eBooks de Colecciones de arte, página 4 de 64

Estávamos de frente para a vida, sentados ali, em uma bela barraca de praia, em São Salvador da Bahia. Para ser mais exato, às dezesseis horas de um lindo domingo pós-carnaval, eu, você, Calazans, Ed

Titanius desidera una compagna immortale. Zeus, suo padre, parte, cosi, alla sua ricerca. Un romanzo diverso, elegante, denso di mistero e filosofica poesia. Un fantasy mitologico, un sogno ad occhi aperti che vi terra incollati fino allultima pagina. Trovera, infine, Zeus la sposa per il suo Titanius?

Lintento di questo saggio e di dare voce a una comunita e a unarte che, a causa di stereotipi che si sono creati negli anni, troppo spesso non e considerata come unarte a 360 gradi. Negli ultimi anni ho avuto la fortuna di conoscere tante drag queen, alcune delle quali posso chiamare mie amiche, e spero con questo lavoro di aver dato voce a ognuna di loro e averlo fatto nel modo piu rispettoso e veritiero possibile. Larte drag si e sviluppata nel tempo, come tutte le arti, fino ad arrivare al giorno doggi dove la creativita viene espressa con spettacoli e performance mozzafiato, dietro le quali ce uno studio e un gran lavoro. Io mi sono innamorata di questarte dal primo momento in cui lho vista. Spero che questo libro incentivi la curiosita di qualche lettore che voglia scoprirne di piu.

In questo volume curato minuziosamente dal Prof. Italo Baldo, porta alla luce un aspetto nuovo di Giacomo Zanella, la sua passione nel tradurre le altre lingue. Lelenco delle traduzioni e vastissimo e abbraccia testi prevalentemente poetici tratti dal greco, dal latino e dallebraico per i testi biblici. Tradusse molto anche dal francese, dal siculo, dallo spagnolo, dallo svedese e dal tedesco. Tutto cio era possibile grazie alla sua forte preparazione classica sia nel lessico che nella grammatica. Molto di questa preparazione era stata ricevuta in seminario. Il Prof. Baldo in questa sua fatica ha veramente ricercato con passione e costanza gli scritti piu significativi tradotti dallabate Zanella.

SynopsisVertical Dance: perceiving and creating space de?nes the substance and methods of vertical dance. Moretti and Lawrence re?ect on the state of the art at the end of a pioneering experimental era and the dawn of a new period in which emerging artists are developing the form creatively and in which, concurrently, it is being regulated and institutionalized. The authors begin by clarifying what is meant by the term vertical dance, discussing the component parts and why these are fundamental to the classi?cation of this nascent form and go on to discuss the boundaries with its close relatives: aerial dance, site-speci?c artistic practices and climbing. They then chart the history of the form and examine its potential to challenge and enhance our experience of space.AuthorsWanda MorettiA choreographer and researcher, her dance studies focus on systems of proportion and the harmony of space. She has pioneered vertical dance in Italy since the 1990s, developing and spreading this practice to create VST (Vertical and Suspension Training), a method now internationally recognized. Her research and artistic project concerns the relationship with architecture and landscape and how every movement performed in space derives from the relationship between the movement itself and the speci?c point on the wall to which the moving rope is attached. In 1994, in Venice, she founded Il Posto Company with the composer and musician Marco Castelli. Kate LawrenceKate is a choreographer and researcher specialising in vertical dance and site-speci?c performance practices. In the 1990s she ran feminist dance company Nomads, with whom she made 3 touring shows. Since then she has lectured in dance and performance at Bangor University and University of Surrey where she pioneered a vertical dance undergraduate module (2003 2010), fusing her dance background with her long-standing passion for rock climbing. Kate began making vertical dance work in 2002, and in 2014, after moving to North Wales, she founded the company Vertical Dance Kate Lawrence with her partner and rigger Simon Edwards. Her choreographic work is highly collaborative and explores the nexus of site, body and context. She completed the ?rst PhD examining vertical dance in 2017.

