Mary Cassatt was an American impressionist painter who depicted the lives of women, chiefly the intimate bond between mother and child. Degas and Pissarro would later become her mentors and fellow painters. She began studying art seriously at the age of 15, at a time when only around twenty percent of all arts students were female. Unlike many of the other female students, she was determined to make art her career, rather than just a social skill. She was disappointed at her art education in the United States, and moved to Paris to study art under private tutors in Paris. Her mother and family friends traveled with her to France, acting as chaperones. In Europe, Cassatt’s paintings were better received, increasing her prospects, and exhibited in the Salon of 1872, selling a painting. She exhibited every year at the Paris Salon until 1877, when all her works were rejected. Distraught at her rejection, she turned to the Impressionists, who welcomed her with welcome arms. Deciding early in her career that marriage was not an option, Cassatt never married, and spent much of her time with her sister Lydia, until her death in 1882, which left Mary unable to work for a short time. As her career progressed, her critical reputation grew, and she was often touted, along with Degas, as the one of the best exhibitors at the Impressionist Salon. She was awarded the French Legion of Honor in 1906.
Henry Fuseli (1741 – 1825) was a Swiss painter, draughtsman, and writer on art, who worked and spent most of his life in Britain. As a painter, Fuseli favored the supernatural. He pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting. In this theory he was confirmed by the study of Michelangelo's works and the marble statues of the Monte Cavallo, which, when at Rome, he liked to contemplate in the evening, relieved against a murky sky or illuminated by lightning. The violent and intemperate action which he often displays, in the conventional wisdom, destroys the grand effect of many of his pieces. Fuseli painted more than 200 pictures, but he exhibited only a small number of them.
Sometimes fear and shyness can isolate us from the world. This tender story, printed on stone paper, reminds us of the importance of believing in yourself and in true friendship. Valeria is a little bunny who loves learning new things and go to school. She has a great time counting all the fingers of her hand and pronouncing the names of the colors of a sparkling rainbow. However, Valeria is very very shy and she tries not to stand down by speaking softly that hardly anyone could hear her. She didn’t know the power that was in her laugh, and she held it in, so it wouldn’t escape, the strength of her hugs and her kisses, which she kept all to herself. Valeria always walked looking down at the ground, and that's why she never stumbled! She recognized all of her classmates not by their faces... but by their shoes! But when she least expects it, her inseparable hat flies away, and then Valeria is forced to look up and watch everything that she had missed up to that moment.
This new volume in the book series New Concepts in Polymer Science focuses on the problem of creating materials with reduced combustibility as well as the use of polymeric materials for protection from fire or overheating. The majority of polymeric materials are combustible, which has led to the development of polymers, and materials based on these, with reduced combustibility. However the combustibility degree or their ability to protect from fire or high temperature can be indicated only in particular cases of combustion. In this volume the results of the development of physicochemical bases for creating organic polymeric materials with reduced combustibility, which are capable of protecting against high temperatures are discussed. A presentation of chlorinated polyolefins as organic polymers with reduced combustibility is also given.
A Chicana graduate student learns of a cover-up of the police shooting a young Chicano laborer named Puppet. Both a mystery and a call-to-action novel, Puppet is an underground classic. This is a bilingual edition - Spanish and English.
This book presents chemical analyses of our most pressing waste, pollution, and resource problems for the undergraduate or graduate student. The distinctive holistic approach provides both a solid ground in theory, as well as a laboratory manual detailing introductory and advanced experimental applications. The laboratory procedures are presented at microscale conditions, for minimum waste and maximum economy. This work fulfills an urgent need for an introductory text in environmental chemistry combining theory and practice, and is a valuable tool for preparing the next generation of environmental scientists.
STORIES FROM THE BARRIO AND OTHER 'HOODS began as a collection of stories for Margarita Velez' children. She moved around the country with her husband and feared the children would miss the family hearth she experienced as a child. She wrote a permanent record of the people, customs and traditions that were integral in her life. Margarita Velez weaves her recollections of Abuelita, Mama, Papa and his exploits in the war and an assortment of relatives and other people who influenced her life. There's the man who sold bananas and painted his philosophy on cardboard signs nailed to the horsedrawn wagon. In charming, poignant stories, Velez tells about growing up in El Paso, Texas where the international flavor of the desert city blends like a good salsa, with enough spice to whet anybody's appetite. Readers will enjoy Margarita's stories because they are told in a way that makes everyone relate to them.
First published in 1937, India captures the tense and tumultuous developments in India that would eventually result in her freedom a decade later. The author, unaware of this future of freedom, still holds hope for India’s continued existence under the British Commonwealth even as she meticulously records India’s vacillating constitutional status over several Round Table Conferences. The Conferences reveal what the author considers India’s greatest problem: protracted strife within various religious and social communities. The casual racism and the superiority complex spread across the book is a reminder that the author thinks and talks like a coloniser, but if one can get past that, the book will prove to be an engaging read with its interesting anecdotes, astute observations, and a failed prediction. Students of postcolonial studies, history, ethnic studies, colonial history, and journalism will greatly benefit from reading this book.
Incluye una selección de las ponencias en el Primer Congreso Internacional sobre Aproximaciones Lingüísticas a la Descripción de la Comida y del Vino, que tuvo lugar en Madrid en mayo de 2009.
Are any of these plants dangerous, and do any of them really work? Where did they come from, and where are they available now? How can health-care practitioners gain the confidence of their patients to learn whether they are using alternative medicines for specific illnesses, symptoms, or injuries? Perhaps most intriguing, which of these plants might be waiting to take the place of known antibiotics as pathological organisms become increasingly resistant to modern miracle drugs?
Henry Fuseli (1741 – 1825) was a Swiss painter, draughtsman, and writer on art, who worked and spent most of his life in Britain. As a painter, Fuseli favored the supernatural. He pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting. In this theory he was confirmed by the study of Michelangelo's works and the marble statues of the Monte Cavallo, which, when at Rome, he liked to contemplate in the evening, relieved against a murky sky or illuminated by lightning. The violent and intemperate action which he often displays, in the conventional wisdom, destroys the grand effect of many of his pieces. Fuseli painted more than 200 pictures, but he exhibited only a small number of them.
This is the theory of the things that make me up and tear me apart. I am the theory. I am exactly and nothing like anything you will read in this book. Everyone loves a Margarita, (or so I've heard). I'm here to test the theory.
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