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.
'One morning you open your eyes and you're a teenager. Without warning, you wake up in the body of an overweight stranger who hates everyone, only wears black and has suicidal thoughts eighty-four percent of the time. And I was no exception.'
This is Mia: sixteen years old, rebellious, sarcastic, determined, and always ready to face head-on the problems of teenage life: school, classmates, separated parents, and a stormy relationship with a single mother who loves her to bits.
Mia has always pursued her one big dream: to get into London's Royal Ballet School. The most prestigious dance school in the world, with a gruelling selection process and fees which are way too expensive for a single mother.
And just to make things even more complicated, there's her secret passion for Patrick, her best friend's brother: a boy so charming and unique that it's hard to believe he's not an angel – but, unfortunately for Mia, an angel who thinks of her as a little sister.
Her passions for dance and for Patrick are so intense that there's no way Mia would ever be able to give up either. Until destiny presents her with a difficult and painful choice...
For fans of Jenny Han and Holly Bourne, a charming young adult novel about first love and big dreams from bestselling Italian author Federica Bosco.
Mikhail Aleksandrovich Vrubel (1856 – 1910) is usually regarded amongst the Russian painters of the Symbolist movement and of Art Nouveau. In reality, he deliberately stood aloof from contemporary art trends, so that the origin of his unusual manner should be sought in Late Byzantine and Early Renaissance painting. Even in his earliest works, he exhibited great talent for drawing and an idiosyncratic style. He would later develop a penchant for fragmentary composition and an "unfinished touch".
Since its immediate success in 1813, Pride and Prejudice has remained one of the most popular novels in the English language. Jane Austen called this brilliant work "her own darling child" and its vivacious heroine, Elizabeth Bennet, "as delightful a creature as ever appeared in print." The romantic clash between the opinionated Elizabeth and her proud beau, Mr. Darcy, is a splendid performance of civilized sparring. And Jane Austen's radiant wit sparkles as her characters dance a delicate quadrille of flirtation and intrigue, making this book the most superb comedy of manners of Regency England.
Among the writers who have approached nearest to the manner of the great master, we have no hesitation in placing Jane Austen. —Thomas Macaulay
'Pride and Prejudice' is the best novel in the language. —Anthony Trollope
I used to think that men did everything better than women, but that was before I read Jane Austen. I don't think any man ever wrote better than Jane Austen. —Rex Stout
Elizabeth Bennet has but to speak, and I am at her knees. —Robert Louis Stevenson
Read again, and for the third time at least, Miss Austen's very finely written novel of 'Pride and Prejudice.' That young lady has a talent for describing the involvements and feelings and characters of ordinary life which is to me the most wonderful I ever met with. —Sir Walter Scott
How a Show, and the Support of Its Fandom, Changed—and Saved—Lives
Supernatural, a three-time People’s Choice Award winner for Favorite Sci-Fi/Fantasy TV Show and Tumblr’s 2015 Most Reblogged “Live Action TV,” has made a name for itself by supporting and encouraging its fans to “always keep fighting,” and a memorable line from early in the show’s run, “Family don’t end with blood,” became an inspiring mantra for many who found community in the fandom.
In 25 powerful chapters written by Supernatural’s actors and fans, including series lead Jared Padalecki, plus special messages from Jensen Ackles, Misha Collins, and Mark Sheppard, Family Don’t End with Blood: Cast and Fans On How Supernatural Has Changed Lives examines the far reach of the show’s impact for more than a decade. Supernatural has inspired fans to change their lives, from getting “sober for Sam” to escaping a cult to pursuing life-long dreams. But fans aren’t the only ones who have been changed. The actors who bring the show to life have also found, in the show and its community, inspiration, courage, and the strength to keep going when life seemed too hard.
Including essays and special messages from Supernatural ’s cast:
Jared Padelecki (“Sam Winchester”)
Jensen Ackles (“Dean Winchester”)
Misha Collins (“Castiel”)
Mark Sheppard (“Crowley”)
Jim Beaver (“Bobby Singer”)
Ruth Connell (“Rowena MacLeod”)
Osric Chau (“Kevin Tran”)
Rob Benedict (“Chuck Shurley aka God”)
Kim Rhodes (“Sheriff Jody Mills”)
Briana Buckmaster (“Sheriff Donna Hanscum”)
Matt Cohen (“Young John Winchester”)
Gil McKinney (“Henry Winchester”)
Rachel Miner (“Meg Masters”)
Collected and edited by Lynn S. Zubernis, a clinical psychologist, professor, and passionate Supernatural fangirl, Family Don’t End with Blood provides an insightful and often uplifting look into the way international fan communities become powerful, positive forces in the lives of so many.
In keeping with the show’s message to “always keep fighting,” a portion of the proceeds from the book will be donated to RANDOM ACTS, a nonprofit founded by Misha Collins, and AT TITUDES IN REVERSE, whose mission is to educate young people about mental health and suicide prevention.
Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection. Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own. The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.
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