Ebooks de arte, página 47 de 1247

A tweedy purveyor of folklore; too many larks ascending and too much Linden Lea: no composers work has ever been more cruelly stereotyped than that of Ralph Vaughan Williams. The truth could hardly have been more different: that folksy feel masked the highest sophistication, that countrified air the most audacious experimentation. If, unlike his Germanizing contemporary Elgar, Vaughan Williams did indeed open the way to a distinctively English Music, his was an Englishness which owed nothing to narrow-mindedness or lack of artistic enterprise. Fifty years after his death in 1958, Vaughan Williams reputation is greater than ever before and there is a resurgence of interest in his music. Re-issued to coincide with this anniversary, Simon Heffers perceptive book lends weight to the increasingly compelling case for Vaughan Williams recognition as the most important English composer of the twentieth century. A vivid and appealing picture of an irresistibly likeable figure ... I enjoyed this little book enormously.SpectatorAn affectionate, accurate and shrewd account of Vaughan Williams life ... the authors astute commentary on it betokens close and knowledgeable acquaintance.Sunday Telegraph

Die unerhorte Geschichte, die hier erzahlt wird, stutzt sich auf ein umfangreiches Geheimarchiv, das in der Schweiz lagerte und hier erstmals der Offentlichkeit vorgestellt wird. Viertausend geheime Dokumente des Heiligen Stuhls Briefe, vertrauliche Mitteilungen, Aktennotizen, Protokolle, Kontoauszuge und Buchungsbelege gewahren einen Blick hinter die Kulissen des vatikanischen Finanzsystems. Die Dokumente stammen aus dem Nachlass Monsignor Renato Dardozzis (19222003), bis Ende der neunziger Jahre einer der wichtigsten Mitarbeiter des IOR ("Institut fur die Werke der Religion"), wie die Vatikanbank offiziell heit. Ende der achtziger Jahre schien mit dem Crash der Ambrosiano-Bank, der ratselhaften Ermordung Roberto Calvis und Michele Sindonas und dem Ruckzug von Erzbischof Marcinkus aus der Leitung des IOR der Schlussstrich unter ein unruhmliches Kapitel der Vatikanbank gezogen. Aber dann so beweisen die Dokumente aus Dardozzis Archiv begann alles wieder von vorn. Seit 1992 entstand ein neues, noch raffinierteres System mit Nummernkonten, uber die Hunderte Milliarden Lire verschoben wurden. Architekt dieses Netzwerks war Pralat Donato de Bonis, der neue Chef der Vatikanbank. Er legte Konten auf den Namen von Bankiers, Unternehmern und Spitzenpolitikern an, unter ihnen "Omissis", der Codename Giulio Andreottis. Auf diese Konten wurden Erlose aus Staatspapieren eingezahlt, um schmutziges Geld zu waschen. Auch in den Mega-Korruptionsskandal Enimont war die Vatikanbank verwickelt. Sogar Gelder glaubiger Katholiken, die fur heilige Messen bestimmt waren, wurden mit geschickten Manovern auf personliche Konten transferiert. Das IOR funktionierte wie eine Bank innerhalb der Bank, eine gigantische Geldwaschanlage mitten in Rom, die von der Mafia genutzt und skrupellos fur politische Machenschaften eingesetzt wurde. Ein Steuerparadies, das allein der Gesetzgebung des Vatikans unterworfen war. Und das alles im Namen Gottes.

Projeto coreográfico completo, com coreografias detalhadas, figurinos, indicações de adereços e iluminação, e informações sobre captação de recursos para tirar o projeto do papel. Tem como tema os se

Vasily Ivanovich Surikov (1848 -1916) was the foremost Russian painter of large-scale historical subjects. His major pieces are among the best-known paintings in Russia. In his canvases Surikov dealt with many dramatic episodes of Russian history such as the reformation of the church in the mid 17th century and Peter the Greats reforms of the 18th century.In Surikovs own time, the late 19th century, there were numerous flashbacks to those events in Russia. The Wanderers, a group of Russian realist artists to which Surikov belonged, were greatly influenced by the ideas of revolutionary democrats; they believed that art had a social-educational mission. They organized exhibitions all over Russia bringing art to the common people. The association united many of the best artists of the time. It was most active during the 1870s and 80s. Moscow merchant Pavel Tretyakov, the founder of the first museum of Russian art, was the main collector and promoter of the Wanderers works, guided in his activity by the ideal of serving the people.The Russian people were the main characters of Surikovs works and courage and daring were the artists principal subject matters. In his paintings, Surikov always focused on fine portraiture. His female images are particularly elaborate and masterful.He executed only nine historical canvases out of hundreds of portraits, studies, and sketches - but what canvases! He was a master of monumental historical compositions, depicting national tragedies and powerful human characters.Surikov was born in Krasnoyarsk, Siberia. In 1869-1871 he studied under Pavel Chistyakov at the Imperial Academy of Arts. In 1877, Surikov settled in Moscow, where he contributed some imposing frescoes to the Cathedral of Christ the Savior. In 1878 he married Elizabeth Charais, a granddaughter of the Decembrist Svistunov. In 1881 he joined the Peredvizhniki movement. From 1893 he was a full member of the St.Petersburg Academy of Arts.

