Download or read book Francia settentrionale e centrale written by and published by EDT srl. This book was released on 2011-11-16 with total page 657 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Real Estate Asset Inventory written by and published by . This book was released on 1992 with total page 152 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Allie Victoria Tennant and the Visual Arts in Dallas written by Light Townsend Cummins and published by Texas A&M University Press. This book was released on 2015-09-24 with total page 338 pages. Available in PDF, EPUB and Kindle. Book excerpt: Winner, 2016 Liz Carpenter Award for the Research in the History of Women, presented at the Texas State Historical Association Annual Meeting At Fair Park in Dallas, a sculpture of a Native American figure, bronze with gilded gold leaf, strains a bow before sending an arrow into flight. Tejas Warrior has welcomed thousands of visitors since the Texas Centennial Exposition opened in the 1930s. The iconic piece is instantly recognizable, yet few people know about its creator: Allie Victoria Tennant, one of a notable group of Texas artists who actively advanced regionalist art in the decades before World War II. Light Townsend Cummins follows Tennant’s public career from the 1920s to the 1960s, both as an artist and as a culture-bearer, as she advanced cultural endeavors, including the arts. A true pathfinder, she helped to create and nurture art institutions that still exist today, most especially the Dallas Museum of Art, on whose board of trustees she sat for almost thirty years. Tennant also worked on behalf of other civic institutions, including the public schools, art academies, and the State Fair of Texas, where she helped create the Women’s Building. Allie Victoria Tennant and the Visual Arts in Dallas sheds new light on an often overlooked artist.

Download or read book Monet written by Nathalia Brodskaya and published by Parkstone International. This book was released on 2011-07-01 with total page 256 pages. Available in PDF, EPUB and Kindle. Book excerpt: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

Download or read book Real Estate Asset Inventory written by and published by . This book was released on 1991-12 with total page 220 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Lost In Texas The Owen D Monet Story written by Owen D'Monet and published by Lulu.com. This book was released on 2014-05-10 with total page 214 pages. Available in PDF, EPUB and Kindle. Book excerpt: Lost in Texas: The Owen D'Monet Story (Adult Language, Adult Humor, Adult Content - it's very Adult) is the tale of a guy and his struggle to survive with defaulted Student Loans, the bane of his existence. In search of hope and kindred spirits, he has been lured to a town in Texas by a public relations campaign advertising "Keep Lostin Goofy," but he finds the place to be just another city in the grips of the Corporate Pursuit of Crappiness. His inexcusable, inescapable past catches up with him right off the bat, and it's all he can do as a member of the All-American reject crowd to find a job, job, job and stay homeful while navigating through one crisis, crisis, crisis after another. It's a funny story if you are not him.

Download or read book Monet at V theuil written by and published by . This book was released on 1998 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Monet in Normandy written by Claude Monet and published by Rizzoli International Publications. This book was released on 2006 with total page 198 pages. Available in PDF, EPUB and Kindle. Book excerpt: Published in conjunction with the exhibition: "Monet in Normandy," [held]: Fine Arts Museums of San Francisco, Jun. 17-Sep. 17, 2006; North Carolina Museum of Art, Oct. 15, 2006-Jan. 14, 2007; the Cleveland Museum of Art, Feb. 18-May 20, 2007.

Download or read book Claude Monet written by Nina Kalitina and published by Parkstone International. This book was released on 2012-01-17 with total page 200 pages. Available in PDF, EPUB and Kindle. Book excerpt: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

