I conceived the task of creating an up-to-date history of Greek color theory and practice, which is inextricably intertwined with the philosophy of the Four Elements, using all the scholarly resources of the twentieth century. On the other hand, I realized the necessity of preparing a separate treatise (which is The Inner Nature of Color) to relate the results of my research to the inexhaustibly fruitful spiritual research of Rudolf Steiner, so as to try to contribute to a new understanding of the background out of which it arose. The fact that any intimate knowledge about the spirituality of the ancient world and, above all, its relation to the present has not only dropped out of the intellectual life of today, but in some quarters is actually impugned, seems reason enough to offer this study for whatever use anthroposophists or anyone else can make of it." --J. Leonard Benson In this fascinating work, J. Leonard Benson describes the spiritual and esoteric nature of color in relation to the four elements--fire, earth, air and water. Based on insights provided by Rudolf Steiner and a deep knowledge of classical cosmology and color theory, this book shows how an understanding of the inner nature of color leads to a completely different view of the world and evolution than is current in our present civilization--one completely at odds with the ruling neo-Darwinian paradigm. The Inner Nature of Color will be of interest to artists, art historians, spiritual seekers, and anyone who has ever been struck by the remarkable beauty of our colored world and wondered what it means.
The long-awaited final part of the publication of the Corinth Potters' Quarter is based on the work of the excavator, A. N. Stillwell, edited and supplemented after her death by J. L. Benson. The pottery, although frequently fragmentary, can often be assigned to known painters or workshops, and the deposits, especially in view of the defective pieces in them, can be argued to contain material almost exclusively of local manufacture. A brief introduction serves to explain the organization of the catalogue and to characterize the principal deposits, most of which contained material from several periods; a summary of represented painters and workshops concludes the chapter. The catalogue presents over 2,300 examples from more than 4,000 inventoried pieces. Almost all are illustrated with photographs, frequently supplemented with detail line drawings of motifs; selected profile drawings represent the principal shapes. A new foldout plan of the Potters' Quarter is included.
With more than 130 readings and 24 pages of visual arguments, Conversations offers an extraordinary variety of authors, genres, voices, and viewpoints on important contemporary civic issues. Touching on issues that affect students both as individuals and as citizens, the readings and visuals invite students to join important civic conversations through their own writing. For each issue addressed, Conversations offers not just one or two selections, but several--reminding students that no issue has just one or two sides, but usually involves a wide range of voices. Frequently, selections comment on and argue with other selections, demonstrating that writing is a social exchange, and that much writing is a response to what we read. The images included in this new edition also remind students that we regularly read--interpret and respond to--not only words, but visual arguments found in photographs, artworks, cartoons, advertisements, and websites.
This invaluable biography of trumpeter and jazz-bebop-fusion innovator Miles Davis (1926–1991) includes a substantial new introduction that for the first time details Davis's turbulent last decade; the drawing and painting that became an additional creative outlet; the musical lows of his final “Freaky Deaky” years; the family warfare that has erupted over his last will and testament; and—in a long-awaited exposé—the truth behind Davis's so-called Autobiography, the book that “borrowed” gigantic portions from Milestones and passed them off as Davis's. Jack Chambers breaks his silence to discuss the extent of the “borrowing” and who was responsible. Here is the last word on the music and controversial life of Miles Davis.
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