Two volumes, including works by the three foremost seventeenth-century Flemish artists{u2014}Rubens, Van Dyck, and Jordaens{u2014}as well as works by their contemporaries. -- Metropolitan Museum of Art website.
This is a showcase of 11 major works by Frans Hals. The author also discusses the formation of Hals's style and considers his work in the context of broader European trends.
Walter Liedtke, curator of European paintings at the Metropolitan Museum of Art in New York, has assembled a splendid catalog of Vermeer and his artistic milieu. Seven lengthy, well-illustrated chapters (Liedtke wrote five, Dutch art historians Michiel Plomp and Marten Jan Bok wrote the others) describe life in the city of Delft; the painters Carel Fabritius, Leonart Bramer, and others who preceded Vermeer; the careers of Vermeer and De Hooch; the making of drawings and prints in 17th-century Delft; and the collecting of art in the same period. The catalog follows: each painting, print, and drawing accompanied by a lengthy catalog essay. Oversize: 12.25x9.75". c. Book News Inc.
The NATO Advanced Study Institute on Physios of St~ong Fields was held at Maratea/Italy from 1-14 June, 1986. The school was devoted to the advances, theoretical and experimental, in physics of strong fields made during the past five years. The topic of the first week was almost exclusively quantum electrodynamics, with dis cussions of symmetry breaking in the ground state, of the physics of strong fields in heavy ion collisions and of precision tests of perturba tive quantum electrodynamics. The famous positron lines found at GSI (Darmstadt) and the related question "new particle versus vacuum decay" - (yes or no or both) - constituted the center of experimental advances. This was followed in the second week by the presentation of a broad range of other areas where strong fields occur, reaching from nuclear physics over quantum chromodynamics to gravitation theory and astrophysics. We were fortunate to be able to calIon a body of lecturers who not only made considerable personal contributions to this research but who are also noted for their lecturing skills. Their enthusiasm and dedication for their work was readily transmitted to the students resulting in a very suc cessful school.
The engaging and accessible volume offers invaluable insights and novel perspectives on what is perhaps the most iconic of all Islamic art forms: the handwoven carpet. With a history stretching back to the fourteenth century and a geographic reach spanning Europe to Eurasia, Mongolia to the Middle East, Islamic carpets boast a degree of innovation and technical skill to rival the world's most exalted works of art. Beauty and brilliance emerge in equal measure from carpets of all forms be they colossal silk rugs exchanged as gifts by sultans and kings or small and sturdy textiles woven for use in nomadic encampments. Some sixty superlatives examples from the Metropolitan Museum's collection—from Persia, India, Turkey, North Africa, and across the Islamic world—are presented here in lavish detail, with concise and approachable texts that position each work in historical and cultural context. Beginning with a discussion of materials and techniques, How to Read Islamic Carpets offers a comprehensive introduction to this captivating art form, and reveals the lasting influence of carpet-weaving traditions in lands far beyond the Islamic world.
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.
Covering both the theoretical and practical aspects of critical care,Irwin & Rippe’s Intensive Care Medicine, Ninth Edition, provides state-of-the-art, evidence-based knowledge for specialty physicians and non-physicians practicing in the adult intensive care environment. Drs. Craig M. Lilly, Walter A. Boyle, and Richard S. Irwin, along with a team of expert contributing authors and education expert, William F. Kelly, offer authoritative, comprehensive guidance from an interprofessional, collaborative, educational, and scholarly perspective, encompassing all adult critical care specialties.
The revolution in typesetting - a revolution that over the past two decades has eliminated a five-hundred-year-old system of hot metal production and replaced it with one of photo-generated and computer-driven composition - shows no sign of winding down. This book, more than any other we know, traces the steps that went into that revolution and simultaneously makes the argument that the letter forms themselves are in process of evolution. Tracy argues that, whether they are of the sixteenth or the twentieth century, the forms that comprise our alphabet are subject to the same rules of good taste, proportion, and clarity that have always obtained. But what we face today is vastly different from fifty years ago. For the first time, new technology has made the proliferation (and, as some would maintain, debasement) of letter forms fast and easy (or quick and dirty.) With fifty years of professional experience on both sides of the Atlantic (including thirty years as head of type design for the British Linotype Company), Tracy is in a unique position to make this argument and arrive at his sad conclusion: the design of distinguished, contemporary typefaces is far outnumbered by the mediocre and downright bad. Part of the reason for this deplorable deterioration is a lack of critical analysis of the particular esthetics involved. This step-by-step examination of type-design esthetics is precisely what Tracy provides here, while avoiding both the promoter's hype and the manufacturer's claims. Here are the gut issues of what makes type good or bad, legible or unreadable. Extensively illustrated with both typefaces and line drawings, this book belongs on the shelf of anyone interested in thehistory of letters or in the artistry and peculiar problems that lie behind their production.
A supreme master of German song, Hugo Wolf wrote 260 melodies and a pair of operas. This volume recounts the tragic story of the erratic genius's life and surveys some of his works, including 60 pages on Wolf's songs and 35 pages on his operas. "Very interesting and very stimulating." — The New York Times.
Ghost stories became very popular in the first half of the 19th century and this collection by Andrew Barger contains the very scariest of them all. Some stories thought too horrific were published anonymously like "A Night in a Haunted House" and "The Deaf and Dumb Girl." The later story is collected for the first time in any anthology since its original publication in 1839. The other ghost stories in this fine collection are by famous authors. "The Mask of the Red Death," by Edgar Allan Poe; "A Chapter in the History of a Tyrone Family," by Joseph Sheridan le Fanu; "The Spectral Ship," by Wilhelm Hauff; "The Old Maid in the Winding Sheet," by Nathaniel Hawthorne; "The Adventure of the German Student," and "The Legend of Sleepy Hollow," by Washington Irving; as well as "The Tapestried Chamber," by Sir Walter Scott. As he has done with a number of other books, Andrew Barger has added his scholarly touch to this collection by including story backgrounds, annotations, author photos and a foreword titled "All Ghosts Are Gray." Buy the book today and be ready to be scared reading the best ghost stories of the first half of the 19th century.
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