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Showing results 1 - 25 of 177 for "classic-paintings"

How Parvati Won the Heart of Shiva (Classic Indian Stories for Children)
How Parvati Won the Heart of Shiva (Classic Indian Stories for Children)
The magical story of how the princess Parvati opens the heart of her eternal husband Shiva • The courtship story of one of the central couples in Indian lore, Parvati and Shiva, made accessible for Western children • Illustrated throughout with paintings from the classic Indian tradition In the Hindu pantheon the great mother goddess Adishakti is the heavenly wife of Shiva, Lord of All Gods. Whenever Shiva or Adishakti come to Earth in human form, they are fated to marry each other again--but that’s no guarantee that all will go smoothly with their courtship. In this story Adishakti comes to Earth as the mountain princess Parvati, who has her work cut out for her when she tries to win the affections of Shiva. Shiva spends all his time meditating on a remote mountainside in the Himalayas and has no interest in marriage. Parvati washes his feet, wipes his brow, and lays sixteen offerings before him, but he won’t even look at her. Sage Narada advises her to invoke Shiva’s name--Om Namah Shivaya--over and over again as a mantra. So in the heat of the sun, in the driving rain, in snow up to her neck Parvati sits and repeats her beloved’s name until the focused power of her intent opens his heart and persuades him to ask for her hand in marriage. Parvati’s timeless story teaches children that with enough love and perseverance even the seemingly impossible can be achieved. Accompanied by rich, color illustrations prepared according to the traditional Hindu canon, How Parvati Won the Heart of Shiva will transport children to a magical world filled with ancient wisdom.
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Studies in the History of the Renaissance (Oxford World's Classics)
Studies in the History of the Renaissance (Oxford World's Classics)
Through his highly idiosyncratic readings of some of the finest paintings, sculptures, and poems of the French and Italian Renaissance, Walter Pater in Studies in the History of the Renaissance redefined the practice of criticism as an impressionistic, almost erotic exploration of the critic's aesthetic responses. Pater's infamous "Conclusion," which forever linked him with the decadent movement, scandalized many with its insistence on making pleasure the sole motive of life, even as it charmed fellow aesthetes such as Oscar Wilde. This edition of Studies reproduces the text of the first edition of 1873. Matthew Beaumont's Introduction describes the cultural context that gave rise to the book, the reasons for its notoriety, Pater's philosophical outlook, and the arguments in his book. It explores Pater's work as an attempt to preserve the unique aesthetic of a work of art in the face of encroaching mass culture. The book also includes the later chapter on Giorgione as an Appendix, comprehensive notes that identify the many literary and artistic references, and a useful glossary of names.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
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Studies in the History of the Renaissance (Oxford World's Classics)
Studies in the History of the Renaissance (Oxford World's Classics)
Through his highly idiosyncratic readings of some of the finest paintings, sculptures, and poems of the French and Italian Renaissance, Walter Pater in Studies in the History of the Renaissance redefined the practice of criticism as an impressionistic, almost erotic exploration of the critic's aesthetic responses. Pater's infamous "Conclusion," which forever linked him with the decadent movement, scandalized many with its insistence on making pleasure the sole motive of life, even as it charmed fellow aesthetes such as Oscar Wilde. This edition of Studies reproduces the text of the first edition of 1873. Matthew Beaumont's Introduction describes the cultural context that gave rise to the book, the reasons for its notoriety, Pater's philosophical outlook, and the arguments in his book. It explores Pater's work as an attempt to preserve the unique aesthetic of a work of art in the face of encroaching mass culture. The book also includes the later chapter on Giorgione as an Appendix, comprehensive notes that identify the many literary and artistic references, and a useful glossary of names.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
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Pleasant Journeys and Good Eats along the Way: The Paintings of John Baeder
Pleasant Journeys and Good Eats along the Way: The Paintings of John Baeder
Pleasant Journeys and Good Eats along the Way surveys John Baeder's thirty-five-year obsession with roadside architecture, especially America's diners, and complements Baeder's Morris Museum of Art exhibit of the same name. Originally attracted to classic postcard images of mom-and-pop businesses and old black-and-white photos of downtowns, Baeder (b. 1938) has spent most of his art career depicting these beloved but unpretentious restaurants. Often classified as a photorealist, Baeder has always resisted being labeled. He sees his paintings as a plea for preservation and a way to reveal the psychology behind diners. Before the era of corporate fast food, Americans on the road looked to diners to provide \"meals like mother makes,\" a descriptive phrase found in Baeder\'s very first diner painting. Home cooking was especially appealing to weary tourists who took to the American highway in increasing numbers between the 1920s and the 1960s. By the late 1970s Baeder\'s paintings had become wildly popular. Baeder's paintings resonate in melodies of color and line and exhibit their personalities through hand-lettered placards and neon signs. They invite the viewer to absorb the everyday simplicity of roadside architecture in new ways and to discover the values of hearth and home in unexpected places. John Baeder of Nashville is a well-known realist painter. His work is in the permanent collections of the Whitney Museum of American Art, High Museum of Art, and many others. Jay Williams is curator at the Morris Museum of Art in Augusta, Georgia. His previous publications include Illuminated Literature: The Art of Jerry and Brian Pinkney and What Dogs Dream: Paintings and Works on Paper by William Dunlap. Kevin Grogan is the director of the Morris Museum of Art. Donald Kuspit is professor of art history and philosophy at the State University of New York at Stony Brook.
