Model, film star, socialite, friend, lover, addict, Edie Sedgwick was the first "it" girl of the Andy Warhol Factory scene and later muse to Bob Dylan. The arc of Edie's life traced the rise and fall of the 1960sfrom idyllic experimentation to dissolute recklessness. After being toasted by the whole of New York City, Edie died alone of a drug overdose in California at the age of 28. David Weisman (with John Palmer) filmed Edie for the last five years of her life in his cult film Ciao! Manhattan. When he recently uncovered lost footage of Edie, David was inspired to create Edie: Girl on Fire, a book and a documentary film that explores Edie's true story. He and coauthor Melissa Painter have tracked down and interviewed many of Edie Sedgwick's surviving intimates, including Danny Fields, Baby Jane Holzer, and Ultra Violet. They also unearthed hundreds of never-before-published photosportraits, professional ad shoots, and heartbreaking snapshots of the girl who won New York's heart and nearly burned down the Chelsea hotel. The book also features a CD with Edie's last interview ever, a riveting account of a rollercoaster life. Sure to be seen as a rebuttal to Hollywood's highly fictionalized film Factory Girl (coming this fall), Edie: Girl on Fire creates an insightful and startling portrait of a woman that nobody quite knew.
Carmine is a painter, always in search of just the right color (especially anything in the red family) to add to her paintings. So when she and her dog Rufus set off on their bike to Granny’s, she is too easily lured by a lovely meadow full of poppies. And, as she begins painting, she is too oblivious to danger lurking along the path.
Model, film star, socialite, addict, Edie Sedgwick was the first 'it' girl of the Andy Warhol Factory scene and later muse to Bob Dylan. David Weisman filmed Edie for the last five years of her life in his cult film 'Ciao! Manhattan'. He recently uncovered lost footage of her, and was inspired to create this book.
Pretty in Pink meets Anna and the French Kiss in this charming romantic comedy Ella is nearly invisible at the Willing School, and that's just fine by her. She's got her friends - the fabulous Frankie and their sweet cohort Sadie. She's got her art - and her idol, the unappreciated 19th-century painter Edward Willing. Still, it's hard being a nobody and having a crush on the biggest somebody in the school: Alex Bainbridge. Especially when he is your French tutor, and lessons have started becoming, well, certainly more interesting than French ever has been before. But can the invisible girl actually end up with a happily ever after with the golden boy, when no one even knows they're dating? And is Ella going to dare to be that girl?
The painting, faux painting, and mural business is one of the most lucrative small business opportunities around, with more than $100 billion spent annually according to the International Franchise Association. The need for skilled, qualified painters for everything from the family home to other businesses or the side of a new building has made those with the right skill set highly sought after. For anyone seeking to start their own painting or mural painting business, it is only a matter of knowing where and how to get started and what is needed by them to both open a business and be financially successful in running it. This book was written with all of those expert painters in mind, ensuring that everyone who has ever been interested in starting their own painting business gets every possible resource they need to successfully run that business. You will learn what the basics of the career entail and how to go about running your business. You will learn the fundamentals of what equipment you will need and how to go about acquiring it for a decent rate. Learn how to find partners to help you or hire employees. Also learn the basics of your record keeping and how you will keep track of your finances. Additionally, you will learn about how to find and maintain professional contacts and build a portfolio that will help you find new work in the future. You will learn how to meet clients and dress properly and how to scope out the walls at your potential work sites so you can bid and work effectively. You will learn how to bid on a job and get paid for your work and finally how to start painting the walls, including the types of wall surfaces you may have, the paints you might use, how to load up and setup, and how to finalize a project. Dozens of the top faux and mural painters in the nation were contacted and interviewed for this book, their expertise compiled into a series of tips and tricks that will help you both understand how to run a business and be a successful painter. Everything you need to become a faux painter, from the first clients to the expansion of your business is included in this guide; the beginnerâe(tm)s only needed resource. The companion CD-ROM is included with the print version of this book; however is not available for download with the electronic version. It may be obtained separately by contacting Atlantic Publishing Group at sales@atlantic-pub.com Atlantic Publishing is a small, independent publishing company based in Ocala, Florida. Founded over twenty years ago in the company presidentâe(tm)s garage, Atlantic Publishing has grown to become a renowned resource for non-fiction books. Today, over 450 titles are in print covering subjects such as small business, healthy living, management, finance, careers, and real estate. Atlantic Publishing prides itself on producing award winning, high-quality manuals that give readers up-to-date, pertinent information, real-world examples, and case studies with expert advice. Every book has resources, contact information, and web sites of the products or companies discussed.
