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Crafters, artists, and designers will savor this banquet of illustrations and its images, which date from the Middle Ages through the early twentieth century. These full-color illustrations of food and feasting include works by Caravaggio, Willem Kalf, James Ensor, Severin Roesen, Max Liebermann, and many other artists. They're ideal for decorating invitations, menus, and advertisements. This book includes a CD-ROM containing 120 royalty-free images saved in JPEG format.
Renoir, Degas, Monet, Toulouse-Lautrec, Gauguin, van Gogh, Pissarro, Cassatt, Seurat, and more -- they are all here. Great color reproductions to enjoy and use directly in art, craft, and educational projects.
From the aristocratic horses of Napoleon and Queen Victoria to the humbler mounts of anonymous equestrians, this full-color compilation provides paintings of horses in high-quality digital images. Sources from a broad range of eras include medieval illuminated manuscripts, Renaissance masterpieces, and Classical-era images by celebrated painters of horses, most notably the 18th-century expert, George Stubbs. Other distinguished artists include Raphael, Renoir, Rubens, van Dyck, and Degas.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
A classic he-said-she-said romantic comedy! This updated anniversary edition offers story-behind-the-story revelations from author Wendelin Van Draanen. The first time she saw him, she flipped. The first time he saw her, he ran. That was the second grade, but not much has changed by the seventh. Juli says: “My Bryce. Still walking around with my first kiss.” He says: “It’s been six years of strategic avoidance and social discomfort.” But in the eighth grade everything gets turned upside down: just as Bryce is thinking that there’s maybe more to Juli than meets the eye, she’s thinking that he’s not quite all he seemed. This is a classic romantic comedy of errors told in alternating chapters by two fresh, funny voices. The updated anniversary edition contains 32 pages of extra backmatter: essays from Wendelin Van Draanen on her sources of inspiration, on the making of the movie of Flipped, on why she’ll never write a sequel, and a selection of the amazing fan mail she’s received. Awards and accolades for Flipped: SLJ Top 100 Children’s Novels of all time IRA-CBC Children’s Choice IRA Teacher’s Choice Honor winner, Judy Lopez Memorial Award/WNBA Winner of the California Young Reader Medal “We flipped over this fantastic book, its gutsy girl Juli and its wise, wonderful ending.” — The Chicago Tribune “Van Draanen has another winner in this eighth-grade ‘he-said, she-said’ romance. A fast, funny, egg-cellent winner.” — SLJ, Starred review “With a charismatic leading lady kids will flip over, a compelling dynamic between the two narrators and a resonant ending, this novel is a great deal larger than the sum of its parts.” —Publishers Weekly, Starred review
“But I don’t wanna go to church!” Marva Dawn has often heard that cry—and not only from children. “What a sad commentary it is on North American spirituality,” she writes, “that the delight of ‘keeping the Sabbath day’ has degenerated into the routine and drudgery—even the downright oppressiveness—of ‘going to church.’” According to Dawn, the phrase “going to church” both reveals and promotes bad theology: it suggests that the church is a static place when in fact the church is the people of God. The regular gathering together of God’s people for worship is important—it enables them to be church in the world—but the act of worship is only a small part of observing the Sabbath. This refreshing book invites the reader to experience the wholeness and joy that come from observing God’s order for life—a rhythm of working six days and setting apart one day for rest, worship, festivity, and relationships. Dawn develops a four-part pattern for keeping the Sabbath: (1)ceasing—not only from work but also from productivity, anxiety, worry, possessiveness, and so on; (2) resting— of the body as well as the mind, emotions, and spirit—a wholistic rest; (3) embracing—deliberately taking hold of Christian values, of our calling in life, of the wholeness God offers us; (4) feasting—celebrating God and his goodness in individual and corporate worship as well as feasting with beauty, music, food, affection, and social interaction. Combining sound biblical theology and research into Jewish traditions with many practical suggestions, Keeping the Sabbath Wholly offers a healthy balance between head and heart: the book shows how theological insights can undergird daily life and practice, and it gives the reader both motivation and methods for enjoying a special holy day. Dawn’s work— unpretentiously eloquent, refreshingly personal in tone, and rich with inspiring example—promotes the discipline of Sabbath-keeping not as a legalistic duty but as the way to freedom, delight, and joy. Christians and Jews, pastors and laypeople, individuals and small groups—all will benefit greatly from reading and discussing the book and putting its ideas into practice.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
An exploration of the fast food industry in the United States, from its roots to its long-term consequences.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.