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Volume II of this magisterial eight-volume biography takes Churchills story from his entry to Parliament in 1901 to the outbreak of war in 1914. When he took his seat in the House of Commons he was twenty-six years old. An independent spirit and rebel, on his maiden speech he was cheered by the Leader of the Opposition.On 31 May 1904, three years after entering Parliament, Churchill joined the Liberals. In December 1905 he entered the government as Under-Secretary of State for the Colonies. In April 1908 he joined the Cabinet as President of the Board of Trade. On 12 September 1908 he married Miss Clementine Hozier. Their daughter Diana was born in 1909 and their son Randolph in 1911.In the years leading up to the First World War, Churchill was at the center of British political life and change. At the Home Office he introduced substantial prison reforms and took a lead in curbing the powers of the House of Lords. At the Admiralty from 1911 he helped build the Royal Navy into a formidable fighting force. He learned to fly, and founded the Royal Naval Air Service. He was active in attempts to resolve the Irish Question and to prevent civil war in Ireland.In 1914, as war in Europe loomed, Churchill wrote to his wife from the Admiralty: "The preparations have a hideous fascination for me, yet I would do my best for peace, and nothing would induce me wrongfully to strike the blow. I cannot feel that we in this island are in any serious degree responsible for the wave of madness which has swept the mind of Christendom."When war came, the fleet was ready. It was one of Churchills great achievements.

This fascinating volume opens with Churchills return to Conservatism and to the Cabinet in 1924, and, as the story unfolds, presents a vivid and intimate picture both of his public life and of his private world at Chartwell between the wars.As Chancellor of the Exchequer from 1924 to 1929, Churchill pursued a humane and constructive social policy, including the introduction of pensions for widows and orphans. The controversial return to the gold standard is examined here on the basis of new evidence; so too are Churchills efforts after the General Strike to bring peace to the coal industry. In 1927 Churchill planned and fought for a massive attack on unemployment.In this volume Martin Gilbert strips away decades of accumulated myth and innuendo, showing Churchills true position on India, his precise role (and private thoughts) during the abdication of Edward VIII, his attitude toward Mussolini, and his profound fears for the future of European democracy. Even before Hitler came to power in Germany, Churchill saw in full the dangers of a Nazi victory. And despite the unpopularity of his views in official circles, for six years he persevered in his warnings.This book reveals for the first time the extent to which senior civil servants, and even serving officers of high rank, came to Churchill with secret information, having despaired at the extent of official lethargy and obstruction. Within the Air Ministry, the Foreign Office, and the Intelligence Services, individuals felt drawn to go to Churchill with full disclosures of Britains defense weakness and kept him informed of day-to-day developments from 1934 until the outbreak of war. As war approached, people of all parties and in all walks of life recognized Churchills unique qualities and demanded his inclusion in the government, believing that he alone could give a divided nation guidance and inspiration.

This third volume of the official biography of Sir Winston Churchill contains a full account of his initiatives and achievements as wartime First Lord of the Admiralty between August 1914 and May 1915. These include his efforts to prolong the siege of Antwerp, his support for the use of air power, and his part in the early development of the tank. It shows the forcefulness with which he argued for an offensive naval policy, first against Germany, then against Turkey."What about the Dardanelles?" was the cry Churchill heard often between the two world wars. It epitomized the distrust in which he was held by both politicians and the public as a result of the naval setback at the Dardanelles in March 1915 and the eventual failure of the Gallipoli landings launched the following monthalthough Gallipoli was the ministerial responsibility of the Secretary of State for War, Lord Kitchener, and the ultimate responsibility of the Prime Minister, H.H. Asquith.Martin Gilbert examines the political crisis of May 1915, during which the Conservative Party forced Asquith to form a coalition government. The Conservatives insisted that Churchill leave the center of war policymaking for a position of increasing political isolation. In the next seven months, while the Gallipoli campaign was being fought, Churchill served as Chancellor of the Duchy of Lancaster, with no authority over military or naval policy.Resigning from the Cabinet in November 1915, Churchill was appointed Lieutenant-Colonel, commanding an infantry battalion in the trenches of the Western Front. In May 1916, he returned from the trenches, hoping to reenter political life, but his repeated attempts to regain his once-substantial influence were unsuccessful. For the final year of Asquiths premiership, Churchill held no political office, and was frustrated by his lack of power.

