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A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
Step into the heart of the Civil War era with Louisa May Alcott's Hospital Sketches. This poignant collection of letters offers a firsthand account of life in a Union hospital, filled with the courage, suffering, and humanity of soldiers and nurses alike. Alcott's vivid descriptions and personal reflections immerse you in a world of war, illness, and compassion. Through her eyes, you'll witness the strength of the human spirit even in the darkest of times.But here's the question that will challenge your perspective: How would you endure the trials of war, if you were caught between the suffering of others and the desire to help? What does Alcott's account teach us about resilience in the face of adversity? As you read, you'll encounter the raw emotions and unwavering determination of both nurses and soldiers. Alcott’s intimate portrayal of their struggles offers a window into a world shaped by conflict, yet filled with hope and kindness. Are you ready to explore the true cost of war through the eyes of one who lived it?Immerse yourself in these unforgettable sketches, where Alcott's powerful words bring history to life. Her personal experiences in the hospital offer a unique glimpse into the Civil War and the unspoken courage of those who served. This is more than a memoir—it's a call to honor the resilience of the human spirit. Purchase Hospital Sketches now, and step into a world where compassion triumphs over fear.Don't miss the chance to experience Louisa May Alcott’s powerful reflections on war and humanity. Buy Hospital Sketches today and witness history through the eyes of one of its most insightful chroniclers.
The beauty and range of the work of the sixteenth-century artist Parmigianino as painter, draughtsman, and printmaker make him one of the most remarkable figures of the Italian Renaissance. He was an artist who seemed to discover his style without any effort, and his art was universally recognized as being graceful, or full of grace. In his day, "grace" was understood to be a spiritual endowment, conferring qualities that could not be taught. It was one of the preconditions of natural genius, so highly valued among Renaissance artists. But nothing as effortlessly elegant as Parmigianino's drawings and paintings could have been achieved without effort. It is through a close study of the drawings, in particular, that one is able to discern the sources of Parmigianino's style and the creative struggles he endured. This illustrated study offers a comprehensive reassessment of his work as a draughtsman. More than eighty works on paper, selected from collections around the world, are discussed in detail. Among Renaissance artists, Parmigianino was perhaps more conscious than any of the potential of the graphic arts to convey, and indeed broadcast, complex ideas. He explored this potential himself, not only by means of his numerous drawings but also through the etchings he produced on his own (effectively introducing this print medium into Italian art) and through the engravings and chiaroscuro woodcuts that were made after his designs. In these media, his influence travelled farther and wider than it could have through his paintings alone. This book coinciding with the quincentenary of the artist's birth in Parma in 1503, accompanies an exhibition presented at the National Gallery of Canada, Ottawa, from October 3, 2003 to January 4, 2004, and at The Frick Collection, New York, from January 27 to April 18, 2004.
Here are poems that wrestle with angels, that ask Who is holy, What is sacred? These are women's poems that speak also to men. Poems that honor friend and family and lover. Poems that honor both God and Goddess, as well as the human creature, the beauty of nature, the precious small gifts and actions of everyday life. Poems that honor other artists. Poems that cry out the insanity of war and speak for peace: inner peace, peace between you & me, peace among nations. Plaudits for Ethelsdattar's first book, Earthwalking & other poems, Xlibris. "Thank you for your most amazing and beautiful poem, Earthwalking.' Thank you for receiving and writing it, and for sending it to me. The gift of receiving words for my own half-conscious experience. Your book of poems is absolutely exquisite, a joy to read, a pleasure for the soul and the senses. I cannot thank you enough for sending it to me. I have enjoyed sharing it among my friends, and they thank you, too." Joanna Macy, author of World as Lover, World as Self "Thanks so much for Earthwalking. I love the poems and their spirits. The work is an inspiration to me." Shaun McNiff, author of Earth Angels
'Patricia Briggs never fails to deliver an exciting, magic and fable-filled suspense story' Erin Watt, No. 1 New York Times bestselling author of the Royals series. Mercy Thompson, car mechanic and shapeshifter, must face her greatest fears in this chilling entry in the No. 1 New York Times bestselling series. The vampire Wulfe is missing. Since he's deadly, possibly insane, and his current idea of 'fun' is stalking Mercy, some may see it as no great loss. But when he disappears, the Tri-Cities pack is blamed. The mistress of the vampire seethe informs Mercy that the pack must produce Wulfe to prove their innocence, or the loose alliance between the local vampires and werewolves is over. So Mercy goes out to find her stalker - and discovers more than just Wulfe have disappeared. Someone is taking people from locked rooms, from the aisles of stores and even from crowded parties. And these are not just ordinary people but supernatural beings. Until Wulfe vanished, all of them were powerless loners, many of whom quietly moved to the Tri-Cities in the hope that the safety promised by Mercy and Adam's pack would extend to them as well. Who is taking them? As Mercy investigates, she learns of the legend of the Harvester, who travels by less-trodden paths and reaps the souls that are ripe with a great black scythe . . .
Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.
Looking at one's face in the mirror and finding one's self in the mirror are not the same. The former capacity is something we share with other animals; the latter is a skill: something we have to learn. What does it mean and what does it take to find oneself the mirror? This book provides a comparative anthropological enquiry into the unity and diversity of mirror gazing. The reader is encouraged to reflect upon and experiment with different mirror gazes through a range of case studies. Koukouti and Malafouris weave together anthropology with philosophy and draw on examples from literature and experiments from psychopathology in a way that has never been attempted before. The master metaphor is that of the mirror as trap. Mirror gazing is viewed on a par with hunting. Mirroring signifies the hunt for self-knowledge. In a time obsessed with the digital self-image, Koukouti and Malafouris reflect on the structures of consciousness that underpin the different ways of looking at and through the mirror. Combining metaphor, comparison and estrangement, they gesture towards a therapeutic alliance between body and mirroring. This allows us to look in the mirror, and think of our shared humanity differently.