Vasily Dmitrievich Polenov (1844 1927) was a Russian landscape painter associated with the Peredvizhniki movement of realist artists.A native of St. Petersburg, Polenov studied under Pavel Chistyakov and at the Imperial Academy of Arts from 1863 to 1871. He was a classmate and close friend of Rafail Levitsky, a fellow Peredvizhniki artist and famous photographer. As bachelors, Polenov and Levitsky lived and worked together in "Deviche Pole" (the name of the street "Maidens Field"), in an attic of the Olsufevsky House. This house is illustrated by Polenov in his painting Grandmothers Garden (1878).Polenov was a pensioner of the academies of arts in Italy and France, where he painted a number of pictures in the spirit of Academism on subjects taken from European history, such as "Droit du Seigneur" (1874); at the same time he worked a lot in the open air.Polenov took part in the Russo-Turkish War (1877-1878) as a war artist. Returning from the war, he joined the Peredvizhniki, taking part in their mobile exhibitions. His works won the admiration of Pavel Mikhailovich Tretyakov, who acquired many of them for his gallery.In the late 1870s, Polenov concentrated on painting landscapes in the realist tradition of Aleksey Savrasov and Fyodor Vasilyev. He attempted to impart the silent poetry of Russian nature, related to daily human life.He was one of the first Russian artists who achieved a plein air freshness of color combined with artistic finish of composition (The Moscow courtyard, 1878; The Grandmothers garden, 1878; Overgrown pond, 1879). The principles developed by Polenov had a great impact on the further development of Russian landscape painting.Polenovs sketches of the Middle East and Greece (18811882) paved the way for his masterpiece, "Christ and the Sinner" (188687), an interesting attempt to update the academic style of painting. In his works of the 1880s, Polenov tended to combine New Testament subjects with his penchant for landscape. From the 1870s, Polenov also turned to stage design. Most notably, he decorated Savva Mamontovs mansion in Abramtsevo and his Russian Private Opera. In 1910-1918, Polenov was involved in a folk theatre project.Polenov was elected a member of the St. Petersburg Academy of arts in 1893. For many years, he coached young painters in the Moscow School of Painting, Sculpture and Architecture. His pupils included Abram Arkhipov, Isaac Levitan, Konstantin Korovin, Emily Shanks and Alexandre Golovine.

Si può raccontare una passione. Forse No. Perché una passione si vive, si respira, si mastica a grandi morsi e raccontarla è difficile. Eppure in questo libro l’autrice con una dose infinita di incos

Expressão de grande complexidade, liberdade de espírito, irreverência nunca descuidada, a arquitetura de Vasco de Mello revela amor pelas formas, busca pela diversidade arquitetônica e uso inteligent

RESUMEN O ESQUEMA DEL ARTÍCULO: 1. Síntesis biográfica. 2. Obra. 2.1.Introducción. 2.2. La lengua latina. 2.2.1. Datación y estudio general. 2.2.2. Primeraparte: la etimología varroniana. 2.2.3. Segunda parte: la morfologia varroniana. 2.2.4.Tercera parte: la sintaxis varroniana. 2.2.5. Concepcion varroniana de la lengua. 2.2.6.Fuentes. 2.2.7. Transmision. 2.3. Las cosas del campo. 2.3.1. Datacion. 2.3.2.Estructura y contenido. 2.3.3. Fuentes. 2.3.4. Transmision. 2.4. Las obras perdidas deVarron. 2.4.1. Las Satiras Menipeas. 2.4.2. Los Logistoricos. 2.4.3. Las disciplinas.2.4.4. Las obras anticuarias. 2.4.5. Obras sobre la lengua y la literatura latinas. 2.4.6.Obras geograficas. 2.4.7. Obras autobiograficas. 2.4.8. Cartas. 2.4.9. Obras deoratoria, retorica y derecho. 2.4.10. Tratados filosoficos. 2.4.11. Obras de creacionliteraria. 2.5. Lengua y estilo de Varron. 2.6. Recepcion de la obra de Varron.Bibliografia.