This volume starts with the outbreak of war in September 1939 and ends with the Japanese attack on Pearl Harbor in December 1941. In it, Martin Gilbert reveals not only how each decision was reached, but what influences lay behind it, whether of individuals or of information reaching Churchill from the most secret source of British Intelligence.Drawing on a remarkable diversity of material, including the War Cabinet and other Government records, as well as Churchills own archive, the diaries and letters of his private secretariat, and the recollections of those who worked most closely with him, Martin Gilbert reveals the full extent of Churchills personal contribution to every aspect of the struggle.On the day Hitler invaded Poland, Churchill, aged sixty-four, had been out of office for ten years. Two days later, on 3 September 1939, he became First Lord of the Admiralty, in charge of British naval policy and at the center of war direction. On 10 May 1940 he became Prime Minister, leading his nation during a time of grave danger and setbacks. His first year and a half as Prime Minister included the Dunkirk evacuation, the fall of France, the Battle of Britain, the Blitz, the Battle of the Atlantic, the struggle in the Western Desert, and Hitlers invasion of Russia.By the end of 1940, Britain under Churchills leadership had survived the onslaught and was making plans to continue the war against an enemy of unlimited ambition and ferocious will.One of Churchills inner circle said: "We who worked with Churchill every day of the war still saw at most a quarter of his daily tasks and worries." Martin Gilbert has pieced together the whole, setting in context much hitherto scattered and secret evidence, in order to give an intimate and fascinating account of the architect of Britains "finest hour."

Winslow Homer was American painter, illustrator and etcher, one of the two most admired American late 19th-century artists and is considered to be the greatest pictorial poet of outdoor life in the United States and its greatest watercolorist. Nominally a landscape painter, in a sense carrying on Hudson River school attitudes, Homer was an artist of power and individuality whose images are metaphors for the relationship of Man and Nature. A careful observer of visual reality, he was at the same time alive to the purely physical properties of pigment and colour, of line and form, and of the patterns they create.

This book about the art of windows painting and staining is an important source for practical and historical information. It is an overview of researching the art, history, and technical aspects of stained and painted glass. A reader can learn a lot about church windows, firms, artists, and designs.

In "Windows: A Book About Stained & Painted Glass," Lewis F. Day explores the intricate artistry and historical significance of stained and painted glass within architectural spaces. Written with a blend of scholarly rigor and an accessible narrative style, the book delves into the techniques, materials, and cultural contexts that shape this unique form of visual expression. Days meticulous analysis reveals not only the aesthetic qualities of these windows, but also their roles in storytelling and spiritual representation, tracing their evolution from medieval cathedrals to modern interpretations. Lewis F. Day, a notable English stained glass artist and author, brings his extensive knowledge and personal experiences in the craft to this work. His background in both art and design informs his exploration of the subject, allowing him to merge technical insights with an appreciation for the emotional resonance of stained glass. Days dedication to the craft fosters a profound understanding of the symbolic and functional significance of these windows, positioning him as an authoritative voice in the field. For scholars, artists, and enthusiasts alike, "Windows" serves as an indispensable resource, offering a rich tapestry of information and inspiration. This book not only enhances the readers understanding of stained glass but also invites contemplation on its enduring beauty and relevance in artistic and architectural discourse.

In "Windows: A Book About Stained & Painted Glass," Lewis F. Day delves deeply into the rich history and artistry of stained glass, exploring its evolution from medieval cathedrals to contemporary applications. The book not only examines the technical processes involved in window design and creation but also engages with the aesthetic principles that render stained glass a unique form of visual storytelling. Day employs a clear and accessible literary style, blending intricate descriptions with historical narratives, thereby situating stained glass within the broader context of art and architecture. This exploration is interspersed with stunning illustrations, which enhance the readers understanding of the intricate details and vibrant colors that characterize this medium. Lewis F. Day, an esteemed artist and art historian, has dedicated much of his career to the study of decorative arts. His background in both painting and architecture provides him with a unique lens through which to analyze the significance of stained glass. Days firsthand experience in the field affords him a depth of insight that enriches his writing, encouraging readers to appreciate not just the beauty, but also the craftsmanship and stories encapsulated within each piece. This book is highly recommended for art enthusiasts, historians, and anyone captivated by the luminous beauty of stained glass. Days thorough research and engaging prose make this volume a valuable resource, capturing both the technical skill and the poetic essence of a form of art that continues to inspire. Readers will find themselves not only informed but also enchanted by the world of stained and painted glass.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- 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.

IN LESVOSSuddenly,They decided to close the borders,all the borders.They said:For them staying where they are is more spacious.God was more merciful, he did not close his borders,he did not close his doors,he was drawing their destiny,he was drawing their fateIn the depths of the sea(Ilustraciones a todo color).