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Pleasant Journeys and Good Eats along the Way: The Paintings of John Baeder
Pleasant Journeys and Good Eats along the Way: The Paintings of John Baeder
Pleasant Journeys and Good Eats along the Way surveys John Baeder's thirty-five-year obsession with roadside architecture, especially America's diners, and complements Baeder's Morris Museum of Art exhibit of the same name. Originally attracted to classic postcard images of mom-and-pop businesses and old black-and-white photos of downtowns, Baeder (b. 1938) has spent most of his art career depicting these beloved but unpretentious restaurants. Often classified as a photorealist, Baeder has always resisted being labeled. He sees his paintings as a plea for preservation and a way to reveal the psychology behind diners. Before the era of corporate fast food, Americans on the road looked to diners to provide \"meals like mother makes,\" a descriptive phrase found in Baeder\'s very first diner painting. Home cooking was especially appealing to weary tourists who took to the American highway in increasing numbers between the 1920s and the 1960s. By the late 1970s Baeder\'s paintings had become wildly popular. Baeder's paintings resonate in melodies of color and line and exhibit their personalities through hand-lettered placards and neon signs. They invite the viewer to absorb the everyday simplicity of roadside architecture in new ways and to discover the values of hearth and home in unexpected places. John Baeder of Nashville is a well-known realist painter. His work is in the permanent collections of the Whitney Museum of American Art, High Museum of Art, and many others. Jay Williams is curator at the Morris Museum of Art in Augusta, Georgia. His previous publications include Illuminated Literature: The Art of Jerry and Brian Pinkney and What Dogs Dream: Paintings and Works on Paper by William Dunlap. Kevin Grogan is the director of the Morris Museum of Art. Donald Kuspit is professor of art history and philosophy at the State University of New York at Stony Brook.
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Emma (Barnes & Noble Classics)
Emma (Barnes & Noble Classics)
Emma, by Jane Austen, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Emma Woodhouse is a wealthy, exquisite, and thoroughly self-deluded young woman who has "lived in the world with very little to distress or vex her."Jane Austen exercises her taste for cutting social observation and her talent for investing seemingly trivial events with profound moral significance as Emma traverses a gentle satire of provincial balls and drawing rooms, along the way encountering the sweet Harriet Smith, the chatty and tedious Miss Bates, and her absurd father Mr. Woodhouse–a memorable gallery of Austen's finest personages. Thinking herself impervious to romance of any kind, Emma tries to arrange a wealthy marriage for poor Harriet, but refuses to recognize her own feelings for the gallant Mr. Knightley. What ensues is a delightful series of scheming escapades in which every social machination and bit of "tittle-tattle" is steeped in Austen's delicious irony. Ultimately, Emma discovers that "Perfect happiness, even in memory, is not common."Virginia Woolf called Jane Austen "the most perfect artist among women," and Emma Woodhouse is arguably her most perfect creation. Though Austen found her heroine to be a person whom "no one but myself will much like," Emma is her most cleverly woven, riotously comedic, and pleasing novel of manners.Steven Marcus is Professor of English and Comparative Literature and George Delacorte Professor in the Humanities at Columbia University, and a specialist in nineteenth-century literature and culture. A fellow of both the American Academy of Arts and Sciences and the Academy of Literary Studies, he has received Fulbright, American Council of Learned Societies, Guggenheim, Center for Advanced Study in the Behavioral Sciences, Rockefeller, and Mellon grants. He is the author of more than 200 publications.
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Emma (Barnes & Noble Classics)
Emma (Barnes & Noble Classics)
Emma, by Jane Austen, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Emma Woodhouse is a wealthy, exquisite, and thoroughly self-deluded young woman who has "lived in the world with very little to distress or vex her."Jane Austen exercises her taste for cutting social observation and her talent for investing seemingly trivial events with profound moral significance as Emma traverses a gentle satire of provincial balls and drawing rooms, along the way encountering the sweet Harriet Smith, the chatty and tedious Miss Bates, and her absurd father Mr. Woodhouse–a memorable gallery of Austen's finest personages. Thinking herself impervious to romance of any kind, Emma tries to arrange a wealthy marriage for poor Harriet, but refuses to recognize her own feelings for the gallant Mr. Knightley. What ensues is a delightful series of scheming escapades in which every social machination and bit of "tittle-tattle" is steeped in Austen's delicious irony. Ultimately, Emma discovers that "Perfect happiness, even in memory, is not common."Virginia Woolf called Jane Austen "the most perfect artist among women," and Emma Woodhouse is arguably her most perfect creation. Though Austen found her heroine to be a person whom "no one but myself will much like," Emma is her most cleverly woven, riotously comedic, and pleasing novel of manners.Steven Marcus is Professor of English and Comparative Literature and George Delacorte Professor in the Humanities at Columbia University, and a specialist in nineteenth-century literature and culture. A fellow of both the American Academy of Arts and Sciences and the Academy of Literary Studies, he has received Fulbright, American Council of Learned Societies, Guggenheim, Center for Advanced Study in the Behavioral Sciences, Rockefeller, and Mellon grants. He is the author of more than 200 publications.
$7.95 Go to
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