Entre 1924 e 1945 a Editora Gallimard publicou os cinco volumes que compõem a obra Variété, de Paul Valéry. No último volume, aparecido no mesmo ano da morte do poeta, os editores fizeram anteceder o

O que é ritmo? O que é vida? Quais são as conexões entre ritmo, vida e atuação cênica? Quais são os princípios da arte e da vida que podem definir o que são o ritmo vivo e a atuação viva? Este livr

Um belo ajuntado de poemas de diversos estilos, nele você vai ler Sonetos, haicais, tankas, aldravias etc.

Over 200 works of the well-known Edition Eulenburg series of scores from orchestral and choral literature, chamber music and music theatre are now available in digital format. You can now enjoy the yellow study scores digitally with one click in excellent reproduction quality.Uber 200 Werke der beruhmten Edition Eulenburg Partiturreihe fur Orchester- und Chorliteratur, Kammermusik und Musiktheater sind nun auch in einer digitalen Aufbereitung erhaltlich. In optisch hervorragender Darstellung kann man die gelben Studienpartituren mit einem Klick jetzt auch digital genieen.

Over 200 works of the well-known Edition Eulenburg series of scores from orchestral and choral literature, chamber music and music theatre are now available in digital format. You can now enjoy the yellow study scores digitally with one click in excellent reproduction quality.Uber 200 Werke der beruhmten Edition Eulenburg Partiturreihe fur Orchester- und Chorliteratur, Kammermusik und Musiktheater sind nun auch in einer digitalen Aufbereitung erhaltlich. In optisch hervorragender Darstellung kann man die gelben Studienpartituren mit einem Klick jetzt auch digital genieen.

Over 200 works of the well-known Edition Eulenburg series of scores from orchestral and choral literature, chamber music and music theatre are now available in digital format. You can now enjoy the yellow study scores digitally with one click in excellent reproduction quality.Uber 200 Werke der beruhmten Edition Eulenburg Partiturreihe fur Orchester- und Chorliteratur, Kammermusik und Musiktheater sind nun auch in einer digitalen Aufbereitung erhaltlich. In optisch hervorragender Darstellung kann man die gelben Studienpartituren mit einem Klick jetzt auch digital genieen.

Esta obra, como declara la autora, quiere ser un homenaje al genio humano representado por ese aragonés universal que fue Goya, pero no es un homenaje al uso.Es Goya el auténtico y único protagonista, eso si, un Goya imaginado. Partiendo del cronista e historiador grafico de la sociedad de su tiempo; del pintor que, desde su conciencia critica y cargado de subjetivismo, hizo visibles actuaciones historicas; del artista que nos transmitio una vision apasionada del mundo de la que su mirada fue testigo ocular; vamos a conocer el alma de algunas de las figuras que aparecen retratadas en distintas obras del maestro. Nos vamos a encontrar en estas paginas con seres vivos, que respiran, que sufren, que se mueven en su entorno, que sienten emociones, que se ilusionan, que tienen proyectos. A veces, son personajes de los que la historia con mayusculas nos habla, pero aqui los individualizamos, sabemos de sus ambiciones, de sus defectos, de sus preferencias.La autora ha mezclado vidas, se ha inventado trayectorias, ha sacado a los personajes del contexto en que fueron concebidos; nos los acerca, compartimos su alegria, sufrimos como ellos, estamos o no de acuerdo con sus actos, con sus ideas; los queremos o los despreciamos, pero siempre hacemos nuestras sus aventuras. La relacion entre ellos viene dada por la aparicion del pintor en cada episodio.Interpretando al autor, sintiendolo, nos acerca al Madrid de la epoca. Somos uno mas de aquellos madrileños que se manifiestan, corremos por sus calles para salvarnos de la violencia que los acosa, sentimos su desconcierto, su rabia y deseos de venganza. La tristeza nos invade con la muerte de Juanillo.La vocacion de enseñante de la escritora se refleja en la cronologia de sucesos y obras, y en el exhaustivo glosario en el que aparecen explicaciones detalladas de las referencias historicas, culturales, toponimia, vocablos..., que nos ayudan a situarnos y facilitan extraordinariamente la comprension.

