When a devastating tornado hit Grand Forks and East Grand Forks on June 16, 1887, nobody saw it coming. Even the United States Signal Service believed there was a northern limit for tornadoes in the United States. The frontier towns of Grand Forks and East Grand Forks were located about seventyfive miles north of Fargo, which was thought to be at the northern tip of the Tornado Belt. Leaders of each town proudly claimed that their communities did not have to worry about the destructive power of tornadoes. The tornado of 1887 changed everything. Reshaping the Tornado Belt discusses: How Grand Forks and East Grand Forks evolved What happened when country schoolhouses were blown across the prairie with teachers and students trapped inside What the two shattered towns had to do in the aftermath of the tornado to rebuild their communities Eyewitness accounts of the tornado as it traveled twenty miles Full of maps and figures and painstakingly researched by three weather professionals, Reshaping the Tornado Belt tells an important story about how a horrific tornado challenged and reshaped two communities and changed how the world looks at tornadoes.
When a devastating tornado hit Grand Forks and East Grand Forks on June 16, 1887, nobody saw it coming. Even the United States Signal Service believed there was a northern limit for tornadoes in the United States. The frontier towns of Grand Forks and East Grand Forks were located about seventyfive miles north of Fargo, which was thought to be at the northern tip of the Tornado Belt. Leaders of each town proudly claimed that their communities did not have to worry about the destructive power of tornadoes. The tornado of 1887 changed everything. Reshaping the Tornado Belt discusses: How Grand Forks and East Grand Forks evolved What happened when country schoolhouses were blown across the prairie with teachers and students trapped inside What the two shattered towns had to do in the aftermath of the tornado to rebuild their communities Eyewitness accounts of the tornado as it traveled twenty miles Full of maps and figures and painstakingly researched by three weather professionals, Reshaping the Tornado Belt tells an important story about how a horrific tornado challenged and reshaped two communities and changed how the world looks at tornadoes.
In addition to his many remarkable paintings and drawings, Vincent van Gogh (1853-1890) left behind a fascinating and voluminous body of correspondence. This highly accessible book includes a broad selection of 265 letters, from a total of 820 in existence, that focus on Van Gogh’s relentless quest to find his destiny, a search that led him to become an artist; the close bond with his brother Theo; his fraught relationship with his father; his innate yearning for recognition; and his great love of art and literature. The correspondence not only offers detailed insights into Van Gogh’s complex inner life, but also re-creates the world in which he lived and the artistic avant-garde that was taking hold in Paris. The letters are accompanied by a general introduction, historic family photographs, and reproductions of 87 actual pages of letters that contain sketches by Van Gogh. Selected from the critically acclaimed 6-volume set of letters published by the Van Gogh Museum in 2009, Ever Yours is the essential book on Van Gogh’s letters, which every art and literature lover needs to own.
A carefully selected edition of the letters of Van Gogh. For this great artist it is unusually difficult to separate his life from his work. These letters reveal his inner turmoil and strength of character, and provide an extraordinary insight into the intensity and creativity of his artistic life.
Twenty-three missives — written from 1887 to 1889 — radiate their author's impulsiveness, intensity, and mysticism. The letters are complemented by reproductions of van Gogh's major paintings. 32 full-page black-and-white illustrations.
Dotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique - CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan - SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago.
One of the most important and powerful works in the literature of art, this critically acclaimed classic is now available in a boxed set edition with all the original text and illustrations. Articulate, intimate, written with honest directness, these letters lay bare the events of van Gogh's dramatic life, providing remarkable insights into the creative process and touching revelations of his personal anguish. The Complete Letters of Vincent van Gogh was first published by New York Graphic Society in 1958. Surely among the most distinguished books ever published, it is still the only complete edition of the letters in English. Illustrated by the more than two hundred ink drawings the artist sketched into his letters, the collection has been the source of numerous biographical and fictional works, but none has matched the intensity of the original material. Most of the letters were written to the artist's brother, Theo, and it was Theo's son, Vincent, who acted as consulting editor for the publication. A touching memoir by Theo's wife serves as the introduction.