A fresh interpretation of the group of Fragonard?s paintings known as the ?figures de fantaisie?, Fragonard and the Fantasy Figure: Painting the Imagination reconnects the fantasy figures with neglected visual traditions in European art and firmly situates them within the cultural and aesthetic contexts of eighteenth-century France. Prior scholarship has focused on the paintings? connections with portraiture, whereas this study relocates them within a tradition of fantasy figures, where resemblance was ignored or downplayed. The book defines Fragonard as a painter of the imagination and foregrounds the imaginary at a time when Enlightenment rationalism and Classical aesthetics contrived to delimit the imagination. The book unravels scholarly writing on these Fragonard paintings and examines the history of the fantasy figure from early modern Europe to eighteenth-century France. Emerging from this background is a view of Fragonard turning away from the academically sanctioned ?invention?, towards more playful variants of the imaginary: fantasy and caprice. Melissa Percival demonstrates how fantasy figures engage both artists and viewers, allowing artists to unleash their imagination through displays of virtuosity and viewers to use their imagination to explore the paintings? unusual juxtapositions and humour.
This book offers the first critical reassessment of an artist whose mature oeuvre constitutes a rich and often disquieting critique that is equal parts wit, seduction, and bite. Honorae Sharrer (1920-2009) was a major figure in the years surrounding World War II, though her commitment to leftist ideals and an alternate trajectory of surrealism put her at increasing odds with the political and artistic climate of the time"--
When I was little, other children called me a monster. A painting proved them right. A lifetime of cruel taunts and heartbreak has taught Aurelia to hide, to not get too close to anyone. A painter and gallery docent, her only solace is in the art that can't stare back. When a new piece arrives, depicting an angelic figure who shares the physical features she's always thought of as monstrous, Aurelia searches for the artist, determined to get the answers her mother has long refused to provide. But she isn't the only one searching. There are others who want the artist-and the truth-silenced. Aurelia is attacked by figures from the painting, fierce warriors with wings and sharpened blades. Shaken and bloody, she manages to escape with her life but finds herself hunted by the Iyarri, who are anything but angels. As she comes to terms with her connection to them, Aurelia is drawn deeper into the heart of a millennia-old struggle. If she's not careful, the consequences will tear her body, her heart, and the Iyarri in two. AUTHOR BIOGRAPHY Melissa Lynn Herold is artistically talented, scientifically minded, and magically fascinated, things that manifest in both her fiction and her nonfiction. An herbal alchemist, Melissa owns and runs NightBlooming, where she blends up herbs and oils that grow real-life fairytale hair, and has published two nonfiction books, Rehabilitating Damaged Hair Naturally and Coloring Hair Naturally with Henna & Other Herbs. Heaven's Silhouette, the first book in the Iyarri Chronicles, is her debut novel. She lives with her husband in a sweeping river valley, along with their mutinous cats and garden dotted with honeybees. AUTHOR HOME: Winona, MN
This guide outlines time saving tools to hone your writing, so you can attract Hollywood agents and producers. You will discover how to create (and stick to) a timeline and deadline, whether writing your screenplay is a full- or part-time job. Writing and pitching a screenplay is nothing like writing a novel, and this book presents screenplay-specific information vital for any aspiring film writer. This book discusses how to write great openings and endings -- the vital elements of a successful screenplay (and eventually movie) -- and how to create characters that grow and evolve as the plot thickens. One of the hardest parts of writing a screenplay is developing a solid dialogue, and this book takes you through, step-by-step, how to fine-tune your characters' dialogue so it is not only believable but also well-written. Once your script is polished and perfect, you will need to pitch it to the public, and this book shows you how. You will grasp how to write a compelling query letter that is specifically geared to what agents are looking for, so your chances of getting represented are increased. Veteran screenwriters, television and film producers, agents, and directors have been interviewed for this book, and their experiences are showcased here, giving you their insider secrets on how to best write and sell your script. This book also contains an extensive resource section of production companies that are eager to receive and package your script, including the genre they are looking for, so you know exactly who to contact. If you are eager to jump into Hollywood as the next big thing in screenwriting, this guide will help you to get there.
