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No chess player of the 19th century had a longer, more varied career than Henry Edward Bird (1829-1908). After pursuing a civil career for years his love for chess prevailed. He belonged to the top level of British players for decades but he really shone at Simpson's Divan. Bird's accessibility, fierce attacking style and contempt for draws made him a people's favorite but his proud and touchy character led him into disputes with his colleagues. A very strong and widely known player, he fell into oblivion after his death. This comprehensive first biography of Bird provides a detailed account of his personal life and a deeply researched coverage of his feats at the chess board. Almost 1,200 games are included, hundreds of them published here for the first time. Nearly 450 games--many of them thrilling all-out fights--are presented with a mix of contemporary and modern annotations.
Jose Raul Capablanca is renowned for his exquisite positional play and flawless endgame technique. But The Chess Machine was also a master of that other way to deliver mate: the attack on the enemy king.In this groundbreaking work, award-winning chess coach and author Frisco Del Rosario shines a long-overdue light on this neglected aspect of Capablanca's record. He illustrates how the Cuban genius used positional concepts to build up irresistible king hunts, embodying the principles of good play advocated by the unequaled teacher, C.J.S. Purdy. The author also identifies an overlooked checkmate pattern - Capablanca's Mate - that aspiring attackers can add to the standard catalogue in Renaud and Kahn's The Art of the Checkmate. As Del Rosario shows, Capablanca has inspired not only generations of players, but also many of the classics of chess literature.Easy to read but chock-full of advice for study and practical play, Capablanca: A Primer of Checkmate fills a gaping hole in our understanding of the third World Champion.
Cincinnati Magazine taps into the DNA of the city, exploring shopping, dining, living, and culture and giving readers a ringside seat on the issues shaping the region.
During the Age of Revolution, Paris came alive with wildly popular virtuoso performances. Whether the performers were musicians or chefs, chess players or detectives, these virtuosos transformed their technical skills into dramatic spectacles, presenting the marvelous and the outré for spellbound audiences. Who these characters were, how they attained their fame, and why Paris became the focal point of their activities is the subject of Paul Metzner's absorbing study. Covering the years 1775 to 1850, Metzner describes the careers of a handful of virtuosos: chess masters who played several games at once; a chef who sculpted hundreds of four-foot-tall architectural fantasies in sugar; the first police detective, whose memoirs inspired the invention of the detective story; a violinist who played whole pieces on a single string. He examines these virtuosos as a group in the context of the society that was then the capital of Western civilization. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1999.
According to Roger Caillois, play is an occasion of pure waste. In spite of this - or because of it - play constitutes an essential element of human social and spiritual development. In this study, the author defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life.
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.