Download or read book Monet s Minutes written by André Dombrowski and published by Yale University Press. This book was released on 2023-10-03 with total page 265 pages. Available in PDF, EPUB and Kindle. Book excerpt: A stunning exploration of the vital links between Claude Monet's Impressionism and the time technologies that helped define modernity in the nineteenth century Monet's Minutes is a revelatory account charting the relationship between the works of Claude Monet (1840-1926)--founder of French Impressionism and one of the world's best-known painters--and the modern experience of time. André Dombrowski illuminates Monet's celebration of instantaneity in the context of the late nineteenth-century time technologies that underwrote it. Monet's version of Impressionism demonstrated an acute awareness of the particularly modern pressures of time, but until now scholars have not examined the histories and technologies of time and timekeeping that informed Impressionism's major stylistic shifts. Arguing that the fascination with instantaneity rejected the dulling cultures of newly routinized and standardized time, Monet's Minutes traces the evolution of Monet's art to what were then seismic shifts in the shape of time itself. In each chapter, Dombrowski focuses on the connections between a set of Monet's works and a specific technology or experience of time, while providing the voices of period critics responding to Impressionism. Grounded in exceptional research and analyses, this book offers new interpretations of key works by Monet and a fresh perspective on late nineteenth-century art, society, and modern temporality.

Download or read book Claude Monet and artworks written by Natalia Brodskaya and published by Parkstone International. This book was released on 2023-11-16 with total page 142 pages. Available in PDF, EPUB and Kindle. Book excerpt: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

Download or read book Claude Monet 1840 1926 written by Claude Monet and published by . This book was released on 2007 with total page 348 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book In The End written by Michael Weisberg, M.D. and published by Gatekeeper Press. This book was released on 2019-04-16 with total page 374 pages. Available in PDF, EPUB and Kindle. Book excerpt: "…….a thriller that opens along the lines of Robin Cook; but with more social and psychological issues, which are explored in greater, more satisfying detail. Its progression from a seemingly singular experience to humanity’s greatest catastrophe creates a fine cross-genre experience between medical novel, thriller, and sci-fi that keeps readers on their toes……" — D. Donovan, Midwest Book Review Gabriel, Rachel, Lester, Adonis and Charlotte; fictional characters whose lives mirror modern day challenges. Who will defy the odds? What will happen to bring them together? Novelist and Gastroenterologist Michael Weisberg, M.D. crafted the idea for In The End from a routine procedure. Before putting patients to sleep for their colonoscopies, he asks them if they have any questions. Many comically reply, "Doc, what's the meaning of life?" He always replies that this question cannot be answered because there is no one meaning to life, but instead the question should be, what gives meaning to your individual life?

Download or read book Mad Enchantment written by Ross King and published by Bloomsbury Publishing USA. This book was released on 2016-09-06 with total page 416 pages. Available in PDF, EPUB and Kindle. Book excerpt: From bestselling author Ross King, a brilliant portrait of the legendary artist and the story of his most memorable achievement. Claude Monet is perhaps the world's most beloved artist, and among all his creations, the paintings of the water lilies in his garden at Giverny are most famous. Monet intended the water lilies to provide "an asylum of peaceful meditation." Yet, as Ross King reveals in his magisterial chronicle of both artist and masterpiece, these beautiful canvases belie the intense frustration Monet experienced in trying to capture the fugitive effects of light, water, and color. They also reflect the terrible personal torments Monet suffered in the last dozen years of his life. Mad Enchantment tells the full story behind the creation of the Water Lilies, as the horrors of World War I came ever closer to Paris and Giverny and a new generation of younger artists, led by Henri Matisse and Pablo Picasso, were challenging the achievements of Impressionism. By early 1914, French newspapers were reporting that Monet, by then seventy-three, had retired his brushes. He had lost his beloved wife, Alice, and his eldest son, Jean. His famously acute vision--what Paul Cezanne called "the most prodigious eye in the history of painting†?--was threatened by cataracts. And yet, despite ill health, self-doubt, and advancing age, Monet began painting again on a more ambitious scale than ever before. Linking great artistic achievement to the personal and historical dramas unfolding around it, Ross King presents the most intimate and revealing portrait of an iconic figure in world culture.

Download or read book A Marmac Guide to Dallas written by Yves Gerem and published by Pelican Publishing. This book was released on 2004-09-01 with total page 696 pages. Available in PDF, EPUB and Kindle. Book excerpt: Longtime Dallas resident and travel writer Yves Gerem has completely updated this exhaustive listing of the best restaurants, attractions, accommodations, and more.

Download or read book Art and the French Commune written by Albert Boime and published by Princeton University Press. This book was released on 2022-05-10 with total page 250 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

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