The painting, faux painting, and mural business is one of the most lucrative small business opportunities around, with more than $100 billion spent annually according to the International Franchise Association. The need for skilled, qualified painters for everything from the family home to other businesses or the side of a new building has made those with the right skill set highly sought after. For anyone seeking to start their own painting or mural painting business, it is only a matter of knowing where and how to get started and what is needed by them to both open a business and be financially successful in running it. This book was written with all of those expert painters in mind, ensuring that everyone who has ever been interested in starting their own painting business gets every possible resource they need to successfully run that business. You will learn what the basics of the career entail and how to go about running your business. You will learn the fundamentals of what equipment you will need and how to go about acquiring it for a decent rate. Learn how to find partners to help you or hire employees. Also learn the basics of your record keeping and how you will keep track of your finances. Additionally, you will learn about how to find and maintain professional contacts and build a portfolio that will help you find new work in the future. You will learn how to meet clients and dress properly and how to scope out the walls at your potential work sites so you can bid and work effectively. You will learn how to bid on a job and get paid for your work and finally how to start painting the walls, including the types of wall surfaces you may have, the paints you might use, how to load up and setup, and how to finalize a project. Dozens of the top faux and mural painters in the nation were contacted and interviewed for this book, their expertise compiled into a series of tips and tricks that will help you both understand how to run a business and be a successful painter. Everything you need to become a faux painter, from the first clients to the expansion of your business is included in this guide; the beginnerâe(tm)s only needed resource. The companion CD-ROM is included with the print version of this book; however is not available for download with the electronic version. It may be obtained separately by contacting Atlantic Publishing Group at sales@atlantic-pub.com Atlantic Publishing is a small, independent publishing company based in Ocala, Florida. Founded over twenty years ago in the company presidentâe(tm)s garage, Atlantic Publishing has grown to become a renowned resource for non-fiction books. Today, over 450 titles are in print covering subjects such as small business, healthy living, management, finance, careers, and real estate. Atlantic Publishing prides itself on producing award winning, high-quality manuals that give readers up-to-date, pertinent information, real-world examples, and case studies with expert advice. Every book has resources, contact information, and web sites of the products or companies discussed.
This volume features nearly 500 paintings, watercolors, pastels, and miniatures from Harvard University's storied, yet little-known, collection of American art. These works, many unpublished, are drawn from the Harvard Art Museums, the University Portrait Collection, the Peabody Museum of Archaeology and Ethnology, and other entities, and date from the early colonial years to the mid-19th century. Highlights include a rare group of 17th-century portraits, along with important paintings by Robert Feke, John Singleton Copley, Charles Willson Peale, Gilbert Stuart, and Washington Allston, in addition to works depicting western and Native American subjects by Alexandre de Batz, Henry Inman, and Alfred Jacob Miller, among others. Each work is accompanied by scholarly commentary that draws on extensive new research, as well as a complete exhibition and reference history. An introduction by Theodore E. Stebbins Jr. describes the history of the collection. Lavishly illustrated in color, this compendium is a testament to the nation's oldest collection of American art, and an essential resource for scholars and collectors alike.
