Explores the career of Walter Pach (1883-1958), an influential figure in twentieth-century art and culture. As critic, agent, liaison, and lecturer, Pach helped win the acceptance of modern European, American, and Mexican art throughout the North American continent"--Provided by publisher.
Explores the career of Walter Pach (1883-1958), an influential figure in twentieth-century art and culture. As critic, agent, liaison, and lecturer, Pach helped win the acceptance of modern European, American, and Mexican art throughout the North American continent"--Provided by publisher.
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. "The New Spirit" collects four pamphlets the Association originally produced and sold at the Armory Show. With excerpts from Gauguin's provocative Tahitian journal, Elie Faure’s enthralling essay on Cezanne, and more, each pamphlet offers an enduringly original approach to some of modern art's most interesting figures. Long out of print, this new, expanded edition reintroduces readers to artists and ideas that remain as powerful today as they were nearly a century ago.
Walter Pach was an artist, critic, lecturer, art adviser, and art historian who wrote extensively about modern art and championed the cause of modern art. Through his numerous books, articles, and translations of European art texts Pach brought the emerging modernist viewpoint to the American public. Pach's fluency in French, German, and Spanish made it possible for him to understand and interpret the avant-garde ideas developing in Europe and translate them for the English-speaking audience. He was able to communicate personally with many noted artists in Europe and Mexico and mediate between gallery dealers and museum curators on their behalf. This is an interesting look at the American art scene (and a little peak at the Parisian scene) and how Americans especially appreciated art in the late nineteenth and early 20th century.
This book is a new edition of Volumes 3 and 4 of Walter Thirring’s famous textbook on mathematical physics. The first part is devoted to quantum mechanics and especially to its applications to scattering theory, atoms and molecules. The second part deals with quantum statistical mechanics examining fundamental concepts like entropy, ergodicity and thermodynamic functions.
In 1886 Walter McClintock went to northwestern Montana as a member of a U.S. Forest Service expedition. He was adopted as a son by Chief Mad Dog, the high priest of the Sun Dance, and spent the next four years living on the Blackfoot Reservation. The Old North Trail, originally published in 1910, is a record of his experiences among the Blackfeet.
Many of the marks attached to the phonetic rendering of the Chinese words in this volume differ from those assigned to them in the dictionaries. These apparent discrepencies are intentional, the tones being given as they are applied, or appear to the ear of the compiler to be applied, by the natives of Peking.
In this major reconceptualization of the history of U.S. foreign policy, Walter Hixson engages with the entire sweep of that history, from its Puritan beginnings to the twenty-first century’s war on terror. He contends that a mythical national identity, which includes the notion of American moral superiority and the duty to protect all of humanity, has had remarkable continuity through the centuries, repeatedly propelling America into war against an endless series of external enemies. As this myth has supported violence, violence in turn has supported the myth. The Myth of American Diplomacy shows the deep connections between American foreign policy and the domestic culture from which it springs. Hixson investigates the national narratives that help to explain ethnic cleansing of Indians, nineteenth-century imperial thrusts in Mexico and the Philippines, the two World Wars, the Cold War, the Iraq War, and today’s war on terror. He examines the discourses within America that have continuously inspired what he calls our “pathologically violent foreign policy.” The presumption that, as an exceptionally virtuous nation, the United States possesses a special right to exert power only encourages violence, Hixson concludes, and he suggests some fruitful ways to redirect foreign policy toward a more just and peaceful world.
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