Altri libri che potrebbero interessarti

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  Edvard Munch and artworks

  Elisabeth Ingles

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  Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.

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  Godfather - The Intimate Francis...

  Gene D. Phillips

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  This critical biography by the acclaimed film historian is “certainly the definitive work on the director” behind The Godfather and Apocalypse Now  (Publishers Weekly).   Gene Phillips blends biography, studio history, and film criticism to complete the most comprehensive work on Coppola ever written. The force behind such popular and critically acclaimed films as Rumble Fish and the Godfather trilogy, Coppola has imprinted his distinct style on each of his movies and on the landscape of American popular culture.   In Godfather, Phillips argues that Coppola has repeatedly bucked the Hollywood "factory system" in an attempt to create distinct films that reflect his own artistic vision—often to the detriment of his career and finances. Phillips conducted interviews with the director and his colleagues and examined Coppola's production journals and screenplays. Phillips also reviewed rare copies of Coppola's student films, his early excursions into soft-core pornography, and his less celebrated productions such as One from the Heart and Tucker: The Man and His Dream. The result is the definitive assessment of one of Hollywood's most enduring and misunderstood mavericks.

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  Gathering No Moss

  Don Feeney

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  Don Feeney has seen it all!As a US diplomat, he served in embassies and consulates around the world. As an Air Force Commander, he had some daring exploits of varying levels of sanity and sophistication. He’s lived, worked, and played in more than fifty-five countries spanning six continents.In his memoir, Gathering No Moss, Feeney recalls his four-decade trip down his life’s wild, weird, and surprising journeys. A somewhat reluctant traveler, he conveys the heavy burden of loneliness on the road while driven by the search for meaning, spirituality, and love. His life has been filled with thought-provoking questions, highly charged emotional situations, and brushes with greatness and tragedy.He’s been an airman, an officer, an instructor, a commander, an administrator, a trainer, a consular officer, a manager, and a diplomat. He’s sold paintings on a street corner, washed dishes, worked in a paper mill, flipped hamburgers, painted houses, and tended a bar. He smoked pot, drank too much, and fell in (and out) of love (including four marriages). He went AWOL, was shot at three times, survived a brain aneurysm, and beat colon cancer.His mantra— “The more you know, the more you don’t know sh*t” or TMYKTMYDKS—reminds us all that the human mind will never let you understand the human mind.

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  funny stories - about the world...

  Hartmut Keyler

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  The cartoon is a graphics art, which tells a funny and/or satiric story in form of an affirmative picture, mostly with a point. Normally no words are used for the picture joke – sometimes just keywords.
  
  The cartoon is a drawing, that often in a humoristic way comments or criticises conditions of political or social character.
  
  The cartoon should easily perceive, which situation, person or problematic is intended to be told by the cartoonist. Also human attributes and characters can be put down in an overdoing manner.
  
  Scouting – with all its all-round attitude towards clean, truthworthy and moral values offers quite a lot of opportunities for critics, comments and interpretations –  in particular, if the way of the cartoon is put in a fair, never offending, discriminating or even insulting form.

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  Memory is a superpower in...

  PBS NewsHour

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  To make the case for reparations for the toll of slavery, acclaimed writer Ta-Nehisi Coates has offered forceful advocacy and powerful data-driven argument. With his first novel, The Water Dancer, he uses fiction to illuminate the Underground Railroad. Coates joins Jeffrey Brown to discuss the difference between history and myth, and his protagonist's superpower.

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  Encargos comunes (inglés)

  Fabiola González, Yair Estay

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  "Encargos Comunes" se presenta como un proyecto editorial que resume, a partir de tres obras de arquitectura, la práctica e investigación desarrollada por la oficina de arquitectura Taller25 en torno a esta profesión y su vínculo con la clase media contemporánea chilena. Estas obras identifican y visibilizan tres demandas sobre la vivienda: una Construcción nueva, una Reforma y una Ampliación, realizadas en comunas que normalmente se conocen como "Pericentrales" y "Periféricas" de la región Metropolitana (Lo Prado, San Bernardo y Maipú), cuyos mandantes o dueñas/os se inscriben en lo que estadísticamente se define como la clase media, transformándose así en un compendio atípico dentro de la disciplina de la arquitectura. De esta manera, la publicación propone una discusión crítica sobre la producción de la vivienda, y no de cualquier vivienda, sino de las más comunes de todas y, paradójicamente, menos abordadas desde el campo editorial y de divulgación en el área, como pueden ser las operaciones sobre la vivienda de y para los sectores medios.

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