Otros libros que te pueden interesar

• 

  Tyrannosaurus Rex The: The...

  Charles River Editors

  • 0
  • 0
  • 0

  The massively popular 1990 novel Jurassic Park by Michael Crichton and its subsequent movie adaptations led to a huge resurgence in interest in dinosaurs and the prehistoric world. That interest continues to the present day, even though most of the dinosaurs in Jurassic Park weren’t actually from the Jurassic period. Triceratops, Velociraptor, Tyrannosaurus Rex and the huge sauropods such as Brachiosaurus that feature in the book and movies all actually belong to the Late Cretaceous period, more than 40 million years after the end of the Jurassic. Regardless, certain kinds of dinosaurs remain instantly recognizable, and among them, the “king” is undoubtedly the Tyrannosaurus.  
  	The first discovery of a Tyrannosaurus was made in 1902 and the largest carnivorous dinosaur ever found at the time quickly gripped the popular imagination. Even its name was dramatic - Tyrannosaurus Rex means “King of the Tyrant Lizards.” The T-Rex as it quickly became known didn’t appear until the last age of the Late Cretaceous period, the Maastrichtian, but when it did, it was the biggest and most terrifying of all the theropod predators. The T-Rex was around 13 feet tall at the hips (its tallest point since it isn’t believe to have stood upright), it was over 35 feet long, and it weighed about nine metric tons. Like most therapods, it had very powerful hind legs and much smaller fore legs, so the front legs look almost comically small. This dinosaur also had a large and powerful tail to counterbalance its very large head (some T-Rex skulls are nearly five feet long). Within the skull was a massive jaw lined with teeth up to a foot long. A reconstructive study has estimated that a T-Rex jaw was capable of exerting a pressure of over 55,000 Newtons; the equivalent of almost six tons of pressure. It was fast too, possibly capable of moving at speeds of up to 25 miles per hour. 

  Ver libro

• 

  Impressionism

  Nathalia Brodskaïa

  • 0
  • 0
  • 0

  Just before his death, Claude Monet wrote: “I’m still sorry to have been the cause of the name given to this group, most of whom were not in the least bit impressionistic”. Starting with this paradox – an ensemble that saw itself as a coherent group, while affirming artistic individuality as the ultimate goal – the author, Nathalia Brodskaïa, explores the contradictions of late nineteenth–century art. Was it not Manet who evoked the definitive formula: “I paint what I see and not what others want to see” ? There would be a long way to go before the world recognised the difference between traditional, academic art and the birth of modern, non-figurative painting. After analysing the essential elements of the Impressionist movement, Nathalia Brodskaïa pursues, across the œuvre of each of the main players, the search for “that conviction they had, of justice in their principles and value in their art”. From this assertion of difference, modern painting was born.

  Ver libro

• 

  Canoeing in the Wilderness

  Henry David Thoreau

  • 0
  • 0
  • 0

  "Canoeing in the Wilderness" chronicles Henry David Thoreau's captivating journey into the serene and unspoiled regions of Maine's forests and waterways. With his keen observation and profound appreciation for the natural world, Thoreau provides not only a detailed account of his expedition but also meditations on the essence of wilderness and man’s place within it. His vivid descriptions of landscapes, flora, and fauna, alongside reflections on simplicity and self-reliance, invite readers to explore the tranquil beauty of the wild and consider the value of a life closer to nature. Read in English, unabridged.

  Ver libro

• 

  The Passenger: California

  Passenger The

  • 0
  • 0
  • 0

  The best new writing, photography, art, and reportage from and about California—in the “rich and engrossing” series for travelers and armchair travelers (Times Literary Supplement). 
   
  From the Gold Rush to Hollywood’s golden age to the rise of Silicon Valley, California has long stood as the brightest symbol of the American dream. In recent years, however, the country’s mainstream media has been declaring with increasing frequency—and thinly veiled schadenfreude—the “end of California as we know it.” 
   
  The pessimists point to rising inequality, racial tensions, and the impact of climate change as evidence that the Californian dream has been shattered. Between extreme heat, months-long droughts, devastating wildfires, and rising sea levels, looking at California is like watching the trailer for what awaits the world if we don’t act to reduce global warming. Faced with these pressures, more and more Californians are leaving the state, leading to an unprecedented decline in population that could change the cultural and political balance of power in the country at large. 
   
  That said, demographic decline and climate disasters don’t tell the whole story of one of the most dynamic and diverse states in the Union—one that continues to drive technological and political innovation and define the evolution of work, food, entertainment, and social relations. This volume offers a fascinating picture of California in all its complexity and contradictions—an attempt to understand the laboratory where much of the world’s future continues to be written—with pieces including: 
   
  Growing Uncertainty in the Central Valley by Anna Wiener • How Does It Feel to Be a Solution? by Vanessa Hua • The Burning of Paradise by Mark Arax • Plus: direct democracy and unsustainable development, the rise of the “land back” movement, the cultural renaissance of Los Angeles in defiance of rampant gentrification, and much more . . .  
   
  “The Passenger readers will find none of the typical travel guide sections on where to eat or what sights to see. Consider the books, rather, more like a literary vacation.” —Publishers Weekly

  Ver libro

• 

  O'Keeffe

  Gerry Souter

  • 0
  • 0
  • 0

  In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.

  Ver libro

• 

  Plott Hound Tales - Legendary...

  Bob Plott

  • 0
  • 0
  • 0

  This history of the hunting dog “looks at the breed in relation to outlaws and lawmen, celebrities and common folks—and everyone in between” (Appalachian History.net).   Though originating in Germany, the Plott hound reached worldwide fame through the contributions of many colorful characters from the Southern Appalachians. Originally brought to America by German immigrant Johannes “George” Plott, the hounds quickly became renowned for their stamina and gameness. Quill Rose—a legendary local outlaw, moonshiner, gunfighter and more—helped cultivate the bloodline for bear hunting, while revered baseball icon Branch Rickey brought national acclaim to the breed through his hunts in the Hazel Creek Watershed. Writer Frank Methven wrote extensively about the Plott hound for decades, and the Methven Award remains one of the most coveted big game hunting awards in the world.   Author and breed expert Bob Plott reveals the fascinating people and places that have shaped the history of the Plott hound.  “Written as only a third great-grandson of George Plott—the man who first brought the Plott bear hounds to America—could write it.” —Watauga Democrat

  Ver libro