UM LIVRO DE POEMAS CURTOS DE TEMÁTICA VARIADA,

In der digitalen Publikation Verplaatst bildet die Kunstlerin Annette Kisling den stadtebaulichen Wandel Rotterdams fotografisch ab und beschreibt gleichzeitig die gesellschaftliche Veranderung der Stadt. Kislings kunstlerisches Werk umfasst zahlreiche fotografische Reihen, die ihre Auseinandersetzung mit der vielschichtigen Bedeutung der uns umgebenden Architektur zeigen.Rotterdam wurde im zweiten Weltkrieg sehr stark zerstort, was bis heute zu spuren ist. Seit dem Wiederaufbau in den 50er Jahren ist die Stadt ein Experimentierfeld fur moderne Architektur.Die Fotografin Annette Kisling verbrachte 2003 ein Jahr in Rotterdam und hielt ihre Eindrucke der vielschichtigen, lebendigen, gleichzeitig bruchigen Erscheinung der Stadt fotografisch fest. In den Jahren 2017 bis 2023 setzt sie ihre Arbeit in Rotterdam fort. Die Stadt hat sich inzwischen stark verandert. Die Diversitat ist Rotterdam geblieben, aber eine neue Exklusivitat ist dazu gekommen. Die Stadt setzt weiterhin auf die heterogenen Strukturen, die Rotterdam eigen sind, gleichzeitig auf Verdichtung und auf okonomische Aufwertung.Mit Verplaatst ist eine umfangreiche fotografische Reihe entstanden, die einen komplexen Eindruck der Entwicklung der Stadt wiedergibt. Die gleichnamige Publikation enthalt eine Auswahl von 174 Fotografien, die Kisling speziell fur das E-Book zusammengestellt hat.

Der Briefroman "Verfuhrte Wahrheit" erzahlt von einem 56-jahrigen Mann, der seine Affare in tagebuchartiger Selbstreflexionen dokumentiert hat. Wenn diese Form dazu verwendet wird, von einer "toxischen Liebesbeziehung" zu erzahlen, wird die emotionale Wucht beinahe erdruckend, und genau das ist die Intention dieses Romans. Was zunachst wie eine romantische Verbindung voller Leidenschaft erscheint, entpuppte sich allmahlich als ein Netz aus fursorglicher Abhangigkeit, Euphorie, emotionalem Missbrauch und fuhrte zum brutalen Schlussstrich. Die anfanglich beidseitigen Zuneigungen, schlug nach nur wenigen Monaten in eine eiskalte Zuruckweisung durch die Partnerin um.Durch die unverblumte, oft schonungslos ehrliche Darstellung in den Eintragen wird der Leser zu einem stillen Beobachter. Zuruck bleibt "verbrannte Erde" ohne Happy End.

Vasily Vasilyevich Vereshchagin (1842 -1904) was one of the most famous Russian war artists and one of the first Russian artists to be widely recognized abroad. The graphic nature of his realist scenes led many of them to never be printed or exhibited.

Vasily Vasilyevich Vereshchagin was one of the most famous Russian war artists and one of the first Russian artists to be widely recognized abroad. The graphic nature of his realist scenes led many of them to never be printed or exhibited. Vereshchagin graduated first in the list at the naval school, but left the service immediately to begin the study of drawing in earnest. He was an indefatigable traveler, returning to St. Petersburg in late 1868, to Paris in 1869, back to St. Petersburg later in the year, and then back to Turkestan at the end 1869 via Siberia. In 1871, he established an atelier in Munich, and made a solo exhibition of his works at the Crystal Palace in London in 1873. In late 1874, he departed for an extensive tour of the Himalayas, India and in 1901, he visited the Philippines, in 1902 the United States and Cuba, and in 1903, Japan. Vereshchagins last work was a picture of a council of war presided over by Admiral Makarov.

Roma, mãe severa e amante solícita, prostituta e traidora, sempre conspiradora ... Ventipo era uma cidade romana gloriosa que estava localizada no município e que foram encontrados muitos vestígios a

Tre donne, tre vite, tre sofferte personalita con in comune la passione per la pittura e una citta come Venezia. Attraverso una prosa agile e scorrevole lautrice conduce il lettore alla conoscenza di Giulia Lama, Rosalba Carriera ed Emma Ciardi, illustrando le vicende della loro vita e il contributo dato da queste artiste ala storia dellarte veneziana : storie tormentate di donne di genio, accomunate da un unico desiderio, quello di dar voce alla propria visione artistica del mondo. Sono presenti anche utili indicazioni e descrizioni delle loro opere principali visitabili nel territorio veneziano. La lettura di questo libro costituira anche unoccasione per approfondire la conoscenza di due secoli importanti e densi di cambiamenti storici, come il Settecento e lOttocento.

Venedig in Schwarz-Wei: Eine fotografische Reise durch Licht und SchattenDieser Bildband ist eine Liebeserklarung an die Gegensatze, die Venedig so einzigartig machen. Tobias Riedl, Straenfotograf mit Leidenschaft fur die Schwarz-Wei-Fotografie, nimmt Sie mit auf eine visuelle Reise durch die Stadt der Brucken und Kanale. Mit seinem besonderen Blick fur Kontraste, Formen und Strukturen hat er die faszinierende Atmosphare von Licht und Schatten, Hektik und Stille, Verganglichkeit und zeitloser Schonheit eingefangen.Die Bilder laden dazu ein, innezuhalten, genauer hinzusehen und die Geschichten hinter den Motiven mit der eigenen Fantasie zu entdecken. Dieser Band ist mehr als eine Dokumentation - es ist eine Hommage an die Magie von Venedig und die Kraft der Schwarz-Wei-Fotografie.Ideal fur alle, die die Lagunenstadt aus einer neuen Perspektive erleben mochten.

