1998, ISBN: 9780810941885

Gebundene Ausgabe

MP3 Audio CD. The Appetite of Tyranny THE FACTS OF THE CASE Unless we are all mad, there is at the back of the most bewildering business a story: and if we are all mad, there is no suc… Mehr…

MP3 Audio CD. The Appetite of Tyranny THE FACTS OF THE CASE Unless we are all mad, there is at the back of the most bewildering business a story: and if we are all mad, there is no such thing as madness. If I set a house on fire, it is quite true that I may illuminate many other people's weaknesses as well as my own. It may be that the master of the house was burned because he was drunk; it may be that the mistress of the house was burned because she was stingy, and perished arguing about the expense of the fire-escape. It is, nevertheless, broadly true that they both were burned because I set fire to their house. That is the story of the thing. The mere facts of the story about the present European conflagration are quite as easy to tell. Before we go on to the deeper things which make this war the most sincere war of human history, it is easy to answer the question of why England came to be in it at all, as one asks how a man fell down a coal-hole, or failed to keep an appointment. Facts are not the whole truth. But facts are facts, and in this case the facts are few and simple. Prussia, France, and England had all promised not to invade Belgium. Prussia proposed to invade Belgium, because it was the safest way of invading France. But Prussia promised that if she might break in, through her own broken promise and ours, she would break in and not steal. In other words, we were offered at the same instant a promise of faith in the future and a proposal of perjury in the present. Those interested in human origin may refer to an old Victorian writer of English, who, in the last and most restrained of his historical essays, wrote of Frederick the Great, the founder of this unchanging Prussian policy. After describing how Frederick broke the guarantee he had signed on behalf of Maria Theresa, he th, 0, MP3 Audio CD. The Appetite of Tyranny THE FACTS OF THE CASE Unless we are all mad, there is at the back of the most bewildering business a story: and if we are all mad, there is no such thing as madness. If I set a house on fire, it is quite true that I may illuminate many other people's weaknesses as well as my own. It may be that the master of the house was burned because he was drunk; it may be that the mistress of the house was burned because she was stingy, and perished arguing about the expense of the fire-escape. It is, nevertheless, broadly true that they both were burned because I set fire to their house. That is the story of the thing. The mere facts of the story about the present European conflagration are quite as easy to tell. Before we go on to the deeper things which make this war the most sincere war of human history, it is easy to answer the question of why England came to be in it at all, as one asks how a man fell down a coal-hole, or failed to keep an appointment. Facts are not the whole truth. But facts are facts, and in this case the facts are few and simple. Prussia, France, and England had all promised not to invade Belgium. Prussia proposed to invade Belgium, because it was the safest way of invading France. But Prussia promised that if she might break in, through her own broken promise and ours, she would break in and not steal. In other words, we were offered at the same instant a promise of faith in the future and a proposal of perjury in the present. Those interested in human origin may refer to an old Victorian writer of English, who, in the last and most restrained of his historical essays, wrote of Frederick the Great, the founder of this unchanging Prussian policy. After describing how Frederick broke the guarantee he had signed on behalf of Maria Theresa, he th, 0, Paris, 1958.. xxxii, 94, (10)pp., 36 plates (4 color). Wraps., Paris, 1958., 0, New York: Harry N. Abrams, 1998. Hardcover. VG/VG. Maroon cloth/boards with gilt lettering on spine. Color-illustrated dj with pumpkin/white lettering. Tangerine end papers. 224 pp. with 240 illustrations, including 100 full-color plates. "This fresh, richly illustrated book is the first in-depth presentation of how women artists have chosen to picture themselves. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field. And in the nineteenth century, as the doors to art schools began to open to women, self-portraits by the likes of Berthe Morisot, Marie Bashkirtseff, and photographers such as Alice Austen resonated with a newfound self-confidence. Seeing Ourselves concludes with the breaking of taboos in the twentieth century. Paula Modersohn-Becker imagines herself pregnant in her fantasy nude of 1906; Alice Neel paints herself naked at the age of eighty; and Frida Kahlo explicitly renders her own physical pain in a self-portrait complete with nails piercing her skin. And in recent decades, Cindy Sherman explores identity by transforming herself over and over into a cast of different characters, posing the questions that all the women in this enthralling book have faced when "seeing" themselves." - dust jacket., Harry N. Abrams, 1998, 3<

2011, ISBN: 9780810941885

Taschenbuch, Gebundene Ausgabe

Naples, Fla: The Harmon-Meek Gallery, 1995. Softbound. VG- (Label & few marks from previous gallery owner.). Color illus. wraps. 57 pp. Numerous color and bw plates. Issued in conjuncti… Mehr…

