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  Albrecht Dürer and artworks

  Victoria Charles

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  Dürer is the greatest of German artists and most representative of the German mind. He, like Leonardo, was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment, being well grounded in the sciences and mathematics of the day. His skill in draughtsmanship was extraordinary; Dürer is even more celebrated for his engravings on wood and copper than for his paintings. With both, the skill of his hand was at the service of the most minute observation and analytical research into the character and structure of form. Dürer, however, had not the feeling for abstract beauty and ideal grace that Leonardo possessed; but instead, a profound earnestness, a closer interest in humanity, and a more dramatic invention. Dürer was a great admirer of Luther; and in his own work is the equivalent of what was mighty in the Reformer. It is very serious and sincere; very human, and addressed the hearts and understanding of the masses. Nuremberg, his hometown, had become a great centre of printing and the chief distributor of books throughout Europe. Consequently, the art of engraving upon wood and copper, which may be called the pictorial branch of printing, was much encouraged. Of this opportunity Dürer took full advantage. The Renaissance in Germany was more a moral and intellectual than an artistic movement, partly due to northern conditions. The feeling for ideal grace and beauty is fostered by the study of the human form, and this had been flourishing predominantly in southern Europe. But Albrecht Dürer had a genius too powerful to be conquered. He remained profoundly Germanic in his stormy penchant for drama, as was his contemporary Mathias Grünewald, a fantastic visionary and rebel against all Italian seductions. Dürer, in spite of all his tense energy, dominated conflicting passions by a sovereign and speculative intelligence comparable with that of Leonardo. He, too, was on the border of two worlds, that of the Gothic age and that of the modern age, and on the border of two arts, being an engraver and draughtsman rather than a painter.

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  Author Elaine Pagels Explores...

  PBS NewsHour

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  Why do people have faith in what they cannot see? Author Elaine Pagels explores the concept of religious belief, and shares her own experience with finding faith in the face of tragedy, in her new book, “Why Religion?” Jeffrey Brown caught up with Pagels at this year’s Miami Book Fair.

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  Alexander Technique for Actors:...

  Penny O'Connor

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  The Alexander Technique has revolutionised the physicality, presence, stature and professional lives of generations of actors. By first asking you to identify your own acquired habits, the technique enables you to find new and beneficial ways of moving, thinking, breathing and performing, freely and without unnecessary tension.
  Written by an experienced teacher of the Alexander Technique, this book takes you step by step through a series of eleven guided lessons, and dozens of exercises and assignments. Each explores different elements and principles of the technique, including:
  - Training your mind to stay present, and mindful of your environment- Thinking (but not overthinking!) in new ways- Observing and developing your natural poise
  - Sitting, standing and walking easily and effortlessly- Breathing and speaking with release and relaxation- Applying all of your work to characterisation and performance

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  This Was Toscanini - The Maestro...

  Samuel Antek, Lucy Antek Johnson

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  This audio edition includes excerpts from NBC Symphony performances conducted by Maestro Toscanini!  
  “Music lovers will find this book irresistible ... the writing is gorgeous, the characters are well-sculpted, the scenes are focused, and the author brings to life moments that music aficionados will savor for a long time. The book itself is a symphony that arrests the edges of the hearts of readers.” —The Book Commentary 
  Explore with renewed wonder the thorough, touching, and inspiring firsthand account of performing with and learning from Arturo Toscanini. In this expanded second edition of This Was Toscanini, original author Samuel Antek's reflections on The Maestro gain new insights as his daughter Lucy Antek Johnson enlightens readers of what her father himself was like, and shares her fond and intimate reflections on a musical partnership. 
  Arturo Toscanini is widely considered the greatest conductor of the modern age and remains a towering figure in the world of classical music. His explosive passions, dynamic music making, and legendary leadership continue to inspire and influence today's musicians while still captivating new generations of enthusiastic fans as well. This Was Toscanini is an intimate, firsthand, behind-the-scenes musical portrait of the Maestro, told from the unique perspective of first violinist Samuel Antek, who was fortunate to play under Toscanini's baton for seventeen years in the famed NBC Symphony Orchestra. In this expanded second edition of This Was Toscanini: The Maestro, My Father, and Me, Samuel Antek's reflections on playing with the Maestro gain sparkling new facets of insight from his daughter, Lucy Antek Johnson, as she enlightens readers with vivid recollections about her father and his most memorable musical partnership. With a foreword from acclaimed author and music historian Harvey Sachs. This audio edition features over 20 minutes of music.

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  Perry Como

  Wink Martindale

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  Perry Como’s career started with a dare. The teenage owner of a barbershop had done some singing locally, but when his friends dared him to get on stage and sing a few songs with Freddy Carlone, he was offered a job.  Following touring, recording and a brief return to the barber business, Como went on to host his own radio show and sign a recording contract with RCA records where he would sell millions of albums. In the summer of 1977, Wink Martindale sat down for an enthralling conversation with Como to discuss his career that spanned more than half a century across music, radio, film and television.

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  Ernst Ludwig Kirchner and artworks

  Klaus Carl

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  The self-appointed “leader” of the artists’ group Die Brücke (Bridge), founded in Dresden in 1905, Ernst Ludwig Kirchner was a key figure in the early development of German Expressionism. His first works show the influence of Impressionism, Post-impressionism and Jugendstil, but by about 1909, Kirchner was painting in a distinctive, expressive manner with bold, loose brushwork, vibrant and non-naturalistic colours and heightened gestures. He worked in the studio from sketches made very rapidly from life, often from moving figures, from scenes of life out in the city or from the Die Brücke group’s trips to the countryside. A little later he began making roughly-hewn sculptures from single blocks of wood. Around the time of his move to Berlin, in 1912, Kirchner’s style in both painting and his prolific graphic works became more angular, characterized by jagged lines, slender, attenuated forms and often, a greater sense of nervousness. These features can be seen to most powerful effect in his Berlin street scenes. With the outbreak of the First World War, Kirchner became physically weak and prone to anxiety. Conscripted, he was deeply traumatised by his brief experience of military training during the First World War. From 1917 until his death by suicide in 1938, he lived a reclusive, though artistically productive life in the tranquillity of the Swiss Alps, near Davos.

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