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Twenty Paintings Why We Will Always Love Franz Marc
by Stanley Cesar

Language

English

Pages

28

Publication Date

September 18, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with Franz Marc's paintings. <br />Twenty Paintings Why We Will Always Love Franz Marc
Twenty Paintings Why We Will Always Love El Greco
by Stanley Cesar

Language

English

Pages

30

Publication Date

September 18, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with El Greco's paintings. <br />Twenty Paintings Why We Will Always Love El Greco
Twenty Paintings Why We Will Always Love Camille Pissarro
by Stanley Cesar

Language

English

Pages

24

Publication Date

September 18, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with Camille Pissarro's paintings. <br />Twenty Paintings Why We Will Always Love Camille Pissarro
Twenty Paintings Why We Will Always Love Childe Hassam
by Stanley Cesar

Language

English

Pages

26

Publication Date

September 17, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with Childe Hassam's paintings. <br />Twenty Paintings Why We Will Always Love Childe Hassam
Twenty Paintings Why We Will Always Love Alfred Sisley
by Stanley Cesar

Language

English

Pages

24

Publication Date

September 17, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with Alfred Sisley's paintings. <br />Twenty Paintings Why We Will Always Love Alfred Sisley
Twenty Paintings Why We Will Always Love Georgia O'Keeffe
by Stanley Cesar

Language

English

Pages

27

Publication Date

September 17, 2017

Product Description
Customer Reviews
Have you ever wanted to enrich your life with the arts and humanities? <br />or <br />Have you ever wanted to decorate your room with great paintings from one of your favorite painters? <br />Well, you can start with Georgia O'Keeffe's paintings. <br />Twenty Paintings Why We Will Always Love Georgia O'Keeffe
Balzac chez lui (French Edition)
by Léon Gozlan

Language

French

Pages

176

Publication Date

September 18, 2017

Product Description
Customer Reviews
Léon Gozlan, né à Marseille le 1er septembre 1803 et mort à Paris le 1er septembre 1866, est un écrivain français.<br />Extrait: Il ne faut rien revoir de ce qu’on a aimé. J’eus un jour la faiblesse de chercher témérairement à revoir les Jardies, où tant d’heures charmantes, ineffaçables, s’étaient écoulées pour moi sous le toit bâti par Balzac[1]. Je croyais que mes souvenirs avaient besoin de se retremper à leur source ; je me disais qu’ils exigeaient ce dernier pèlerinage dans l’intérêt de l’exactitude locale que tout lecteur biographique a le droit d’exiger de l’historien biographe, surtout de l’historien d’un homme lui-même si exceptionnellement exact dans ses mille peintures immortelles. Que ne m’étais-je pas dit pour m’imposer le voyage aux Jardies ? Eh bien ! j’avais tort d’être si pieux envers cette fidélité contre laquelle, jusqu’ici, personne ne s’est élevé, dont personne n’a douté, si ce n’est moi. À vrai dire aussi, je me mentais un peu dans cette occasion. J’avais plus besoin de voir pour mon désir personnel la propriété des jours heureux de Balzac, que pour rectifier à plusieurs années de distance les couleurs étendues sur la toile de ma mémoire.<br /><br />Non ! il ne faut rien revoir de ce qu’on a aimé. Ni la mer natale où l’on s’est baigné autrefois ; ni la maison paternelle, au coin calme ou bruyant du carrefour ; ni la campagne, au pied de la colline, parcourue aux heures exaltées de la jeunesse ; ni les pays lointains visités avec enthousiasme à vingt ans. Tout cela ne sert qu’à mouiller les yeux, à serrer le cœur, à faire trembler les lèvres. À quoi bon ? Les objets revus ne sont plus les mêmes. Vous, non plus, vous n’êtes plus le même. Eux ne veulent pas vous reconnaître, et vous, vous les reconnaissez à peine. Vous avez beau leur dire, leur crier : C’est moi ; ils vous disent : — Qui, vous ?<br /><br />La tristesse d’Olympio, ce magnifique cri poussé par Hugo, qui osa revoir, lui aussi ; cette tristesse s’enfonça tout entière dans mon cœur et ne me quitta plus dès que j’eus posé le pied sur le seuil de la porte des Jardies. La porte était bien la même, mais vieille, vieille, fracassée, crevassée, peinte, repeinte, plusieurs fois repeinte. Les pilastres qui l’encadraient me montrèrent encore, sans doute, dans l’épaisseur de leurs pierres de taille, ces mots tracés en lettres noires : les Jardies. Mais le noir avait glissé à demi hors des lettres : inscription d’un tombeau oublié ; dans peu d’années, ce sillon noir aura entièrement coulé, me disais-je : les pluies d’hiver, de l’hiver prochain rendront ces lettres tout à fait blanches, et on ne lira plus rien dans la pierre, plus rien ! et ces lettres qui formaient ce mot dont Balzac était si fier : les Jardies ! auront disparu.<br /><br />Je sonnai à cette porte, mais pas tout de suite, je mis quelques instants d’indécision réfléchie à lever le bras, à saisir l’anneau de fer ; j’allais entendre retentir un son dont je me souvenais tant ! Je sonne, cependant… Ah ! c’est le bruit d’autrefois ; je le reconnais ; mais il est enroué, éteint, paresseux ; nous étions plus vive jadis, ma gentille sonnette, quand nous sonnions pour les créanciers ; vous n’êtes plus qu’une sonnette riche.<br /><br />Comme on me fit attendre pour m’ouvrir ! Si longtemps attendre, que je me surpris répétant machinalement la phrase sacramentelle qu’ils disaient aussi autrefois, ceux à qui l’on avait mille raisons pour ne pas ouvrir. Ils sont donc tous morts là-dedans !<br /><br />C’est que je n’avais pas vu une seconde petite affreuse porte bâtarde ouverte plus bas dans le prolongement du mur. Elle n’existait pas de mon temps, j’allais dire sous Louis XIV. Le jardinier s’était donné une porte ! Il est vrai que la maison du jardinier était devenue une maison de maître. Malheur ! tout le monde s’était donc enrichi aux Jardies ? Jamais Balzac n’eût souffert cette porte bâtarde à côté de la double porte seigneuriale à doubles marteaux par où il entrait. Qu’aurait dit M. de Saint-Simon !<br /><br />
Giorgio de Chirico: Collector's Edition Biography and Gallery of ...
by Nancy Davis