Naples, Fla: The Harmon-Meek Gallery, 1995. Softbound. VG- (Label & few marks from previous gallery owner.). Color illus. wraps. 57 pp. Numerous color and bw plates. Issued in conjunction with a series of 1994-1997 exhibitions featuring the works of Massachusetts-based artist Robert Vickrey (1926-2011). Includes sections titled 'Nuns,' 'Pavement,' 'Reflections' and other unifying themes he has used. Many fine plates. An extensive, beautiful, and interesting catalogue., The Harmon-Meek Gallery, 1995, 3, St. Meinrad, Indiana: Grail Publications, 1951. Book. Near Fine. Hardcover. First Edition.. St. Meinrad, Indiana: Grail Publications, 1951. First Edition. Near FIne/Near Fine. Very clean beige cloth boards with gold lettering on spine. No bumping or wear. Binding is tight & square, no cracking. Pages and edges are clean. No names, writing or marks. 94 pgs. Clean dustjacket is unchipped, unclipped, no tears. Enclosed in new archival quality mylar cover. The story of the artist-nun whose love of children and their innocence will forever be remembered as long as there are Hummel cards and figurines. Illustrated with photographs and works of the artist Berta Hummel.., Grail Publications, 1951, 4, Art Gallery of Nova Scotia. paperback. Very Good. 0x0x0. Signed by artist to previous owners. Pages unmarked, gentle wear., Art Gallery of Nova Scotia, 3, Cassell, Petter, & Galpin, 1880. Fine. Chromolithograph print of 3 pigeons. Browning to margins, else clean and bright. Size of print: about 8.25 x 10.75 inches., Cassell, Petter, & Galpin, 1880, 5, San Francisco, CA: Ignatius Press. Very Good in Very Good dust jacket. 1999. First Edition. Hardcover. 8x10". VERY GOOD CONDITION IN VERY GOOD UNCLIPT(NOPR ICE) DUST JACKET..CLEAN, SOLID,BRIGHT..IN CLEAR VINYL DJ PROTECTOR.. ; Has this BAD is bn 08987 07528 ...GOLD SPINE TITLES ON BLACK CLOTH HARD COVERS...white endpapers...B&W dust jacket titles on light blue paper , with nun in traditional black robes, city in background, Jesus birth cover drawing art.. INNER DJ FLAP SHOWS 1X1" PHOTOS OF DORSY & PAULOS with biogs.. ; 128pg pages; "The silhouette has always held an enigmatic place in the history of art. This collection of the papercuts beautifully displays that mystery, and Sister Wendy Beckett's unique commentary adds the necessary strength of the Gospel. ., Ignatius Press, 1999, 3, New York: Harry N. Abrams, 1998. Hardcover. VG/VG. Maroon cloth/boards with gilt lettering on spine. Color-illustrated dj with pumpkin/white lettering. Tangerine end papers. 224 pp. with 240 illustrations, including 100 full-color plates. "This fresh, richly illustrated book is the first in-depth presentation of how women artists have chosen to picture themselves. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field. And in the nineteenth century, as the doors to art schools began to open to women, self-portraits by the likes of Berthe Morisot, Marie Bashkirtseff, and photographers such as Alice Austen resonated with a newfound self-confidence. Seeing Ourselves concludes with the breaking of taboos in the twentieth century. Paula Modersohn-Becker imagines herself pregnant in her fantasy nude of 1906; Alice Neel paints herself naked at the age of eighty; and Frida Kahlo explicitly renders her own physical pain in a self-portrait complete with nails piercing her skin. And in recent decades, Cindy Sherman explores identity by transforming herself over and over into a cast of different characters, posing the questions that all the women in this enthralling book have faced when "seeing" themselves." - dust jacket., Harry N. Abrams, 1998, 3<

1998, ISBN: 9780810941885

(Milano): Silvana Editoriale, (1992)., (1992).. Very good. - Quarto [12 iinches high by 9-1/2 inches wide], cloth, in a dust wrapper. The book is housed in a plain black cardboard slipc… Mehr…

(Milano): Silvana Editoriale, (1992)., (1992).. Very good. - Quarto [12 iinches high by 9-1/2 inches wide], cloth, in a dust wrapper. The book is housed in a plain black cardboard slipcase. The slipcase is lightly rubbed with a price-sticker on the rear panel. 191 pages plus colophon. Profusely illustrated in color and black & white. Near fine in a very good slipcase. <p>The text is in Italian., (Milano): Silvana Editoriale, (1992)., 3, New York: Harry N. Abrams, 1998. Hardcover. VG/VG. Maroon cloth/boards with gilt lettering on spine. Color-illustrated dj with pumpkin/white lettering. Tangerine end papers. 224 pp. with 240 illustrations, including 100 full-color plates. "This fresh, richly illustrated book is the first in-depth presentation of how women artists have chosen to picture themselves. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Borzello reconstructs an overlooked genre and provides essential contextual information. She moves on to sixteenth-century Italy, where Sofonisba Anguissola painted one of the longest known series of self-portraits, recording her features from adolescence to old age. In 1630, Artemisia Gentileschi depicted herself as the personification of painting, and at the same time in the Netherlands Judith Leyster portrayed herself at her easel, as a relaxed, self-assured professional. In the 1700s, women from Elisabeth Vigee-Lebrun to Angelica Kauffman conveyed, each in her own way, ideas of femininity and the artist's passion for her chosen field. And in the nineteenth century, as the doors to art schools began to open to women, self-portraits by the likes of Berthe Morisot, Marie Bashkirtseff, and photographers such as Alice Austen resonated with a newfound self-confidence. Seeing Ourselves concludes with the breaking of taboos in the twentieth century. Paula Modersohn-Becker imagines herself pregnant in her fantasy nude of 1906; Alice Neel paints herself naked at the age of eighty; and Frida Kahlo explicitly renders her own physical pain in a self-portrait complete with nails piercing her skin. And in recent decades, Cindy Sherman explores identity by transforming herself over and over into a cast of different characters, posing the questions that all the women in this enthralling book have faced when "seeing" themselves." - dust jacket., Harry N. Abrams, 1998, 3<