Un viaggio virtuale della storia e dellanima lungo la scia del tempo e dello spazio. Una collezione di 57 cartoline dedicata ai Comuni dellAlta Val Bormida, Riviera Ligure, Provincia di Savona e Regione Liguria. Una riproduzione di quadri ad olio, con velieri dipinti a mano, fedeli alle imbarcazioni depoca, minuziose sin nei minimi particolari, a cura di Gagliardo Severino, gran esperto di imbarcazioni e di numismatica. Poesie a cura di Simona Bellone espirate al mondo dei marinai, e citazione di antichi proverbi liguri.

QUESTO LIBRO È A LAYOUT FISSOUn libro che affronta organicamente un tema di indubbia rilevanza sociale, ma anche museologica: lincontro tra i non vedenti e larte.Unanalisi che costituisce una novita nella bibliografia sullargomento, perche per la prima volta il tema viene affrontato in una visione globale, non limitata alla descrizione delle esperienze, sorprendentemente numerose, che si sono svolte in Italia in questo particolare campo dellattivita educativa.Anna Maria Sacchetti e nata in Canada nel 1961

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.

Vincent Willem van Gogh was a Dutch Post-Impressionist painter whose work had a far-reaching influence on 20th-century art. In just over a decade he produced over 2100 artworks, including around 860 oil paintings, the majority created in the last two years of his life. They include portraits, self-portraits, landscapes, still lifes, olive trees, cypresses, wheat fields and sunflowers, and are characterised by symbolic colourisation and dramatic, impulsive and highly expressive paintwork. He sold only one painting during his lifetime and was largely unnoticedby critics until his suicide, aged 37, which followed years of restless anxiety, poverty and mental illness.

Valentin Alexandrovich Serov (1865 -1911) was a Russian painter, and one of the premier portrait artists of his era. He was born in St. Petersburg, son of the Russian composer Alexander Serov, and his wife Valentina Bergman, a composer of German-Jewish background. In his childhood he studied in Paris and Moscow under Ilya Repin and in the St. Petersburg Academy of Arts (1880-1885) under Pavel Chistyakov. Serovs early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. Further influences on Serov were the old master paintings he viewed in the museums of Russia and Western Europe, friendships with Mikhail Vrubel and later Konstantin Korovin, and the creative atmosphere of the Abramtsevo Colony, to which he was closely connected.From 1890 on, the portrait became the basic genre in Serovs art. It was in this field that his early style would become apparent, the paintings notable for the psychologically pointed characteristics of his subjects. Serovs favorite models were actors, artists, and writers (Konstantin Korovin, 1891, Isaac Levitan, 1893, Nikolai Leskov, 1894, Nikolai Rimsky-Korsakov, 1898).Initially abstaining from the polychromatic, brightly colored painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones. Impressionistic features appeared sometimes in composite construction of a portrait, or to capture a sense of spontaneous movement. As in the work of his contemporaries John Singer Sargent and Anders Zorn, the impressionism is not doctrinaire, but derives as much from the study of Hals and Velazquez as from modern theory. Receiving wide popularity, in 1894 Serov joined with the Peredvizhniki (The Itinerants), and took on important commissions, among them portraits of grand duke Pavel Alexandrovich, (1897), S. M. Botkin, 1899, and F.F. Yusupova, 1903 as well as Princess Olga Orlova.During his late period, which began in 1900, Serov was a member of "The World of art", an influential Russian art association and magazine which grew, in part, out of dissatisfaction with the Itinerants movement. At the start of the 20th century, Serov was at a stylistic turning point: features of impressionism disappeared from his work, and his modernistic style developed, but the characteristic truthful and realistic comprehension of the nature of his subjects remained constant.The last years of Serovs life were marked by works on themes from classical mythology. While addressing images from the ancient tradition, Serov endowed classical subject matter with a personal interpretation.

INTRODUÇÃO AO DIREITO PREVIDENCIARIO E MÉDICO A CONSTITUIÇÃO FEDERAL E SEUS PRINCÍPIOS S PROTEÇÃO DOS DIREITOS DOS IDOSOS E DEFICIENTES POLITICAS PÚBLICAS E SUA EFETIVIDADE BUROCRACIA E DESAFIOS NAS