A mass murderer hides somewhere in the Great Smoky Mountains National Park. He has a deadly secret. And a bomb. Tracker Aroostine Higgins and Special Agent Patton River Banks have a strained relationship. But, when Aroostine picks up the trail of a fugitive during a visit to Clingmans Dome, she and the National Park Services criminal investigator have no choice but to work together. Alan Steven Reynolds has been on the run for years—ever since he helped engineer one of the country’s deadliest bombings. When Roo finds evidence that he’s hiding out in the park’s 800 square miles of dense forests, she and Patton join forces to find him. They aren’t the only ones looking for Reynolds, though. He’s been active during his time underground, and a new client has explosive reasons to stop him from talking to the authorities. Roo and Patton are in a race against time and a shadowy enemy. They need to bring Reynolds in before his partner brings him down, along with anyone else who happens to be in the woods. Clingmans Dome is the sixth book in USA Today bestselling author Melissa F. Miller’s smart, fast-paced Aroostine Higgins series.
A fresh interpretation of the group of Fragonard?s paintings known as the ?figures de fantaisie?, Fragonard and the Fantasy Figure: Painting the Imagination reconnects the fantasy figures with neglected visual traditions in European art and firmly situates them within the cultural and aesthetic contexts of eighteenth-century France. Prior scholarship has focused on the paintings? connections with portraiture, whereas this study relocates them within a tradition of fantasy figures, where resemblance was ignored or downplayed. The book defines Fragonard as a painter of the imagination and foregrounds the imaginary at a time when Enlightenment rationalism and Classical aesthetics contrived to delimit the imagination. The book unravels scholarly writing on these Fragonard paintings and examines the history of the fantasy figure from early modern Europe to eighteenth-century France. Emerging from this background is a view of Fragonard turning away from the academically sanctioned ?invention?, towards more playful variants of the imaginary: fantasy and caprice. Melissa Percival demonstrates how fantasy figures engage both artists and viewers, allowing artists to unleash their imagination through displays of virtuosity and viewers to use their imagination to explore the paintings? unusual juxtapositions and humour.
Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016
Exploring how the discrediting of Boucher and his school intersected with cultural debates about gender and class, this account of Boucher's art should persuade critics and admirers alike to take another, more considered look.
Objects as Actors charts a new approach to Greek tragedy based on an obvious, yet often overlooked, fact: Greek tragedy was meant to be performed. As plays, the works were incomplete without physical items—theatrical props. In this book, Melissa Mueller ingeniously demonstrates the importance of objects in the staging and reception of Athenian tragedy. As Mueller shows, props such as weapons, textiles, and even letters were often fully integrated into a play’s action. They could provoke surprising plot turns, elicit bold viewer reactions, and provide some of tragedy’s most thrilling moments. Whether the sword of Sophocles’s Ajax, the tapestry in Aeschylus’s Agamemnon, or the tablet of Euripides’s Hippolytus, props demanded attention as a means of uniting—or disrupting—time, space, and genre. Insightful and original, Objects as Actors offers a fresh perspective on the central tragic texts—and encourages us to rethink ancient theater as a whole.
This book offers the first critical reassessment of an artist whose mature oeuvre constitutes a rich and often disquieting critique that is equal parts wit, seduction, and bite. Honorae Sharrer (1920-2009) was a major figure in the years surrounding World War II, though her commitment to leftist ideals and an alternate trajectory of surrealism put her at increasing odds with the political and artistic climate of the time"--
Exploring how the discrediting of Boucher and his school intersected with cultural debates about gender and class, this account of Boucher's art should persuade critics and admirers alike to take another, more considered look.
In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies—and none more so than René Descartes. In Skepticism’s Pictures, historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes’s new philosophy. Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes’s Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes’s thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures—and stimulated enemies (such as Gabriel Daniel) to unravel Descartes’s visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes’s thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality. Engaging and accessible, Skepticism’s Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.
