Altri libri che potrebbero interessarti

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  Child-life in Art

  Estelle M. Hurll

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  The poetry of childhood is full of attractiveness to the artist, and many and varied are the forms in which he interprets it. The Christ-child has been his highest ideal. All that human imagination could conceive of innocence and purity and divine loveliness has been shown forth in the delineation of the Babe of Bethlehem. The influence of such art has made itself felt upon all child pictures. It matters not whether the subject be a prince or a street-waif; the true artist sees in him something which is lovable and winning, and transfers it to his canvas for our lasting pleasure. (Summary from the Preface of Child-life in Art)

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  The Written World - Essays &...

  Kevin Power

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  Art honours the world, and criticism honours art, even – perhaps especially – when the critic sets out to destroy. The bad review is hardly ever written out of mere spite. In most cases, the motivation is disappointed idealism. Critics are people who love art and who hate to see it traduced. Hence the critic's sempiternal cry: You're doing it wrong. What the critic wants is for you to do it better.
  Since 2008, acclaimed novelist Kevin Power has reviewed almost three hundred and fifty books. Power declares, 'Even now, cracking open a brand-new hardback with my pencil in my hand, I feel the same pleasure, and the same hope. That's the great secret: every critic is an optimist at heart.'
  Art that thinks and feels at the same time – 'good art' – requires explication. The writing of criticism in response to such art is an activity that has taken place since Aristotle first sat down to figure out what made tragedy work. It is in the pursuit of this question – what makes good art 'good' – that Kevin Power found his vocation. During a ten-year stint as a regular freelance reviewer for the Sunday Business Post, Power fell in love with the writing of criticism, and with the reading of it, too, particularly by talented novelists who review books on the side. His conclusion is that criticism is absolutely an art. But it is never more so than when practiced by an actual artist.
  These pieces, ranging from reviews of Susan Sontag to the meaning of Greta Thunberg, apocalyptic politics, and literary theory, represent a decade's worth of thinking about books; a record of the author's attempts to honour art, and through art, the world. In The Written World, Power explains how he became a critic and what he thinks criticism is. It begins and ends with a long personal essays, 'The Lost Decade', written especially for this collection, about his mental and writing block after publishing Bad Day in Blackrock and his decade-long journey to White City. The pieces gathered by Power are connected by a theme – this is a book about writing, seen from various positions, and about growth as an artist and a critic.

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  I Said Yes - My Story of...

  Emily Maynard Johnson, A. J....

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  NEW YORK TIMES BESTSELLER 
  Millions know Emily Maynard Johnson from her appearances on both The Bachelor and The Bachelorette. At the end of a long, fruitless search for a husband, Emily found that waiting right in front of her all along was the truest love of all: the unconditional love of the Lord.  
  Overcome with embarrassment following her nationally televised heartbreaks, Emily finally committed herself to the only one she knew would never leave her empty and alone. Abandoning her need to be chosen by men and finding peace in the fact that she was already chosen by God, Emily found the joy she had been looking for in serving God. 
  I Said Yes chronicles Emily's experiences on both The Bachelor and The Bachelorette and the way that God turned her life upside down through the knowledge and acceptance of His true love. 
  As Emily sheds light on her life as a believer in the spotlight, she teaches us:How to embrace the gift of true redemptionWhat it means to fully surrender your heart to GodHow to say yes to God's ways, God's love, and God's timing 
    
  In I Said Yes, Emily tells the story of her life before and after reality TV fame, describing the profound new reality she discovered when she traded fame in favor of the Lord--and to that unconditional love, Emily said yes.

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  KEYBOARD LESSONS - Tips and...

  Green Light Studios

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  If you are learning how to play the keyboard on your own, the right tips and tricks can elevate your skills. You won’t have a mentor or teacher who listens to you play, pinpoints your mistakes, and guides you to improve. So, certain “hacks” can be incredibly beneficial, making the learning process more convenient. They can help you avoid and identify the mistakes that beginners usually make. Overall, the right tips and tricks will make the learning process more fun, interesting, and easier. We will discuss these issues in this book.

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  Boogie Board Man - Eight...

  Mike Del Ninno

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  "...I do happen to be gifted with the revelation of the boogie board, and that's no small deal, it was a small deal, and it seemed to be, but it turns out it's a big deal." -Tom Morey 
  The journey of two individuals brought together by celestial fate. The author aspiring to write a biopic screenplay, and Tom Morey, unveiling a lifetime of events leading to a collaborative project spanning several months and eight interview sessions, culminating with the life-story of the Boogie Board Man.

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  Bruce Springsteen's Born in the USA

  Geoffrey Himes

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  When Bruce Springsteen went back on the road in 1984, he opened every show by shouting out, ""one, two, one, two, three, four,"" followed by the droning synth chords of ""Born in the U.S.A."" Max Weinberg hit his drums with a two-fisted physicality that cut through the swelling chords. With a rolled-up red kerchief around his head and heavy black boots under his faded jeans, Springsteen looked like the character of the song, and from the very first line (""Born down in a dead man's town"") he sang with the throat-scraping desperation of a man with his back against the wall. When he reached the crucial lines, though, the guitars and bass dropped out and Weinberg switched to just the hi-hat. Springsteen's voice grew a bit more private and reluctant as he sang, ""Nowhere to run. Nowhere to go."" It was as if he weren't sure if this were an admission of defeat or the drawing of a line in the sand. But when the band came crashing back at full strength—building a crescendo that fell apart in the cacophony of Springsteen's and Weinberg's wild soloing, paused and then came together again in the determined, marching riff—it was clear that the singer was ready to make a stand.

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