Kenyon Cox was a leading American painter in the classical style and a traditionalist art critic. This collection of his private correspondence charts his personal life and career development, and provides an insight into the inner workings of the American art scene.
Kenyon Cox (1856-1919) studied painting in Paris from the fall of 1877 to the fall of 1882. These edited letters, written to his parents in Ohio, describe Cox's daily routine and explicate French art teaching both in the academic setting of the Ecole des Beaux-Arts and in private ateliers, such as those of Emile Carolus-Duran and Rodolphe Julian. The letters are important for insight into this system and into Paris art student life in general. Cox was an academic, committed to learning traditional drawing and composition before establishing his own artistic identity. Most of the students who crowded the ateliers and academics of Paris shared this view, and Cox's experiences and opinions, often pungently expressed, were thus more typical of this great majority than were those of experimenters such as the impressionists, who were gaining notice while Cox was in Paris. He commented frequently on current fads, fancies, and serious developments in the art world during this transitional period. Cox also described his life and travels outside the academy. These letters are a valuable commentary on the culture of late nineteeth-century Europe. He reported on concerts, operas, plays, paintings, and literature, and the varied kinds of life--the look of the land, towns, buildings, and people--he encountered during his summer travels to the Seine valley, northern Italy, and the artist colony in Grez, south of Paris. Art critics, historians, and collectors of traditional and academic art of this period will find this book the beginnings of the traditionalist view for which Cox later became famous. In addition, the letters are an often moving chapter in the development of an intellectually precocious young man from the American Midwest who was determined to become a painter with ideas as well as skill.
This classic textbook has provided students of medical law and ethics with a framework for exploring this fascinating subject for over 30 years. This book provides extensive coverage and insight into recent judicial decisions and statutory developments across the United Kingdom alongside the authors' own opinion on current debates and controversies to help you to formulate your own views and arguments. The tenth edition has evolved to reflect changes in the law and shifting ethical opinions. In setting the UK context, it continues to take a comparative approach, including reference to the Scottish position where relevant. A specific chapter on the European dimension in health care and the particular importance attached to this shift in influence from transatlantic jurisdictions to those of the EU is included. Mason & McCall Smith's Law & Medical Ethics is essential reading for any serious medical law student or practitioner. Book jacket.
Kenyon Cox was a leading American painter in the classical style and a traditionalist art critic. This collection of his private correspondence charts his personal life and career development, and provides an insight into the inner workings of the American art scene.
Kenyon Cox (1856-1919) studied painting in Paris from the fall of 1877 to the fall of 1882. These edited letters, written to his parents in Ohio, describe Cox's daily routine and explicate French art teaching both in the academic setting of the Ecole des Beaux-Arts and in private ateliers, such as those of Emile Carolus-Duran and Rodolphe Julian. The letters are important for insight into this system and into Paris art student life in general. Cox was an academic, committed to learning traditional drawing and composition before establishing his own artistic identity. Most of the students who crowded the ateliers and academics of Paris shared this view, and Cox's experiences and opinions, often pungently expressed, were thus more typical of this great majority than were those of experimenters such as the impressionists, who were gaining notice while Cox was in Paris. He commented frequently on current fads, fancies, and serious developments in the art world during this transitional period. Cox also described his life and travels outside the academy. These letters are a valuable commentary on the culture of late nineteeth-century Europe. He reported on concerts, operas, plays, paintings, and literature, and the varied kinds of life--the look of the land, towns, buildings, and people--he encountered during his summer travels to the Seine valley, northern Italy, and the artist colony in Grez, south of Paris. Art critics, historians, and collectors of traditional and academic art of this period will find this book the beginnings of the traditionalist view for which Cox later became famous. In addition, the letters are an often moving chapter in the development of an intellectually precocious young man from the American Midwest who was determined to become a painter with ideas as well as skill.
