Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse à l’Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
A behind-the-scenes account of how death is presented in the media Death is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a “fit” and “unfit” image of death. Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society. In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them—even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.
Marinette is the sweetest girl in Paris. With a big crush on a boy at school, a big dream of becoming a fashion designer, and a big problem with being totally awkward, she's just your average teenage girl, right? Did we mention she's also the crime fighting superhero, Ladybug?
Becoming Ladybug is a complicated process! First, Marinette needs a "Kwami," which is a tiny magical assistant (hers is named Tikki). She also needs a "Miraculous," which is a magical accessory (hers is a pair of earrings). Tikki uses the Miraculous to transform Marinette. But her Ladybug super powers only work for a limited time!
When Hawk Moth uses his mind-controlling, moth-like creatures called akuma to turn people into baddies, it's up to Ladybug to capture them and save the day! Well, she gets a little help from her superhero friend, Cat Noir… but she insists she doesn't need him. If only she knew Cat Noir's true identity – her crush, Adrien! Will Ladybug and Cat Noir be able to balance their double lives and keep Paris safe?
Will they ever find out each other's true identity, or who's behind Hawk Moth's mask? Until then – there's a whole city of baddies to defeat… SPOTS ON, CLAWS OUT!
What does an artist need to know about drawing? And what has to be mastered in order to achieve the drawings you want? In this book Barrington Barber shows you, offering advice and tips as he takes you through the various stages.
From object drawing and still-life composition, the natural world and portraiture, to looking at form and shape, and assessing styles and techniques, The Complete Book of Drawing is a distillation of the many skills that the aspiring artist needs to develop.
As Barrington Barber knows from his many years of both teaching and practising art, it is crucial for you as an individual to find your own style and way of doing things. And, uniquely among practical art books, this is what The Complete Book of Drawing provides, by revealing new possibilities and enabling you to look at the world around you with fresh eyes.