Language

English

Pages

139

Publication Date

September 18, 2017

Product Description
Customer Reviews
In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. Davis Art Center has created a special edition of his lifetime works of art and brief biography of this master.
The Theatre of the Bauhaus: The Modern and Postmodern Stage of Os...
by Melissa Trimingham

Language

English

Pages

230

Publication Date

September 19, 2017

Product Description
Customer Reviews
<P>Focusing on the work of painter, choreographer and scenic designer Oskar Schlemmer, the "Master Magician" and leader of the Theatre Workshop, this book explains this "theatre of high modernism" and its historical role in design and performance studies; further, it connects the Bauhaus exploration of space with contemporary stages and contemporary ethics, aesthetics and society. The idea of "theatre of space" is used to highlight twentieth-century practitioners who privilege the visual, aural, and plastic qualities of the stage above character, narrative and, themes (for example Schlemmer himself, Robert Wilson, Tadeusz Kantor, Robert Lepage). This impressive volume will be of use to students and academics involved in the areas of twentieth-century performance, the history of performance art, the history of avant-garde theatre, modern German theatre, and Weimar-era performance. </P>
Fred Forest's Utopia: Media Art and Activism (Leonardo Book Serie...
by Michael F. Leruth

Language

English

Pages

264

Publication Date

September 01, 2017

Product Description
Customer Reviews
<DIV><P>The innovative French media artist and prankster-provocateur Fred Forest first gained notoriety in 1972 when he inserted a small blank space in<I> Le Monde</I>, called it <I>150 cm</I><I>2</I><I> of Newspaper</I> (<I>150 cm</I><I>2</I><I> de papier journal</I>), and invited readers to fill in the space with their own work and mail their efforts to him. In 1977, he satirized speculation in both the art and real estate markets by offering the first parcel of officially registered "artistic square meters" of undeveloped rural land for sale at an art auction. Although praised by leading media theorists -- Vilém Flusser lauded Forest as "the artist who pokes holes in media" -- Forest's work has been largely ignored by the canon-making authorities. Forest calls himself "France's most famous unknown artist." In this book, Michael Leruth offers the first book-length consideration of this iconoclastic artist, examining Forest's work from the 1960s to the present.</P><P>Leruth shows that Forest chooses alternative platforms (newspapers, mock commercial ventures, video-based interactive social interventions, media hacks and hybrids, and, more recently, the Internet) that are outside the exclusive precincts of the art world. A fierce critic of the French contemporary art establishment, Forest famously sued the Centre Pompidou in 1994 over its opaque acquisition practices. After making foundational contributions to Sociological Art in the 1970s and the Aesthetics of Communication in the 1980s, the pioneering Forest saw the Internet as another way for artists to bypass the art establishment in the 1990s. Arguing that there is a strong utopian quality in Forest's work, Leruth sees this utopianism not as naive or conventional but as a reverse utopianism: rather than envisioning an impossible ideal, Forest reenvisions and probes the quasi-utopia of our media-augented everyday reality. The interface is the symbolic threshold to be crossed with an open mind.</P></DIV>

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