Letters to an Artist From Vincent van Gogh to Anton Ridder van Rappard 1881-1885 Translated from the Dutch by Rela van Messel With an Introduction by Walter Pach Published by the Viking Press, New York 1936 FIRST PUBLISHED IN SEPTEMBER 1936 COPYRIGHT 1936 BY THE VIKING PRESS, INC, PRINTED IN U. S. A. BY THE HADDON CRAFTSMEN AQXJATONE ILLUSTRATIONS BY EDWARD STERN COMPANY DISTRIBUTED IN CANADA BY THE MACMILLAN COMPANY OF CANADA, LTD, ALL RIGHTS RESERVED. NO PART OF THIS BOOK, INCLUDING THE FACSIMILE LETTERS AND DRAWINGS, MAY BE REPRO DUCED FOR COMMERCIAL PURPOSES IN ANY FORM WITHOUT THE WRITTEN CONSENT OF THE PUBLISHERS. Translators Note In rendering these letters into English I discovered that a strictly literal translation would be confusing, for van Goghs peculiar style, to say nothing of many Dutch expressions, is all but untranslatable. Nevertheless, I have kept as close to the text as possible in order to preserve the distinct flavour and vigorous colour of the letters. Van Goghs handwriting is also unique it is uneven and vari able, now slanting, now perpendicular, sometimes so small that one has to use a magnifying-glass, at other times, especially when he wishes to give extra emphasis to what he says, unusually thick and large. He habitually used different nibs in the same letter, and frequently it looks as if he had dipped them into India ink, thus making the reading of the next page almost impossible, for he wrote on a certain type of thin ruled paper common in Holland. Often van Gogh, after concluding a letter, would go back and make additions in tiny script at the end of paragraphs in order to reinforce a statement or to make clearer what he was afraid he had not expressedwell enough. Such additions are to be found in nearly every letter they are typical of him, as are his rugged style and enthusiasm which I have tried to convey. Nothing, however, has been omitted except a few passages of sheer repeti tion and some lists literally, catalogue notes of van Goghs acquisitions for his print collection. As most of the letters are undated, the task of arranging them chronologically was extremely difficult, if not impossible but I feel that the order in which they here appear will at least not in terfere with the readers sense of continuity. A casual conversation about the exhibition of van Goghs works, then current in New York, first revealed to me the ex istence of the contents of this volume. Closer access to the hith erto unpublished letters of the Dutch artist has only increased my belief in their significance, and I am most happy to see them now made available to the public. RELA VAN MESSEL Introduction BY WALTER PACH IT is not unfitting that the first presentation of the letters of Vincent van Gogh composing the present volume should be made on this side of the Atlantic, his hold on the admiration of Americans having proved a strong one from the very first. Any number of our cities have applied for the loan of that great collection of the painters work which is travelling about the country as I write these lines, but circumstances have made it necessary to limit the places for the exhibition to New York, Philadelphia, Boston, Cleveland, San Francisco, Kansas City, Minneapolis, Chicago, Detroit, and Toronto. Even so, with over a hundred thousand visitors in each of the places where the pic tures have been shown so far, it is almost certain that moreAmericans will have attended the exhibition than have ever gathered before to see the production of a single artist. But American interest in van Gogh is of far earlier date. Well before the Armory Show of 1913 brought to this country a splendid group of his paintings, he was represented in such col lections as those of John Quinn and Katherine S. Dreier in New York, and of Sir William Van Home in Montreal. In 1920 an important showing of his works, from those in the possession of the van Gogh family, was eagerly welcomed in New York...
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Ces Lettres à Théo sont un témoignage unique sur une existence vouée à la peinture, sur un engagement artistique qui tendait à la compréhension de l'univers. L'itinéraire d'un homme persuadé qu'il n'y a de vrais artistes que ceux " qui y mettent leur peau " prend alors une valeur exceptionnelle d'exemplarité.
This insight into one of mankind's favorite artists traces the magic and melancholy of Vincent Van Gogh. Out of Vincent's letters to his brother Theo, as collected by Irving Stone, we have selected an exciting and sensitive series of quotations. The quotations in My Life & Love Are One revolve around three themes -love, art and turmoil. Centered around emotion and creation, Vincent's writing and philosophy is as expressive as his art. Whether it's soft and swirling, or rash and profound, the transformation of his thoughts into words colors empty pages with the brightest and darkest moments of his life." -- from Introduction.
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