Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
As a natural heir to the hit television series Buffy the Vampire Slayer, Supernatural has risen to prominence with a strong cult following, and this series of essays from Contributors around the globe investigates the genre-bending series' cultural footprint both in the United States and abroad. The writings explore topics such as folklore, religion, gender and sexuality, comedy, music, and much more, and a brief guide to all the episodes is also included. Supernatural follows brothers Dean and Sam Winchester as they encounter and battle evil beings such as vampires, shapeshifters, ghouls, and ghosts from a multitude of genres including folklore, urban legends, and religious history.
A practical guide to using gouache in botanical painting, by a leading botanical painter. Gouache is an opaque water-based medium, often called body colour, that produces crisp and vibrant paintings, and is becoming increasingly popular in botanical painting. Leading botanical painter, Simon Williams, specializes in painting in gouache and this is his first book. Botanical Painting in Gouache is full of practical advice on all aspects of using the exciting medium of gouache and contains many step-by-step demonstration paintings. In addition to the sumptuous flower paintings there are also sections on painting butterflies, birds and exotic and unusual plants from the rainforest.
This manual contains complementary information for that included in my previous texts regarding contemporary jazz improvisation techniques. As we all know John Coltrane revolutionized the harmonic concept of modern jazz sax improvisation. Other performers such as Sonny Rollins, Dexter Gordons, Wayne Shorter, Cannonball Adderley, Michael Brecker and Bob Berg also made incredible contributions to Modern sax performance. We must also include trumpet performers such as Freddy Hubbard, Lee Morgan, Clifford Brown, Chet Baker, Kenny Dorham, Wallace Roney, Tom Harrel, Randy Brecker and Roy Hargrove among others who also added new sounds and scales to this harmonic concept shift.From a technical perspective the book contains exercises for scale inversions, phrase lines from transcriptions, arpeggios, chromatisms and passing tones (lineal and intervallic structures) applied to:Major Scales+11 Lydian+5+8Dominant 7AlteredSymmetric diminished Whole tone scale +11 Lydian flat 7Minor ScalesMinor Dorian modeMinor Major 7The objective is to play the exercises in all twelve tones starting each phrase from any scale note according to the corresponding chord at any given point. These exercises and line phrases are presented as 8th and 16th notes as rhythmic notations. Arpeggios as well as ascendant and descendant scales will be played in both lineal and intervallic modes. The transcriptions include emblematic line phrases by Keith Jarret, Sonny Rollins, Dexter Gordons, Freddy Hubbard, Tom Harrel and Wallace Roney.This project is an extension of a ten chapter collection on improvisation by the same author: ¥Improvise Now¥240 Chromatic Exercises + 1165 Jazz Lines Phrases¥Herbie Hancock. The Blue Note Years¥John Coltrane & Michael Brecker Legacy¥Chris Potter Jazz Styles¥Bidirectional Contemporary Jazz Improvisation¥New Conception for Linear & Intervalic Jazz Improvisation¥Stage of the Art: Postbop Intervalic Jazz Improvisation Exercises and Line Phrases.¥Common Tone Sequences for Contemporary Jazz Improvisation¥Inventions and Dimensions Michael Brecker Jazz Style
If youve ever heard a song in your head and wanted to be able to write it, the Quickstart Guide to Songwriting will lead the way. Starting with choosing a subject to write your song about, then writing a lyric, a memorable hook, a singable melody, and then adding harmony and rhythm, you will write a song of your own. Even if you might think you are not musical or lyrical, you can write a song. The Quickstart Guide to Songwriting is an easy step-by-step introduction in teaching you how to create your own song. Write a song today!
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