This new handbook provides a practical, day-to-day reference guide to assist clinicians in assessing and managing the most common musculoskeletal problems they encounter in their practice. Written by a GP with an extended role in msk medicine and an advanced practice physiotherapist and informed by their combined years of clinical experience, it provides an overview of pathology and guides the reader through assessment, examination, tests and scans, and management. Easy to follow and use as well as comprehensively referenced and evidence-based, this title will prove indispensable for clinicians across disciplinary boundaries, from First Contact Practitioners and GPs to physiotherapists, nurses and paramedics. - Designed to support evidence-based clinical reasoning and decision making - Easy to reference summaries of the most common musculoskeletal pathologies encountered in practice - Descriptions of diagnostic scans and tests, what they are and when they're used - Detailed sections on relevant anatomy and nerve pathways - Principles of management of both regional and systemic musculoskeletal disorders - Detailed descriptions of the most common medications used to treat pain - Information on blood tests with a quick reference guide to their interpretation - A wealth of quick reference appendices for use in every day practice
On February 17, 1913, the American Association of Painters and Sculptors opened the Armory Show in New York. The ad-hoc association had started out with the modest goal of showing some of the "new" art coming out of Europe--Duchamp, Matisse, Picasso and many more of today’s acknowledged masters. What they ultimately created was a sprawling showcase of some of the most ground-breaking (many said subversive) art America had ever seen. "For and Against" is the frank and engaging account of this historic show's original reception, capturing the full range of impassioned opinion both for and against the new art. First published, remarkably, by the show's organizers and sold at its Chicago venue, "For and Against" has long been out of print, but this new, expanded edition brings the Armory story to life once again.
On February 17, 1913, the American Association of Painters and Sculptors opened the Armory Show in New York. The ad-hoc association had started out with the modest goal of showing some of the ¿new¿ art coming out of Europe--Duchamp, Matisse, Picasso and many more of today¿s acknowledged masters. What they ultimately created was a sprawling showcase of some of the most ground-breaking (many said subversive) art America had ever seen. This volume includes original documents from this exhibition, and collects the complete text of "For and Against: Views on the Infamous 1913 Armory Show" (ISBN 978-0-9823257-1-1) and "The New Spirit: Pamphlets from the Infamous 1913 Armory Show" (ISBN 978-0-9823257-2-8)
What causes us as a people of faith to think and act the way we think and act? Are we motivated by whatever is most practical, by a particular understanding of Scripture, by the influence of the culture around us, or by something more profound? On the premise that Pentecostalism does have much to contribute to the study of ethics, this book explores how one group, the American Assemblies of God, has wrestled with issues of racism, women in ministry, and Christian involvement in war. In the process, readers are invited to examine the connection—or disconnect—between what we believe and how we live out our faith.
The Puritans of popular memory are dour figures, characterized by humorless toil at best and witch trials at worst. “Puritan” is an insult reserved for prudes, prigs, or oppressors. Antebellum American abolitionists, however, would be shocked to hear this. They fervently embraced the idea that Puritans were in fact pioneers of revolutionary dissent and invoked their name and ideas as part of their antislavery crusade. Puritan Spirits in the Abolitionist Imagination reveals how the leaders of the nineteenth-century abolitionist movement—from landmark figures like Ralph Waldo Emerson to scores of lesser-known writers and orators—drew upon the Puritan tradition to shape their politics and personae. In a striking instance of selective memory, reimagined aspects of Puritan history proved to be potent catalysts for abolitionist minds. Black writers lauded slave rebels as new Puritan soldiers, female antislavery militias in Kansas were cast as modern Pilgrims, and a direct lineage of radical democracy was traced from these early New Englanders through the American and French Revolutions to the abolitionist movement, deemed a “Second Reformation” by some. Kenyon Gradert recovers a striking influence on abolitionism and recasts our understanding of puritanism, often seen as a strictly conservative ideology, averse to the worldly rebellion demanded by abolitionists.
This book acts as a stimulus to further debate and discussion about the archaeology and architecture of the medieval diocese of Llandaff. It presents work at Cardiff and Skenfrith castles and focuses on buildings at Caldicot and Raglan.
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