Biographies Of Artists Architects Photographers

Piano B presenta "Uomini e destini", una antologia originale di brevi biografie in forma di saggio, miniature storiche che vanno a comporre una vera e propria galleria di personaggi – illustri e meno illustri – i cui singolari destini si sono intrecciati indissolubilmente con l. a. storia dell’Europa e del mondo, più e meno recente.
Amerigo Vespucci, Lord Byron, Marcel Proust, los angeles mater dolorosa del Nietzsche malato, Lev Tolstoj e Paul Verlaine sono solo alcuni dei soggetti che l. a. penna di Zweig prende in esame, restituendo al lettore los angeles psicologia e los angeles drammaticità del personaggio, ma anche del pace a lui contemporaneo – riuscendo, grazie alla ricostruzione di un’esistenza – a ritrarre lo spirito e il destino di un’intera epoca.

In "Uomini e destini" si conferma l’impeccabile stile di Zweig, che nelle sue opere biografiche riesce a miscelare narrativa e saggio, l. a. grande storia con i destini degli uomini che hanno contribuito a scriverla, le vicende personali con eventi e mutamenti epocali.

the colour of My Paint is a quick tale publication in response to the existence classes of a Latin American artist. the writer stocks his reports looking for his creative expression in the course of his youth upbringing. each one bankruptcy stocks a lesson for the reader.

Los momentos posteriores a los angeles meditación diaria, los ratos de esparcimiento en el hogar, las horas de espera en aeropuertos y en vuelos al trasladarme de un país a otro, son espacios para reflexionar, rememorar, evaluar, proyec- tar o pasar revista de mis actos y de mis pensamientos... Y, muy particularmente, para visualizar l. a. vida desde los angeles pers- pectiva cronológica en que ésta se halla: etapa a l. a. que me ha dado por llamar vejestud, como reflejo de mi sentir...

La juventud de mi vejez es eterna porque los angeles propia ve- jez no l. a. vence. Mi juventud aprendió a respetar los angeles vejez que vivo y percibo en estos días. Mi voluntad y mi vejez son jóvenes y conviven juntas. Y como el carbón y el diamante, jamás porfían.
Toda energía que brota de mí es joven y transmite fuer- zas a mi Espíritu, que es también, y a los angeles par, joven y viejo.

Mis acciones son jóvenes y mis temores viejos. Mi creativi- dad es joven: tengo alternativas juveniles que se bañan en los angeles sangre nueva de mis pensamientos. Mi amor es joven, mis tristezas y alegrías, por el contrario, viven en l. a. fuente que alimenta l. a. vejez de mi vida.

Mi esperanza es simultáneamente joven y vieja. Mis lu- chas son jóvenes y vencen los obstáculos con el músculo de los angeles imaginación que juguetea constantemente con los angeles sabidu- ría del viejo. Mis decisiones son viejas y cuando encuentro bienestar con ellas es porque las he impregnado de autén- tica filantropía.

Aunque pueda fallar en el intento por encontrar felici- dad y alegría, una sonrisa de viejo me ayuda a comprender que mi juventud vive constantemente en mis días y que ella jamás siente reproche por l. a. vejez que se va acumulando en mi cuerpo.

Mi juventud ya no tiene prisa ni tampoco se sofoca cuando evoca al joven que fui y que una vez sí tuvo prisa.
Tengo un llanto joven o ¿acaso es un llanto viejo? Mi arte de vivir parte del punto de vista de un anciano que es- cucha con atención lo que sucede. Mi verdad o ecuanimi- dad es el equilibrio que promueve mi vejez cuando el joven que una vez vivió en mí se emborracha de ego y se pierde buscando recuperar lo perdido. A través de los angeles paz, me en- cuentro con los angeles vejez y los angeles reparto en derroches. los angeles vejez es mi paz porque es parte de un espíritu inmortal colectivo que escucha l. a. sabia elocuencia que narra los angeles conciencia de Dios con sus cantares.

Die erste Werkbiographie über den großen ungarischen Schriftsteller.

