began andhe questioned which Tanner deserved his allegiance…for all time.
This book examines the life and work of artist Henry Ossawa Tanner. He was one of the most celebrated American artists of his era, yet, largely because of his race, he quickly vanished from recorded accounts of the period in which he worked. This book helps restore his legacy.
Mathews's standard biography of Henry Ossawa Tanner (1859-1937), based on extensive research in archives in this country and family records in France. An important artist in the salons of Paris, Tanner was born and studied in Philadelphia but left America for Europe, where his race would not stand in the way of his ambition. Providing a full account of the artist's life and art, Henry Ossawa Tanner gives readers insight into the art trends of the nineteenth and early twentieth centuries as well as into the struggle of African Americans of this period. "[Tanner] ranks not only as the first truly distinguished Negro American artist but as one of America's first outstanding successes in the salons of Europe. In this work [Mathews] has significantly added to our knowledge of the history of American art."—John Hope Franklin, from the Foreword "The book gives the main facts of Tanner's life and successfully places his artistic work in its historic context....It is a welcome and useful volume."—August Meier, Journal of American History
Divine Agency and Divine Action, Volume I lays the groundwork for a constructive contribution to the contemporary debate regarding divine action. Noted scholar, William J. Abraham argues that the concept of divine action is not a closed concept-like knowledge-but an open concept with a variety of context-dependent meanings. The volume charts the history of debate about divine action among key Anglophone philosophers of religion, and observes that they were largely committed to this erroneous understanding of divine action as a closed concept. After developing an argument that divine action should be understood as an open, fluid concept, Abraham engages the work of William Alston, Process metaphysics, quantum physics, analytic Thomist philosophy of religion, and the theology of Kathryn Tanner. Abraham argues that divine action as an open concept must be shaped by distinctly theological considerations, and thus all future work on divine action among philosophers of religion must change to accord with this vision. Only deep engagement with the Christian theological tradition will remedy the problems ailing contemporary discourse on divine action.
Divine Agency and Divine Action, Volume I lays the groundwork for a constructive contribution to the contemporary debate regarding divine action. Noted scholar William J. Abraham argues that the concept of divine action is not a closed concept--like knowledge--but an open concept with a variety of context-dependent meanings. This volume charts the history of debate about divine action among key Anglophone philosophers of religion, and observes that they were largely committed to this erroneous understanding of divine action as a closed concept. After developing an argument that divine action should be understood as an open, fluid concept, Abraham engages the work of William Alston, Process metaphysics, quantum physics, analytic Thomist philosophy of religion, and the theology of Kathryn Tanner. Abraham argues that divine action as an open concept must be shaped by distinctly theological considerations, and thus all future work on divine action among philosophers of religion must change to accord with this vision. Only deep engagement with the Christian theological tradition will remedy the problems ailing contemporary discourse on divine action.
A few half-truths got him through the front door. A few more white lies had him living in her house. Texan Sam Forrester never planned on such subterfuge when he set out to honor a promise. His mission was to get answers from the lovely Leah Kittrell…and she wouldn't have allowed him access to her home, to her life, if she knew who he really was. But what should have been a simple business matter turned into a tumultuous affair. Sam soon found himself in Leah's bed and knew that once she discovered the truth, his treachery would prove unforgivable.
“This book constitutes a very welcome contribution to the public appreciation and scholarly study of Henry Ossawa Tanner, a painter of considerable significance in both Europe and America, and one whose religious imagery merits careful consideration. These well-researched essays by an international team of scholars offer substantial reflections on complex issues of race and religion, and situate the artist’s work and career within the context of his life and times. This is a robust framing of Tanner as a cultural phenomenon and one that readers will find quite rewarding.”—David Morgan, Professor of Religion at Duke University and author of The Embodied Eye: Religious Visual Culture and the Social Life of Feeling “Henry Ossawa Tanner has finally been recognized as an important artist in the last twenty years, and is now firmly part of the American canon as the first major African American painter to emerge from the academy. This book enriches our understanding of Tanner’s historic place in American art by considering his work as an early modernist religious artist—a status entwined with his race, but not defined by it. These essays, by an impressive collection of scholars, are full of substantially new material, and succeed in broadening our conception of Tanner’s life and work.”—Bruce Robertson, Professor of Art and Architecture at the University of California, Santa Barbara.
"I need you, Alli." -- Mark Hartman, desperate new dad Did Mark mean what Alison Lind hoped? Was her boss declaring his passion for her? Did he really feel the same way she secretly felt for him? Apparently not. Turned out that what Alison wanted and what Mark needed were two different things. Instead of asking her to be his lover, he was asking her to be temporary nanny to his baby niece. Not an ounce of desire in sight. Or was there? Living together, spending time in intimate surroundings, created a sensual tension too powerful to ignore. How long before this strictly business relationship turned into a strictly passionate predicament?
In honour of Doris Humphrey's centennial, which was celebrated worldwide in 1995, this issue explores her legacy to the world of dance and her place in history. The varied aspects of her work are covered including choreography, teaching approach, Labanotation scores, reconstruction/recreations, and composition. In order to convey a sense of movement into the next century, the articles are presented in "chronological" order, beginning with that of Ernestine Stodelle, who worked with Humphrey during the 1920's and ending with an examination of Mindlin's 1995 experience learning Humphrey's work from Stodelle.