In "Winchester, Painted by Wilfrid Ball," Telford Varley presents a meticulous examination of Winchester through the artistic lens of Wilfrid Ball, a prominent figure in British landscape painting. The book intricately combines vivid descriptions of Balls artwork with an exploration of the historical and cultural significance of Winchester. Varley employs a rich literary style, marked by eloquent prose and a keen eye for detail, which not only captures the essence of the paintings but also weaves in the broader narrative of the citys evolution. This work sits within the broader context of art history and regional studies, illuminating how Balls interpretations echo the romantic ideals of the late 19th and early 20th centuries. Telford Varley, a noted art historian and scholar, delves deeply into the intersections of art and place, evident in his profound appreciation for both Balls talent and Winchesters storied past. Varleys background in art history and a commitment to preserving regional heritage drive his narrative, reflecting his desire to contextualize Balls work against the backdrop of local identity and history. His scholarly approach allows readers to gain insights into both the artists motivations and the significance of Winchester in the British cultural landscape. This book is an essential read for art enthusiasts, historians, and anyone captivated by the unique beauty of Winchester. Varleys harmonious blend of visual art and historical narrative invites readers to explore the profound connections between place, memory, and artistic expression. "Winchester, Painted by Wilfrid Ball" not only celebrates an artists legacy but also deepens our understanding of Winchesters enchanting allure.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.

Willow weaving is an exciting and rewarding craft for anyone who wants to reconnect with the natural world. This essential book gives all the information and tuition needed to get started and includes projects on sculpture, basketry and folk-art decorations. Thirteen projects are set out in clear and detailed stages, ranging from practical baskets to planters, lifelike scultpures and wreaths. Advice is given on adapting recipes and designing your own baskets.Topics covered: Basic techniques and basketry terms are explained and clearly illustrated, along with selection and preparation of materials; Chapters describe four different basketry forms, each with a different set of structures and skills to learn; Sound, practical tips throughout to smooth your progress and help overcome difficulties. Beautifully illustrated with 160 colour photographs and 17 drawings.

"WHEN we study the foundation of the United Provinces, says a great French writer, "we learn how a State, from an origin almost unnoticed, rapidly rose into greatness, was formed without design, and in the end belied all human forecast. Those large and wealthy provinces of the mainland which began the revolution --Brabant, Flanders, and Hainault--failed to achieve their freedom. In the meantime, a small corner of Europe, which had been won from the sea by infinite labour, and had maintained itself by its herring-fishery, rose suddenly to be a formidable power, held its own against Philip II., despoiled his successors of almost all their possessions in the East Indies, and ended by taking under its protection the monarchy of Spain".

WHEN we study the foundation of the United Provinces," says a great French writer, "we learn how a State, from an origin almost unnoticed, rapidly rose into greatness, was formed without design, and in the end belied all human forecast. Those large and wealthy provinces of the mainland which began the revolution --Brabant, Flanders, and Hainault--failed to achieve their freedom. In the meantime, a small corner of Europe, which had been won from the sea by infinite labour, and had maintained itself by its herring-fishery, rose suddenly to be a formidable power, held its own against Philip II., despoiled his successors of almost all their possessions in the East Indies, and ended by taking under its protection the monarchy of Spain".

This book uncovers the work of sculptor William Simmonds, one of the forgotten originals of the Arts and Crafts movement. Inspired by his pastoral surroundings in the Cotswolds, he played a particularly vital role in the movement between the two world wars. After the First World War Simmonds emerged as a master of woodcarving, known for his exquisite oak, pine, ebony and ivory carvings of wild and domestic creatures. He earned his living by making puppets and became Europes most renowned puppet master. His wife Eve, a well-known embroiderer in her own right, made the puppets costumes and accompanied the puppet shows on the spinet, playing early music discovered by Dolmetsch and pieces by Cecil Sharp and Vaughan Williams.Simmondss circle included the artists William Rothenstein, Edwin Abbey, John Singer Sargent and E.H. Shepard; architects Ernest Gimson, Detmar Blow, and the Barnsley brothers; potters and stained-glass artists Alfred and Louise Powell and Edward Payne; and textile printers Barron and Larcher. Poets Tagore, W.H. Davies, John Masefield and John Drinkwater; writers Max Beerbohm and D.H. Lawrence; and the musicians Lionel Tertis and Violet Gordon Woodhouse with her four husbands all played their part. This book documents that lost world and adds another dimension to the story of the extraordinary Violet Gordon-Wodehouse, who lived at Nether Lypiatt Manor a mile from Simmondss cottage.

