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How is it that some established artists but not others come to be considered worth remembering? For answers, Etched in Memory looks at how history interacts with personal biography. The authors dig deeply into the archives for material on the careers and posthumous fates of nearly 300 British and American printmakers, half of them women, active during the Etching Revival of the late nineteenth and early twentieth centuries. The authors examine the effects of changing taste on artistic productivity, on building a reputation, and on the selective survival of artists within the collective memory. They document the influence on careers of family milieu, of acces to art education, of sponsorship and networks, of having (or lacking) money, and of being in the right place at the right time. Being remembered requires, at minimum, that the artist's work be preserved and deposited in the cultural archives. It is here that demographics and other circumstances put women at a cumulative disadvantage.
Despite the recent history of violence and destruction, Bosnia-Herzegovina holds a positive place in history, marked by a continuous interweaving of different religious cultures. The most expansive period in that regard is the Ottoman rule that lasted here nearly five centuries. As many Bosnians accepted Islam, the process of Islamization took on different directions and meanings, only some of which are recorded in the official documents. This book underscores the importance of material culture, specifically gravestones, funerary inscriptions and images, in tracing and understanding more subtle changes in Bosnia’s religious landscape and the complex cultural shifts and exchange between Christianity and Islam in this area. Gravestones are seen as cultural spaces that inscribe memory, history, and heritage in addition to being texts that display, in image and word, first-hand information about the deceased. In tackling these topics and ideas, the study is situated within several contextual, theoretical, and methodological frameworks. Raising questions about religious identity, history, and memory, the study unpacks the cultural and historical value of gravestones and other funerary markers and bolsters their importance in understanding the region’s complexity and improving its visibility in global discussions around multiculturalism and religious pluralism. Drawing upon several disciplinary methods, the book has much to offer anyone looking for a better understanding of the intersection of Christianity and Islam, as well as those with an interest in death studies.
The case against AlzCura intensifies until the FDA’s shocking response to the data. Will the guilty parties walk, or will they be brought to justice? Jackie and Curt find solace in one another’s company as law enforcement officials increasingly take over the case against AlzCura. Things look promising when AlzCura cooperates with a request to produce a person of interest. Only to have hopes dashed when the person commits suicide before being questioned. Hope is renewed when Food and Drug Administration officials ask to meet with law enforcement over the evidence against AlzCura. But their response to the facts is far from helpful and serves only to thwart the momentum of the case. With the crusade and the case against AlzCura at a critical juncture, would justice prevail? Or would the well-heeled executives with insider connections escape accountability for their crimes and the deaths of untold thousands who entrusted their lives to their so-called miracle cure? Memory’s Hope is the final book in the page-turning Table for Four medical thriller series. It’s a captivating story of good versus evil with engaging characters who will take you on an emotional roller-coaster ride. Pick it up now. You’ll have trouble putting it down. A portion of the proceeds from this series is donated to the Alzheimer’s Foundation of America.
This book is the first illustrated study of the life and work of J. Alphege Brewer (1881-1946), the early20th-century British artist who made his fame producing large, color etchings of European cathedrals and other historical buildings damaged or threatened during WWI. In both the United States and GreatBritain, these etchings and reproductions were proudly hung on parlor walls in solidarity with theAllied cause and as a remembrance of the devastating cultural losses inflicted by the onslaught of war.Brewer's "à la poupée" technique, carried out in his shop in Acton with the assistance of family members, required the plate to be painted entirely anew for each of the authorized 300-500impressions. With the same "dab hand" at the end of his life, Brewer produced exquisite woodcuts of lakes, mountains, and other pastoral views. Chapters on Brewer's life story, techniques, and the artistic context for his war etchings are included, as well as a catalog of his known etchings. Benjamin S. Dunham is a retired music association executive and magazine editor living near CapeCod in Massachusetts, USA. Because of a family connection to James Alphege Brewer, he began collecting his etchings in 2015 and now researches and manages a well-frequented website about the artist (www.jalphegebrewer.info). Mr. Dunham enjoyed an active career in arts administration and journalism, serving in CEO positions with the U.S. National Music Council, the American SymphonyOrchestra, and Chamber Music America and as editor ofSymphony News, American Recorder, andEarly Music America publications.
For 39-year-old Johnelle Morrissey, the American Dream is a successful career in medical technology, a stately home in historic Charleston, South Carolina, and happy times with the people she loves most—her husband Dwight, their teenage son Ian and her oldest friend Alice Choate. That dream shatters on an airport runway when her plane goes down, leaving her with only clouded memories of her former life. Devastated by the tragedy, Alice teams with the family to help Johnelle recover. For hours on end Alice shares memories of the moments that formed their friendship over the years, but she holds back one secret—that she’s been in love with Johnelle for as long as she can remember. Johnelle struggles to reassemble her past—college life, her wedding day and the joys of raising her son. Once her physical injuries heal, her family expects life to go back to the way it was. But the love she must have once felt for Dwight remains deeply shadowed, eclipsed by yearning for a new life…with Alice.
Both Goya and Picasso were endowed with extremely inquisitive, all-seeing and all-absorbing gazes; their power to retain and recall visual impressions was extraordinarily acute. Each one spent many hours scrutinizing the etchings of Rembrandt, and in their distinctive ways, absorbed formal and technical lessons from the admired 17th-century master, which then emerged in their own works. In this study the authors reconstruct the gazes of these two great Spanish visual geniuses onto the work of the timeless Dutch artist in order to illuminate these remarkable relationships.
A series of numbers was tattooed on prisoners’ forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist’s consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.