Lange vor der Niederschrift seines weltberühmten »Romans eines Schicksallosen" hat Imre Kertész einen kurzen textual content geschrieben, der sich wie eine Grundschrift seines Werkes liest: In »Ich, der Henker", einem lange Zeit unpublizierten Textfragment aus den 50er Jahren, schreibt der Holocaust-Überlebende nicht, wie zu erwarten wäre, aus der Perspektive des Opfers, sondern aus der des Täters: Ein Massenmörder legt Rechenschaft ab, zeichnet sich selbst als Rädchen im Getriebe, als Henker wider Willen und verwischt die Grenzen zwischen Täter und Opfer.
Bereits in diesem frühen textual content zeigt sich Kertész` Überzeugung, dass Opfer und Täter im Totalitarismus austauschbar geworden sind. Sie fügen sich beide in ihre »Schicksallosigkeit", ihren Verlust der Persönlichkeit. Ein Überlebender kann laut Kertész nicht ohne Schuld sein - nur die Toten sind frei von Schuld.
Irene Heidelberger-Leonard legt erstmalig eine Werkbiographie dieses Ausnahme-Schriftstellers vor. Sie zeigt, wie eng Kertész` Leben mit seinem Werk verknüpft ist, aber auch wie groß die Freiheiten sind, mit denen er sein Leben in der Literatur gestaltet: Das Schreiben seiner Lebensgeschichte ist für ihn eine existentielle Notwendigkeit, es ist die einzige Möglichkeit, aus der Passivität der Opferrolle auszubrechen und seine Individualität zurückzugewinnen.
Irene Heidelberger-Leonard zeichnet ein feinsinniges Porträt des Nobelpreisträgers, der die Selbsterforschung und deren ästhetische Verwandlung zu seinem Lebensinhalt gemacht hat.

Diego Rivera: A Biography provides a concise yet vast biography of the recognized and arguable Mexican artist. Chronologically prepared, the ebook examines Rivera's youth and inventive formation (1886–1906), his ecu interval (1907–1921), and his work of art of the Twenties. It appears to be like on the paintings he did within the usa (1930–1933) and follows his profession from his next go back to Mexico via his demise in 1957.

Drawing from fundamental resource fabrics, the ebook unearths proof approximately Rivera's lifestyles that aren't popular or haven't been commonly mentioned prior to. It explores his tempestuous marriage to well known painter Frida Kahlo and appears at debatable works, akin to Rivera's 1933 mural for the RCA construction at Rockefeller middle in new york, which featured a portrait of Communist occasion chief Vladimir Lenin, and was once formally destroyed the subsequent year.

Out of print for greater than forty years, this can be an intimate and heartwarming biography that throws a complete new mild on considered one of Canada's such a lot loved and iconic artists.

In 1916, Emily Carr wasn’t well-known. She was once bad, and he or she taught paintings periods to youngsters to make a residing. one in all her scholars used to be seven-year-old Carol Pearson. Pearson spent hours on a daily basis with Carr: they painted jointly on the water’s part, and she or he helped deal with the canine, birds, monkey and different animals that Carr stored as pets. Carr nicknamed Pearson “Baboo,” and Carol known as her “Mom.” the 2 have been as shut as mom and daughter for twenty-five years, up until eventually Carr handed away.

This touching tribute to Carr illustrates a gentleness and sensitivity now not obvious in different biographies. initially released in 1954 and lengthy out of print, this very designated biography unearths Carr's character extra absolutely than the other. With a brand new foreword through Robert Amos, Canadian artwork historian.

A frumpy, distant, depression, and probably unknowable guy, Robert Frank chanced on himself on the red-hot social middle of bohemian ny within the '50s and '60s after emigrating from Switzerland in 1947. He loved shut friendships with Jack Kerouac, Allen Ginsberg, and Peter Orlovsky in addition to photographer Walker Evans, author James Agee, and painters Alice Neel and Larry Rivers.

In the mid-'50s, Frank and his kin took an extended street journey throughout the United States the place he took 27,000 images, eighty three of which might be accumulated in The Americans, his best-known paintings. initially harshly criticized for its bleak portrait of a segregated the USA, the gathering steadily became famous as a transformative creative rfile of the era.