Physiognomy - the notion that there is a relationship between character and physical appearance - is often dismissed as a marginal pseudoscience; however, The Appearance of Character argues that it is central to many disciplines and thought processes, and that it constantly adapts itself to current patterns of thought and modes of discourse. This interdisciplinary study determines the characteristics of physiognomical thought in France during the previously neglected period leading up to the reception of Johann Caspar Lavater's physiognomy in the early 1780s. It establishes a corpus of physiognomical texts, juxtaposing `mainstream' figures such as Buffon and Diderot with a host of minor writers. It then considers the representation of the passions in art, examining the legacy of Charles LeBrun, and revealing an aesthetics of facial representation where the passions are conceived in terms of multiplicity, speed, and nuance. The contribution of the Comte de Caylus to the development of the `tete d'expression' is analysed, as well as the innovations of Greuze in the field of expression. Physiognomy in portraiture is also addressed through the work of La Tour. Facial expression in painting is found to have strong parallels with contemporary acting theory and stage practice. Finally, The Appearance of Character addresses the notion of character, outlining various predominant theories, and analysing the complex relationship between character and passions. In this respect, the study has ramifications for theories of the self and individualism in the Enlightenment and beyond.
Michel Tournier defines the supreme mission of a writer to be the creation of a mythology which allows for interaction with his readers, who seem to be losing their critical faculties in our contemporary, postmodern world dominated by consumption and dizzying technological advances. Our contemporary society has changed due to the end of the modern era with its reigning ideologies. Collapsing after the atrocities of the Second World War, Modernity and the artistic and literary reactions referred to as modernism, have likewise been transformed. Myth continues to represent the collectivity of human existence, yet, in the short stories and novels of Michel Tournier, myth represents the collapse of the all-encompassing ideologies inherent to the Modern era. The grand narratives of Modernity such as Christianity and Man’s reason have been deconstructed in the postmodern era. The mythology of Michel Tournier expresses these trends towards the dissolution of Modernity and creates individual, mini narratives which emphasize the particularity of individual existence. Tournier takes established mythical models rooted in Christianity, fables and legends of Western Civilization and re-contextualizes them. Through a semiotic reworking of core binary pairs of a myth, Tournier creates a third-order level of representation which modifies the mythical model. The works of le Roi des Aulnes, Gilles et Jeanne, and Vendredi are illustrious of this third-order level of signification. According to Ferdinand de Saussure, Roland Barthes and Claude Lévi-Strauss, the structural make-up of myth transforms established meanings according to the dominant cultural code. Barthes’ semiological study of myth reveals the levels of representation through which myth creates meaning. Myth builds upon the denotative first-order level of language and through a connotative process, creates a second-order level. This connotative process does not end on this second-order, for in the writings of Tournier, this semiological process is continued to a third-order which re-contextualizes the myth again. Tournier adapts myth to the unique traits of the postmodern era including deconstruction and playfulness by allowing the reader to provide the context of the story. As such we, the reader, take the place as author of our own individual mythology.
With its vivid descriptions of courtly society, gardens, and architecture in early eleventh-century Japan, The Tale of Genji—recognized as the world’s first novel—has captivated audiences around the globe and inspired artistic traditions for one thousand years. Its female author, Murasaki Shikibu, was a diarist, a renowned poet, and, as a tutor to the young empress, the ultimate palace insider; her monumental work of fiction offers entry into an elaborate, mysterious world of court romance, political intrigue, elite customs, and religious life. This handsomely designed and illustrated book explores the outstanding art associated with Genji through in-depth essays and discussions of more than one hundred works. The Tale of Genji has influenced all forms of Japanese artistic expression, from intimately scaled albums to boldly designed hanging scrolls and screen paintings, lacquer boxes, incense burners, games, palanquins for transporting young brides to their new homes, and even contemporary manga. The authors, both art historians and Genji scholars, discuss the tale’s transmission and reception over the centuries; illuminate its place within the history of Japanese literature and calligraphy; highlight its key episodes and characters; and explore its wide-ranging influence on Japanese culture, design, and aesthetics into the modern era. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
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