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From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
Disegno storico della letteratura italiana ad uso dei licei. Edizione priva di ISBN Edition without ISBN Edición sin ISBN
Harlem has captivated the imagination of writers, artists, intellectuals, and politicians around the world since the early decades of this century. Rhapsodies in Black: Art of the Harlem Renaissance examines the cultural reawakening of Harlem in the 1920s and 1930s as a key moment in twentieth-century art history, one that transcended regional and racial boundaries. Published to coincide with the exhibition that opens in England and travels to the United States, this catalog reflects the Harlem Renaissance's impressive range of art forms—literature, music, dance, theater, painting, sculpture, photography, film, and graphic design. The participants included not only artists based in New York, but also those from other parts of the United States, the Caribbean, and Europe. Richard J. Powell and David A. Bailey present selected works that focus on six themes: Representing "The New Negro;" Another Modernism; Blues, Jazz, and the Performative Paradigm; The Cult of the Primitive; Africa: Inheritance and Seizure; and Jacob Lawrence's Toussaint L'Ouverture series. The visual arts from 1919 to 1938 included in the book suggest the extraordinary vibrancy of the time when Harlem was a metaphor for modernity. In spite of the importance of the Harlem Renaissance to early twentieth-century American culture and to the artistic climate of "Jazz Age" Paris and Weimar Berlin, few art exhibitions have been devoted exclusively to the subject. Rhapsodies in Black will be welcomed for its unique presentation of this creative time.
Following a lull in the desert war which saw the Germans and British reinforce their armies, Rommel suddenly attacked British fortifications with an assault on the northern sector of the British line near Gazala. Pinning down the British in the north and outflanking the 1st Free French Brigade, Rommel succeeded in encircling the main British positions, trapping them in what became known as 'The Cauldron'. With thousands of British soldiers killed or taken prisoner, this was a devastating defeat for the Allies.
Accompanied by contemporary photographs and maps depicting the movement of both armies, Ken Ford provides a masterful study of Rommel, the 'Desert Fox', at the height of his powers during World War II (1939-1945), as he swept the British army back to the site of their final stand at El Alamein.
The great Lakshmi, the goddess of wealth and fortune. She is renowned across all of India as the most beneficent goddess of the Hindu Pantheon. She not only bestows wealth and fortune in the material world, but also the spiritual. That is the beauty of Lakshmi. When you call upon her , she prepares you for wealth and fortune from the inside out. Often it happens very quickly and in some cases, it can take some time. In either case, she is very responsive. In this book, we will tap into the 8 manifestations of this great Goddess. These 8 emanations will help you achieve wealth and prosperity in more than one area of life. Unlike her some of her fellow goddesses, she is gentile. She is not a Kali or a Druga, she will approach you gently. In the next chapter, we will discuss the idea of the divine feminine and then we will discuss Lakshmi in a bit more detail and then get right to business. Let us begin.
Highly influential both as an artist and as a theoretician, Victor Burgin figures among the most insightful thinkers on visual culture in recent times. His writings focus on the production of meanings and affects through images "at the intersections of subjective desire and sociopolitical organization" and draw on diverse representational practices (photography, film, painting, advertising, television, and the Internet) and theoretical fields (semiotics, psychoanalysis, feminist theory, and cultural studies). The essays in this volume provide a succinct overview of Burgin's rich and multifaceted work during the last forty years from its origins in debates within conceptual art to its present concern with everyday perception in the environment of global media. The selection includes such classic essays as "Situational Aesthetics" and "Photographic Practice and Art Theory," together with widely known articles as "Work and Commentary" and the previously unpublished essays "Shadows, Time, and Family Pictures" and "Monument and Melancholia." The essays are arranged chronologically in sections to represent four salient phases of Burgin's preoccupations: Conceptual Art and Photography; A Psychical Realism; The City and Global Media; and Infinite Film. Each section is preceded by an exchange between Burgin and the book's editor, Alexander Streitberger, that introduces the main lines of thought. Examples from Burgin's visual works, selected by the editor in consultation with the artist, accompany each section. "