No apenas acredito que todo artista projeta suas experiencias em suas criaçes; mas estou convencido de que a sinceridade da obra depende dessa projeço. Eis, pois, uma singela homenagem ao folclore de minha terra, perpassado pelas vivencias da minha trajetoria no Brasil. Tudo motivado e dirigido pela admiraço e o carinho que, no nome de minha sobrinha Daira Montserrat, devoto aos pequenos descobridores do universo musical. No apenas creo que todo artista proyecta sus experiencias en sus creaciones; tambien estoy convencido de que la sinceridad de la obra depende de tal proyeccion. Es este, por lo tanto, un sencillo homenaje al folclor de mi tierra, permeado por las vivencias de mi trayectoria en Brasil. Todo motivado y dirigido por la admiracion y el cariño que, en nombre de mi sobrina Daira Montserrat, devoto a los pequeños descubridores del universo musical.

Lo raro en ti no es lo raro en mí.¿Sabes lo que es el vaquerizismo? ¿Has oído hablar de esta nueva corriente de pensamiento que no va a dejar indiferente a nadie? El polifacético y siempre controvertido Mario Vaquerizo nos sorprende con su filosofia de vida para el mundo moderno. Una nueva religion que en todo momento aboga por la felicidad. A traves de reflexiones cargadas de ironia, sinceridad y mucho humor, Vaquerizo, con su inconfundible personalidad, nos invita a adentrarnos en el vaquerizismo, donde lo politicamente correcto no tiene cabida y donde reirse de uno mismo es lo primordial.

In "Vanished Towers and Chimes of Flanders," George Wharton Edwards offers a poignant exploration of the cultural and architectural heritage of Flanders, depicted through a rich tapestry of both prose and illustration. The text seamlessly intertwines the historical significance of its landmarks with Edwards personal reflections, creating a meditative journey through this storied region. His literary style is characterized by evocative imagery and a lyrical quality that invites readers to envision the vanished towers and listen to the chimes of the past, effectively placing Flanders architectural splendor within a context of loss and nostalgia, resonant of the early 20th-century romanticism that sought to capture fleeting beauty. George Wharton Edwards, an American artist, writer, and photographer, was deeply influenced by his travels through Europe, where he developed a profound appreciation for various cultural landscapes. His work often highlights the intersection between art and observation, reflecting both his artistic pursuits and his commitment to preserving the narratives of places and their histories. His experiences in Flanders profoundly impacted his artistic vision, leading him to elucidate the ephemeral nature of human constructs in the face of times relentless passage. "Vanished Towers and Chimes of Flanders" is recommended for historians, art enthusiasts, and anyone captivated by the interplay between memory, architecture, and cultural identity. EdwardsAo lyrical prose and vivid illustrations not only spark curiosity but also inspire a sense of reverence for a region whose stories and edifices linger in the collective memory.

In "Vanished Halls and Cathedrals of France," George Wharton Edwards presents a poignant exploration of the architectural splendor and historical significance of Frances grand edifices that have succumbed to time. Through vivid prose and meticulous detail, Edwards captures not only the physical intricacies of these architectural marvels, but also their cultural and spiritual essence in an era shifting away from traditional values. His use of impressionistic language resonates with the Romantic literary context of the late 19th to early 20th century, offering readers a sense of nostalgia for a bygone era while also contextualizing the impact of modernization on heritage. Edwards, an esteemed American artist, author, and advocate for conservation, imbues his work with a passionate commitment towards preserving the stories of these enduring sites. His extensive travels across France, combined with his deep reverence for art and genuine interest in history, reflect the influences that motivated him to undertake this ambitious project. Edwardss background in painting and participation in the Arts and Crafts Movement inform his rich descriptive style, bridging aesthetic appreciation and historical narrative. Essential for both architecture enthusiasts and history buffs, "Vanished Halls and Cathedrals of France" is a compelling journey through the remnants of Frances past. This book serves not only as a visual record but also as a testament to the importance of preserving our cultural legacy. Readers seeking to deepen their understanding of the intersection between architecture and history will find this work an indispensable resource.In this enriched edition, we have carefully created added value for your reading experience:- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

This book "Vanina Vanini" is a short story published in 1829 by Stendhal. It is set in 1830 during the Risorgimento, when Italy was under Austrian control. The plot of the story is focused on the love story of a young Princess romana and a revolutionary carbonari. Vanina Vanini, nineteen-year-old daughter of a Roman Aristocrat, Don Asdrubale Vanini, is sought after by all the young Princes of Rome, but she rejects them all. Vanina discovers a secret room in the fathers House. There, she sees a wounded woman lying in bed, as well as the clothes of the woman who seems to have been stabbed several times with a knife stained with blood. She realizes her father come up to the room and talk to the woman, although she cannot hear what they say. Vanina is fascinated by the mysterious woman, and when, one evening, the woman sees Vanina was born between the two a secret friendship.