For millennia, the Mediterranean has been one of the most active trading areas, supported by a transport network connecting riparian cities and beyond to their hinterland. The Mediterranean has complex trade patterns and routes--but with key differences from the past. It is no longer an isolated world economy: it is both a trading area and a transit area linking Europe and North Africa with the rest of the world through the hub-and-spoke structure of maritime networks. Understanding how trade connectivity works in the Mediterranean, and elsewhere, is important to policy makers, especially those in developing countries in the Mediterranean, concerned with the economic benefits of large investment in infrastructure. Better connectivity is expected to increase trade with distant markets and stimulate activities in the hinterland. This book is a practical exploration of the three interdependent dimensions of trade connectivity: maritime networks, port efficiency, and hinterland connectivity. Because of the complexity and richness of maritime and trade patterns in the Mediterranean, the research book combines both a regional focus and globally scalable lessons. This book is intended for a wide readership of policy makers in maritime affairs, trade, or industry; professionals from the world of finance or development institutions; and academics. It combines empirical analysis of microeconomic shipping and port data with three case studies of choice of port (focusing on Spain, Egypt, and Morocco) and five case studies on hinterland development (Barcelona; Malta; Marseilles; Port Said East, Egypt; and Tanger Med, Morocco).
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.
The counsels contained in the following pages were addressed to the Companies of Mission Priests and Sisters of Charity, founded in France for the teaching and assistance of the poor more than two hundred and fifty years ago. They are characterised by the simplicity and the directness which distinguished S. Vincent de Paul himself, and it may be found, perhaps, that their significance does not depend on place, period, or condition, but still has application here and now.
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.
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.
THOUGH the collection of letters contained in Cassirer's publication, “Vincent Van Gogh. Briefe,” is not a complete one, from my knowledge of a very large number of the letters which are not included in this volume, I feel able to say that the present selection is in any case very representative and contains all that is essential in respect to Van Gogh''s art-credo and general attitude of mind.For reasons into which it is unnecessary for me to enter here, it was found convenient to adopt the form of Cassirer's publication arranged by Margarete Mauthner, and my translation has therefore been made from the German (Fourth Edition, 1911). Still, with the view of avoiding the errors which were bound to creep into a double translation of this sort, I took care, when my version was complete, to compare it with as many of the original French letters as I was able to find, and I am glad to say that by this means I succeeded in satisfying myself as to the accuracy of every line from page 39 to the end.The letters printed up to page 38, some of which I fancy must have been written in Dutch—a language which in any case I could not have read—have not been compared with the originals. But, seeing that the general quality of the German translation of the letters after page 39 was so good that I was able to discover only the small handful of inaccuracies referred to in the appendix, I think the reader may rest assured that the matter covering pages 1 to 38 is sufficiently trustworthy for all ordinary purposes.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Soon after his death, Vincent van Gogh's reputation grew and developed through the extraordinary symbiosis evident between his paintings and letters. However it is a formidable task to read and analyze Van Gogh's nearly eight hundred letters due to the sheer bulk and complexity of the collection. Reading Vincent van Gogh is at once an interpretive guide to the letters and a distillation of Van Gogh's key themes and ideas. This indispensable, synoptic, and interpretive view of the letters as a whole will be equally of interest to scholars and teachers making use of Van Gogh's letters as it will be to those who have long been fascinated by the artist. This is the third book by Patrick Grant on the letters of Vincent van Gogh. It builds on his previous work in The Letters of Vincent van Gogh (2014), a practical-critical study, and "My Own Portrait in Writing" (2015), a literary theoretical analysis that draws on the domain of modern literary studies. In the hands of Patrick Grant, the extraordinary literary achievements of Vincent van Gogh are explained and exemplified and claims that the well-known artist was also a great writer are confirmed."--
Excerpt: Some account of what befell Father (Saint) Vincent de Paul, Religious of La Trappe, with observations made by him when in America, where he has spent about ten years, with the permission of his Superior, in obedience to whose orders he writes the following. In 1812, I, in company with two other brothers, was sent by him to the United States, there to found an establishment of our Order. We left Bordeaux on the 15th June, and on the 6th of the month of August we arrived at Boston. We had with us one of our Trappistines, whose object was also to found a community; with this intention she had preceded her companions, but now found herself alone, as passports were refused to the other sisters. We were welcomed by the worthy Mr. Matignon, parish priest of the town, who coaxed us to remain in the diocese of Bishop Cheverus. However as we had received orders to establish ourselves near Baltimore, after a few days rest I started for that town alone, leaving my brothers and the nun in Boston, intending to send for them when I should find a suitable site for the two projected establishments. I paid my respects to His Grace the Archbishop of Baltimore, who received me kindly, but appeared at a loss where to find a site such as we desired. After many unsuccessful efforts and researches, he established me temporally on a farm belonging to the Society of Jesus (of which he was a member) until such time as we could procure the sort of place we wanted; then as I thought that time might be long in coming, I summoned my brothers to me, and arranged for a suitable lodging for the nun. During our stay, a rich man of Baltimore, who was once a Protestant and had been converted, offered us 2000 acres of land in the mountains of Pensylvania, near a river called the Delaware. He was even generous enough to offer me the services of his son, who was also a recent convert, and who came with us to point out the property which, however, I was not able to inspect thoroughly as I remained there only one day. I returned soon after with two young men who were inclined to join our Order. They commenced a somewhat rude novitiate, for we fasted and kept silence on the way, going always on foot for want of money. After great suffering from fatigue and heat (as it was summer), we arrived at a little town, distant about sixty miles from Philadelphia, whence we had started on our tour of inspection. This little town, which was called Milford, was quite near to the land that was to be ours. Additional Excerpt: Still these souls have been created by God and bought by Jesus Christ, and the more abandoned, and the further from the religion of heaven they seem to be, so much the more do they call for our compassion. We have succeeded in civilizing many barbarous nations and in rendering them Christian and Catholic, we may equally, with the help of God, bring others to the knowledge of the true religion, and since pretended philosophers have abandoned the faith, it must, according to the divine oracle, go to other men. If this faith is extinguished for many, who have deserved the misfortune in closing their eyes to its light, it goes to others who will render themselves worthy by allowing this divine truth to enlighten them. Thus faith is never lost, if it leaves us, it is our own fault.
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...
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.
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