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Jean-Honoré Fragonard (1732-1806) punctuates the eighteenth century with a burst of fireworks, closing the arc opened by Watteau with his enchanting poems of love and melancholy. While Watteau was ethereal and profound, Fragonard was delightfully light. He captivates us even as he amuses himself, his emotional distance ever apparent. Specialising in “fêtes galantes” executed in the Rococo style, Fragonard was a pupil of François Boucher and also studied under Chardin. Heeding Boucher’s advice, he portrayed romantic gardens replete with fountains, grottos, temples, and terraces—settings that also reveal the influence of Tiepolo. With King Louis XV as his patron, Fragonard shifted his focus towards depicting the pleasure-seeking and licentious court, offering scenes rich in love and voluptuousness.Mostra libro
The book contains eleven dramatic and often horrifying stories, each describing the life of a different prisoner in the camps and prisons of communist Albania. The prisoners adapt, endure, and generally survive, all in different ways. They may conform, rebel, construct alternative realities of the imagination, cultivate hope, cling to memories of lost love, or devisenincreasingly strange and surreal strategies of resistance. The characters inndifferent stories are linked to one another, and in their human relationships create a total picture of a secret and terrifying world. In the prisoners' back stories, the anecdotes they tell, and their political discussions, the book also reaches out beyond the walls and barbed wire to give the reader a panoramic picture of life in totalitarian Albania.Mostra libro
Ten Telecaster Tales remakes the idea of the “concept album.” It is music that arrives inside a book. It’s also, arguably, the most comprehensive attempt at liner notes in the history of electric instrumental fingerstyle guitar albums. In his latest offering, Rik Emmett delves into the creative process — the roots, influences, philosophy, and spirituality involved in writing and recording. Even the story behind these stories explores creativity. (Emmett dreamed of then commissioned a guitar — a one-of-a-kind Telecaster-style guitar — then wrote and recorded with and for it.) Playfully, beautifully, Ten Telecaster Tales lays bare an artistic journey in an act of discovery — that the storytelling inherent in writing good musical compositions translates into good storytelling about the process behind the songs, and how compositions turn into recordings. A generous amount of fairy-tale mythology is sprinkled throughout — despite the whole process being assimilated by digital technology. The notion of a “telecaster tale” implies something “vintage” at its heart, and it is humanity that glues the layers together. Principally, though, Ten Telecaster Tales is the next logical step for Emmett after publishing his memoir, Lay It On The Line. It represents the evolution of his life story into a combination of musical composition, guitar playing, and prose. After all, writing has always been the solid backbone and lifeline of his multi-faceted journey.Mostra libro
Since its first publication in 1990, Brahms and His World has become a key text for listeners, performers, and scholars interested in the life, work, and times of one of the nineteenth century's most celebrated composers. In this substantially revised and enlarged edition, the editors remain close to the vision behind the original book while updating its contents to reflect new perspectives on Brahms that have developed over the past two decades. To this end, the original essays by leading experts are retained and revised, and supplemented by contributions from a new generation of Brahms scholars. Together, they consider such topics as Brahms's relationship with Clara and Robert Schumann, his musical interactions with the "New German School" of Wagner and Liszt, his influence upon Arnold Schoenberg and other young composers, his approach to performing his own music, and his productive interactions with visual artists. The essays are complemented by a new selection of criticism and analyses of Brahms's works published by the composer's contemporaries, documenting the ways in which Brahms's music was understood by nineteenth- and early twentieth-century audiences in Europe and North America. A new selection of memoirs by Brahms's friends, students, and early admirers provides intimate glimpses into the composer's working methods and personality. And a catalog of the music, literature, and visual arts dedicated to Brahms documents the breadth of influence exerted by the composer upon his contemporaries.Mostra libro
“With inspiring stories, interesting profiles, insider tips, and stunning photos, The New Paris is Lindsey Tramuta’s love letter to her home, proving that Paris is no longer a city stuck in the past but once again at the forefront of culture. She will leave you eager to book the next flight out.” —Kristen Beddard, author, Bonjour Kale: A Memoir of Paris, Love, and Recipes The city long adored for its medieval beauty, old-timey brasseries, and corner cafés has even more to offer today. In the last few years, a flood of new ideas and creative locals has infused a once-static, traditional city with a new open-minded sensibility and energy. Journalist Lindsey Tramuta offers detailed insight into the rapidly evolving worlds of food, wine, pastry, coffee, beer, fashion, and design in the delightful city of Paris. She puts the spotlight on the new trends and people that are making France’s capital a more whimsical, creative, vibrant, and curious place to explore than its classical reputation might suggest. With hundreds of striking photographs by Charissa Fay that capture this fresh, animated spirit—and a curated directory of Tramuta’s favorite places to eat, drink, stay, and shop—The New Paris shows us the storied City of Light as never before.Mostra libro
A San Francisco porno theater might be the last place you'd expect to plant the seed of a feminist troupe, but truth is stranger than fiction. In 1972, access to birth control and a burn-your-bra ethos were leading young women to repudiate their 1950s conservative upbringing and embrace a new liberation. Denise Larson was a timid twenty-four-year-old actress wannabe when, at an after-hours countercultural event called The People's Nickelodeon, she accidentally created Les Nickelettes. This banding together of like-minded women with an anything-goes spirit unlocked a deeply hidden female humor. For the first time, Denise allowed the suppressed satirical thoughts dancing through her head to come out in the open. Together with Les Nickelettes, which quickly became a brazen women's lib troupe, she presented a series of feminist skits, stunts, and musical comedy plays that led The Bay Guardian to describe the group in 1980 as "nutty, messy, flashy, trashy, and very funny." With sisterhood providing the moxie, Denise took on leadership positions not common for women at the time: playwright, stage director, producer, and administrative/artistic director. But, in the end, the most important thing her time with Les Nickelettes taught her was the power of female friendship.Mostra libro
