The Renaissance is a strikingly original and influential collection of essays in which Walker Pater gave memorable expression to an aesthetic view of life. It has never before been published in a scholarly edition. Donald L. Hill reproduces Pater's text of 1893, with a record of all verbal variations in other editions, from the early magazine versions to the Library Edition of 1910. Mr. Hill provides a full set of critical and explanatory notes on each of Pater's essays; headnotes outlining the story of its composition, publication, and reception; and an essay on the history of the book as a whole. Students of Pater and the Aesthetic Movement in England will find this new, annotated edition indispensable.
A treatise on Dutch art on par with Vasari's critical history of Italian art, Karel van Mander's Schilder-Boeck (or Book on Picturing) has long been recognized for its critical and historical influence--and yet, until now, no comprehensive account of the book's conception, aims, and impact has been available. In this in-depth analysis of the content and context of Van Mander's work, Walter S. Melion reveals the Schilder-Boeck's central importance to an understanding of northern Renaissance and Baroque art. By interpreting the terminology employed in the Schilder-Boeck, Melion establishes the text's relationship to past and contemporary art theory. Van Mander is seen here developing his critical categories and then applying them to Ancient, Italian, and Netherlandish artists in order to mark changes within a culture and to characterize excellence for each region. Thus Melion demonstrates how Van Mander revised both the structure and critical language of Vasari's Lives to refute the Italian's claims for the superiority of the Tuscan style, and to clarify northern artistic traditions and the concerns of Netherlandish artists. A much needed corrective to the view that Dutch art of the period was lacking in theory, Melion's work offers a compelling account of a sixteenth- and seventeenth-century theoretical and critical perspective and shows how this perspective suggests a rereading of northern art.
This vintage volume contains a fascinating and informative treatise on the role of the art museum in modern America. This thought-provoking text explores the role of art and art exhibitions in the modern world, analysing the history of modern art, the changes in attitude and importance throughout the years, and the future of art in modern society. The chapters of this book include: 'On Art Museums', 'Some American History', 'Our History Continues', 'The Achievement', 'Problems and Theories', 'The Problem of the American Artist', 'The Problem of Modern Art', 'Casts and Other Reproductions', etcetera. This book is being republished now in an affordable, modern edition - complete with a new biography of the author.
Walter Richard Sickert (1860-1942) was a major European artist and critic of the late nineteenth and early twentieth century, whose statements on art from the 1880s to the 1930s have been used by artists and writers for more than half a century. Containing over 400 entries, this collection offers new insight into Sickert as an artist and provides valuable information about other British artists of the late nineteenth and early twentieth centuries.
The New York Times Bestselling novel is now available in modern digital formats, featuring a new, substantive Foreword by Justice Samuel Alito. This book is universally considered to be an unusual, fascinating, and well-written observation of the life of a man who was first a war hero and Medal of Honor winner from the Korean War, then Chief Justice of the United States, later a monk reeling from tragedy, and finally elected to be Pope: Pope Francis I, in fact. His exciting life is described by three men who 'knew him well.' The first narrator is a Marine, telling of their time together in Korea. A constitutional scholar and Supreme Court Justice, appalled at the new Chief Justice, narrates the second phase. The third is a Cardinal of the Roman Catholic Church: fat, kind, but distracted. The Marine cares for him the most, the Supreme Court Justice condescends and despises him, and the Cardinal is much more interested in food than his subject. But Declan Walsh was a man who earned the Medal of Honor while ordering the death of friends, ruled pragmatically and energetically on the Court but lost his way to death and neglect, and became a miraculous healer, assassinated for challenging the powers that rule the secular world. New ebook edition features proper formatting, active and detailed Table of Contents, and linked notes and URLs in Justice Alito's extensive and informative introduction. What makes this book extraordinary is that it proves itself by paradox — reconciling and weaving together strong, seemingly incompatible elements into a cohesive, memorable work quite unlike any other in recent fiction. Ambitious in length and scope, the stage is nothing less than the contemporary world, its recent history and prophecy; while the focus, from several points of view, is clearly upon a single man — an American — who rises to become Bishop of Rome.
The Habitat International Series presents dissertations, proceedings and research findings on a wide range of development-related and sociocultural aspects of contemporary urbanization and architecture.
On September 20, 1587, Walpurga Hausmännin of Dillingen in southern Germany was burned at the stake as a witch. Although she had confessed to committing a long list of maleficia (deeds of harmful magic), including killing forty—one infants and two mothers in labor, her evil career allegedly began with just one heinous act—sex with a demon. Fornication with demons was a major theme of her trial record, which detailed an almost continuous orgy of sexual excess with her diabolical paramour Federlin "in many divers places, . . . even in the street by night." As Walter Stephens demonstrates in Demon Lovers, it was not Hausmännin or other so-called witches who were obsessive about sex with demons—instead, a number of devout Christians, including trained theologians, displayed an uncanny preoccupation with the topic during the centuries of the "witch craze." Why? To find out, Stephens conducts a detailed investigation of the first and most influential treatises on witchcraft (written between 1430 and 1530), including the infamous Malleus Maleficarum (Hammer of Witches). Far from being credulous fools or mindless misogynists, early writers on witchcraft emerge in Stephens's account as rational but reluctant skeptics, trying desperately to resolve contradictions in Christian thought on God, spirits, and sacraments that had bedeviled theologians for centuries. Proof of the physical existence of demons—for instance, through evidence of their intercourse with mortal witches—would provide strong evidence for the reality of the supernatural, the truth of the Bible, and the existence of God. Early modern witchcraft theory reflected a crisis of belief—a crisis that continues to be expressed today in popular debates over angels, Satanic ritual child abuse, and alien abduction.
Over the Rainbow," "Stormy Weather," and "One for My Baby" are just a few of Harold Arlen's well-loved compositions. Yet his name is hardly known--except to the musicians who venerate him. At a gathering of songwriters George Gershwin called him "the best of us." Irving Berlin agreed. Paul McCartney sent him a fan letter and became his publisher. Bob Dylan wrote of his fascination with Arlen's "bittersweet, lonely world." A cantor's son, Arlen believed his music was from a place outside himself, a place that also sent tragedy. When his wife became mentally ill and was institutionalized he turned to alcohol. It nearly killed him. But the beautiful songs kept coming: "Blues in the Night," "My Shining Hour," "Come Rain or Come Shine," and "The Man That Got Away." Walter Rimler drew on interviews with friends and associates of Arlen and on newly available archives to write this intimate portrait of a genius whose work is a pillar of the Great American Songbook.
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.
First published in 1969, this was a new assessment of Freud’s most creative years and the formative period in psychoanalysis and was the first book to attempt a systematic presentation of Freud’s early ideas, relating them to his later work and to contemporary psychoanalysis. During the years 1888-1898 Freud published 15 papers and one book. In addition many of his ideas were formulated in a series of letters and drafts that he wrote to Dr Wilhelm Fliess. This material provided new insights into the nature of Freud’s creative genius and gave new meaning to his published works. Psychoanalysis: The First Ten Years reviews these early papers, drafts and letters, and describes tentative formulations that, in spite of their value, were not developed further because of lack of time or a shift in interest. As Dr Stewart observes, ‘the study of this aspect of Freud’s work is perhaps the most exciting. Freud’s creativity in these years was remarkable. The ideas he discarded in this short period of time would, for a less gifted person, have been a full life’s work of which he could have been proud.’ There is a good deal of historical and literary interest in his account of Freud’s relationships with Fliess, Breuer and others, but the core of the book is the critical assessment and systematic presentation of Freud’s early major insights, which dramatically reveal a creative genius in the process of discovery.
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