American Witness is a compelling portrait of a good artist and his instances and the seismic impression he had upon them.

this can be the 1st English-language biography of the relentlessly formidable and incomparably gifted printer Giambattista Bodoni (1740-1813). Born to a printing kinfolk within the small foothill city of Saluzzo, he left his cozy existence to shuttle to Rome in 1758 the place he served as an apprentice of Cardinal Spinelli on the Propaganda Fide press. There, below the sponsorship of Ruggieri, he discovered all facets of the printing craft. Even then, his actual expertise lay in sort layout and punchcutting, specifically of the unique international alphabets wanted by means of the papal workplace to unfold the religion. His existence replaced whilst at age 28 he was once invited through the Duke of Parma to desert Rome for that very French urban to set up and direct the ducal press. He remained in Parma, overseeing an enormous number of printing, a few of it pedestrian, yet a lot of it excellent. And it all utilising the typefaces he individually designed and engraved. This high-quality booklet is going past Bodoni's capability as a printer; it examines the existence and occasions during which he lived, the turbulent and consistently fragile political weather, the attention-grabbing forged of characters that enlivened the ducal courtroom, the notable record of tourists making the pilgrimage to Parma, and the original place Parma occupied, politically Italian yet a great deal French when it comes to flavor and tradition. Even the nutrients will get its due. The illustrations—of town, of the click, of the kinds and matrices—are pleasing, yet such a lot impressive are the pages from the books he designed, in particular pages from his typographic masterpiece, the Manuale Tipografico, which displayed the myriad typefaces in a number of sizes that Bodoni had designed and engraved over an extended and prolific occupation. exciting, scholarly, visually arresting, and designed and revealed to Bodoni's criteria, this identify belongs at the shelf of any self-respecting bibliophile. It not just makes for compelling studying, will probably be thought of the biography of checklist of a very good printer for years to come.

Allegories of Time and area explores efforts by means of best photographers, artists, architects, and advertisement designers to re-envision eastern cultural identification through the turbulent years among the Asia Pacific struggle and the bursting of the industrial bubble within the Nineties. This look for a cultural domestic was once a question of large public quandary, and every of the artists into consideration engaged a large viewers via mass media. The artists lower than examine had in universal the need to identify distance from their speedy atmosphere temporally or geographically to be able to achieve a few standpoint on Japan's swiftly altering society. They shared what Jonathan Reynolds calls an allegorical imaginative and prescient, a skill to make time and house malleable, to work out the current long ago and to discover an irreducible cultural heart at Japan's geographical periphery.

The ebook commences with an exam of the paintings of Hamaya Hiroshi. A Tokyo local, Hamaya started to photo the remoted "snow nation" of northeastern Japan in the course of the battle. His empathetic photos of village existence expressed an aching nostalgia for the agricultural previous generally shared through city eastern. Following the same process in his look for genuine Japan was once the photographer Tōmatsu Shōmei. even if Tōmatsu initially traveled to Okinawa Prefecture in 1969 to record the damaging effect of U.S. army bases within the quarter in his often edgy sort, he got here to think that Okinawa used to be nonetheless in a few experience extra actually eastern than the japanese major islands. The self-styled iconoclast artist Okamoto Tarō emphatically rejected the delicacy and refinement conventionally linked to eastern paintings in desire of the hyper-modern traits of the dynamic and brutal aesthetics that he observed expressed at the ceramics of the prehistoric Jōmon interval. person who fast famous the aptitude in Okamoto's include of Japan's historic earlier used to be the architect Tange Kenzō. As some extent of comparability, Reynolds seems on the portrayal of the traditional Shintō shrine advanced at Ise in a quantity produced in collaboration with the photographer Watanabe Yoshio. Reynolds indicates how this landmark booklet contributed considerably to a metamorphosis within the that means of Ise Shrine by means of suppressing the shrine's prestige as an ultranationalist image and re-presenting the shrine structure as layout in line with rigorous modernist aesthetics.

In the Seventies and Eighties, there circulated generally via ads posters of the fashion designer Ishioka Eiko, the ephemeral "nomadic" structure of Itō Toyo'o, television documentaries, and different media, a delusion that imagined Tokyo's younger woman place of work staff as city nomads. those cosmopolitan goals could seem untethered from their eastern cultural context, yet Reynolds finds that there have been threads linking the city nomad with previous efforts to situate modern jap cultural id in time and space.

In its clean and nuanced re-reading of the multiplicities of jap culture in the course of a tumultuous and transformative interval, Allegories of Time and house bargains a compelling argument that the paintings of those artists better efforts to redefine culture in modern phrases and, via doing so, promoted a destiny that will be either glossy and uniquely Japanese.