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Excerpt from Church's Painting: The Heart of the Andes But how are these opening remarks pertinent to landscape-painting, or to its criticism? Evidently, some apprehension of the process of landscapemdking by the instrumentalities of the Creator, is necessary in order successfully to conduct the process of landscape painting by the feeble instrumentalities of man. And what is necessary to the painter, is in some degree to the critic, whose proper task is to reproduce and ex plain, in so far as he is able, the work of the artist, and compare it with the living landscape. A knowledge of the roughening and the smoothing of the earth, by the powers which haunt its sunless caverns, and toil and contend upon its face, is evidently essential in order to an intelligent perception of that face, as we behold it. To the artist who would truthfully picture it, cer tainly, indispensable knowledge. Without that, his work cannot have the expression and significance of the actual - cannot have that organic unity - cannot have that all-pervading life, energy, and beauty which conspire to make it a genuine creation of art, in contra distinction to the work of the mere mechanic. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
A Newbery Medal Winner An Incan boy who tends llamas in a hidden valley in Peru learns the traditions and secrets of his ancestors. "The story of an Incan boy who lives in a hidden valley high in the mountains of Peru with old Chuto the llama herder. Unknown to Cusi, he is of royal blood and is the 'chosen one.' A compelling story."—Booklist
A reconsideration of Church's works offering a sustained examination of the aesthetics of detail that fundamentally shaped 19th-century American landscape painting.
In The Andes Imagined, Jorge Coronado not only examines but also recasts the indigenismo movement of the early 1900s. Coronado departs from the common critical conception of indigenismo as rooted in novels and short stories, and instead analyzes an expansive range of work in poetry, essays, letters, newspaper writing, and photography. He uses this evidence to show how the movement's artists and intellectuals mobilize the figure of the Indian to address larger questions about becoming modern, and he focuses on the contradictions at the heart of indigenismo as a cultural, social, and political movement. By breaking down these different perspectives, Coronado reveals an underlying current in which intellectuals and artists frequently deployed their indigenous subject in order to imagine new forms of political inclusion. He suggests that these deployments rendered particular variants of modernity and make indigenismo's representational practices a privileged site for the examination of the region's cultural negotiation of modernization. His analysis reveals a paradox whereby the un-modern indio becomes the symbol for the modern itself.The Andes Imagined offers an original and broadly based engagement with indigenismo and its intellectual contributions, both in relation to early twentieth-century Andean thought and to larger questions of theorizing modernity.
NEW YORK TIMES BESTSELLER • A harrowing, moving memoir of the 1972 plane crash that left its survivors stranded on a glacier in the Andes—and one man’s quest to lead them all home—now in a special edition for 2022, commemorating the fiftieth anniversary of the crash, featuring a new introduction by the author “In straightforward, staggeringly honest prose, Nando Parrado tells us what it took—and what it actually felt like—to survive high in the Andes for seventy-two days after having been given up for dead.”—Jon Krakauer, author of Into the Wild “In the first hours there was nothing, no fear or sadness, just a black and perfect silence.” Nando Parrado was unconscious for three days before he woke to discover that the plane carrying his rugby team to Chile had crashed deep in the Andes, killing many of his teammates, his mother, and his sister. Stranded with the few remaining survivors on a lifeless glacier and thinking constantly of his father’s grief, Parrado resolved that he could not simply wait to die. So Parrado, an ordinary young man with no particular disposition for leadership or heroism, led an expedition up the treacherous slopes of a snowcapped mountain and across forty-five miles of frozen wilderness in an attempt to save his friends’ lives as well as his own. Decades after the disaster, Parrado tells his story with remarkable candor and depth of feeling. Miracle in the Andes, a first-person account of the crash and its aftermath, is more than a riveting tale of true-life adventure; it is a revealing look at life at the edge of death and a meditation on the limitless redemptive power of love.
Journal (composition book, paper notebook) with 150 blank pages. Size 8,5 x 8,5 inch. (21.59 x 21.59 centimeters) On the cover the painting 'The Heart of the Andes' by Frederic Edwin Church. Soft cover. Frederic Edwin Church (May 4, 1826 - April 7, 1900), was an American landscape painter, who was part of the Hudson River School movement. Church's paintings were inspired by his travels, including Africa, Europe, the Middle East, South America, and North America. Keywords: fine art, old masters, American masters, landscape, nature, countryside, mountains, brook,