Other books that might interest you

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  Buried Treasure Volume 2 -...

  Dan Hagerty

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  Buried Treasure is a colorful smorgasboard of music. Revered musicians, actors, and pop culture icons each contribute their favourite albums to create a fantastically eclectic collection.

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  Abbott and Costello: Football

  Bud Abbott, Lou Costello

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  Costello takes on The Great Gildersleeve, on and off the football field.

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  Zimbabwe's Cinematic Arts -...

  Katrina Daly Thompson

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  “A nuanced and convincing approach to evaluating the role of media in shaping African identities.” —James Burns, Clemson University 
   
  This timely book reflects on discourses of identity that pervade local talk and texts in Zimbabwe, a nation beset by political and economic crisis. Exploring questions of culture that play out in broadly accessible local and foreign film and television, Katrina Daly Thompson shows how viewers interpret these media and how they impact everyday life, language use, and thinking about community. Thompson offers a unique understanding of how media reflect and contribute to Zimbabwean culture, language, and ethnicity. 
   
  “Katrina Daly Thompson has made a fine contribution to scholarship on African cinema . . . This is a book that will enrich discussions of African film and media studies for years to come.” —African Studies Review 
   
  “Thompson analyzes identity discourses through cinematic arts?films, documentaries, television programs, videos?consumed (whether or not produced) in Zimbabwe . . . . Beside bringing issues of race, financing, ethnicity, and language to the discussion, she also considers the 2001 Broadcasting Services Act, which was meant to liberalize the field and stem Western influence . . . Recommended.” —Choice 
   
  “Katrina Daly Thompson’s study of Zimbabwean film and television presents a valuable addition to the ever-expanding corpus of analytical and historical studies on African film and media.” —Africa 
   
  “Most compelling in Thompson’s study is her close attention to uses of language and culture, which she argues contest state-defined and state-controlled meaning in broadcast media. Recognizing culture as a socially negotiated process, the book uses critical discourse analysis to interrogate power structures and flows.” ?African Arts

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  Everything Is Going to Be OK

  Books Chronicle

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  Add some happiness to your life with this collection of inspirational contemporary art, craft, design, and photography. A little inspiration goes a long way. This volume is filled with artwork bearing mottos of encouragement and affirmation. Featuring work from a diverse roster of indie artists, designers, and crafters—including beloved figures such as Mike Perry, Marian Bantjes, Marc Johns, Enormous Champion, and Yee-Haw Industries, as well as a host of emerging new talents—this hip take on the classic cheer-you-up book is the perfect visual treat for anyone whose spirits need a little lift from time to time.

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  1000 Watercolours of Genius

  Victoria Charles

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  The watercolour technique was for a long time the great companion to drawing. A mixture of water and pigments permitting great artistic freedom, it was often employed for preparatory sketches. Albrecht Dürer was one of the first to take advantage of all that watercolour offered. In the 18th century, English artists created of it an autonomous medium freed from academic constraints, an evolution which would have a considerable impact for following generations. Amongst the most famous artists to have produced watercolours, we find Turner, Whistler, Constable, Sargent, Van Gogh, Kandinsky, Klee, and Schiele.

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  Leonardo da Vinci and artworks

  Gabriel Séailles

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  Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

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