William Rimmer (18161879) is arguably the first modernist American sculptor, although his inventive originality has not been fully acknowledged. Rimmer cultivated an art of ideas and personal expression whilst supporting himself as a physician and, later, as a teacher of art anatomy at the Cooper Union School of Design for Women in New York.Unlike his contemporaries, he advocated the creation of sculpture drawn entirely from the artists imagination, as opposed to antique archetypes or live models. In this way, he sought to reframe excellence in American art as something that must be found within, rather than derived from Europe.In this new monograph, the meaning of Rimmers works is for the first time considered from a combination of perspectives, such as close visual analysis (including X-ray and infrared), historical documentation, and social context. These are enriched with discussion of the artists own bipolar disorder, deeply-held spiritualism, and views on gender equalityconsidering women just as talented as men, he used naked male models in all-female classes long before his contemporaries, and produced an allegorical sculpture of fighting lions that criticized the tyranny of men over women.This book will be of great interest to academics, students, art museums, collectors, dealers, art historians, and members of the public with an affinity for Rimmers work. It will also appeal to those with a broader interest in American culture.

Chase worked in all media but was excellent in pastel drawing. He as well created a lot of watercolor paintings and etchings. Highly proficient in pastel as well as oils, Chase organized with Robert Frederick Blum the American Society of Painters in Pastel, and is viewed as one of the most accomplished artists in this medium. Chase was a member of the Ten (Ten American Painters), but also devoted much of his time to teaching, first at his New York studio, than at the Students League. He also taught at his summer home in Shinnecock, Long Island, at the Chase School (which he founded), and later at the New York School of Art and the Pennsylvania Academy of Fine Arts. His students included Marsden Hartley, Charles Demuth , Edward Hopper , Georgia OKeeffe , and Charles Sheeler.

William Lloyd Garrison was a prominent American abolitionist, journalist, suffragist, and social reformer. He is best known as the editor of the abolitionist newspaper The Liberator, which he founded with Isaac Knapp in 1831 and published in Massachusetts until slavery was abolished by Constitutional amendment after the American Civil War. He was one of the founders of the American Anti-Slavery Society. He promoted "immediate emancipation" of slaves in the United States. In the 1870s, Garrison became a prominent voice for the woman suffrage movement.

William Adolphe Bouguereau was a follower of classical art and had no wish for everything like novelty or the avant-garde. William-Adolphe Bouguereau used ancient themes, making new readings of classical myths. He settled his abundant fantasy space with a romanticized selection of angels, women and children. His views angered many critics who called him "a master in the hierarchy of mediocrity" but he is undoubtedly a key figure in 19th century French art. His sense of idealism was his ruling rule, regarding the ugly as worthless for depiction. Throughout his life, Bouguereau created 822 known finished paintings, although the location of many of them is still unidentified.

In "William Blake, Painter and Poet," Richard Garnett offers a compelling analysis of the multifaceted artistry of one of Britains most enigmatic figures. This richly detailed work is characterized by Garnetts eloquent prose and deep appreciation for Blakes visionary approach to both art and poetry. The book intricately navigates the intersections of Blakes artistic vision with the socio-political climate of his time, offering insights into how his radical ideas challenged the normative aesthetic paradigms of the late 18th and early 19th centuries. Garnetts critical lens elucidates the profound symbiosis between Blakes artwork and poetic writings, establishing him as a pivotal voice in Romantic literature and painting. Richard Garnett, an accomplished Victorian scholar, was deeply influenced by his own background in literature and art criticism. His extensive engagement with the works of contemporaneous writers, alongside a lifelong fascination with Blakes spiritual and artistic legacy, informed his perspective on Blakes duality as a painter and poet. Garnetts scholarly pursuits not only illuminate the authors life but also reflect the vibrant intellectual discourse of his era, positioning his work within a broader historical and artistic context. This insightful study is highly recommended for readers who seek a deeper understanding of William Blakes genius and its lasting impact on both literature and visual arts. Garnetts examination invites us to reconsider our perceptions of creativity, urging us to explore the connections between artistic expression and the human spirit. This book is a vital addition to the libraries of scholars and enthusiasts alike.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- 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.

William Blake was English artist, draughtsman, engraver, philosopher, and poet, one of the most remarkable figures of the Romantic period. In art as in life Blake was an individualist who made a principle of nonconformity. He had a prejudice against painting in oils on canvas and experimented with a variety of techniques in colour printing, illustration, and tempera. His work as an artist is almost impossible to divorce from the complex philosophy expressed also through his poetry. He believed that the visible world of the senses is an unreal envelope behind which the spiritual reality is concealed and set himself the impossible task of creating a visual symbolism for the expression of his spiritual visions. To most of his contemporaries Blake seemed merely an eccentric, and his genius was not generally recognized until the second half of the 19th century.