Quirky and fun-loving American heiress Daisy Bowman is the last unmarried Wallflower. Her exasperated father has informed her that if she can’t find a husband by the end of her third London season, she will be forced to marry a man she hates—the ruthless entrepreneur Matthew Swift. Daisy is horrified. A Bowman never admits defeat, so she decides to do whatever it takes to marry someone . . . anyone . . . other than Matthew. What she doesn’t count on, however, is Matthew’s unexpected charm, or the blazing sensuality that soon flares beyond both their control. And Daisy discovers that the man she has always hated just might turn out to be the man of her dreams. But when a scandalous secret is uncovered, it could destroy both Matthew and a love more passionate and irresistible than Daisy’s wildest fantasies.
First published in 1953, this volume traces the role played by the English navy during the years 1689-97, during which time England became the dominant sea power of Europe. This volume will appeal to anyone interested in the naval history of England at the end of the seventeenth century.
This groundbreaking book provides a major reassessment of the history and significance of cubism. David Cottington examines the cubist movement and sets it within the complex political, economic, and cultural forces of pre-World War I France. Cubism, as a part of the Parisian artistic avant-garde, played an integral role in the turbulent Belle Epoque. The author focuses on cubism`s relation to the particular discourses--of nationalism, aestheticism, gender, the social purpose of art--that gave meaning to the experience of modernity in Paris in the decade before the war. In Part I of the book, the author discusses the "cubist conjuncture," the years that followed the collapse of the Bloc des Gauches. The Bloc, more than a parliamentary alliance, represented an effort of collaboration between the liberal middle class and sectors of the working class led by Parisian intellectuals and artists (future cubists among them). In the wake of the Bloc`s failure, workers withdrew into trade unionism and artists into aesthetic avant-gardism. Cottington analyzes this consolidation of the artistic avant-garde, its relation to the expanding dealer-centered art market, and the dominant and counter discourses of the day. In Part II, he considers specific aspects of cubist art and the cubist movement--from the conservative modernism of the paintings of Le Fauconnier and Gleizes to the aestheticism of Picasso`s papiers-collés to the collective architectural and interior design project of the "cubist house." These examples and others, Cottington concludes, reveal cubism as a contradictory and unstable constellation of interests and practices, sometimes complicit with dominant social and political forces, sometimes opposed to them, but in every case shaped by them.
Release on 2019-09-16T00:00:00+02:00 | by Christian Briend,Yves Chevrefils Desbiolles,Sophie Krebs
Picasso, Chagall, Modigliani & Co
Author: Christian Briend,Yves Chevrefils Desbiolles,Sophie Krebs
Pubpsher: Art Book Magazine Distribution
Featuring a broad selection of paintings, sculptures and photographs coming mainly from the Centre Pompidou collections, Louvre Abu Dhabi’s exhibition catalogue “Rendezvous in Paris: Picasso, Chagall, Modigliani & Co.” focuses on this highly distinctive period in French art when young painters, sculptors and photographers flocked to early-20th-century Paris from all over the world to make a decisive contribution to the city’s art scene. Most notably from Germany, Spain, Italy, the Netherlands, Russia and even Japan, these formally inventive artists – Constantin Brancusi, Marc Chagall, Kees van Dongen, Tsuguharu Foujita, Amedeo Modigliani and Pablo Picasso among them – who would later become known as the “School of Paris”, rivalled the greatest French artists of the time.
A Critical Filmography of 171 Features, 1927 through 1932
Author: Edwin M. Bradley
Category: Performing Arts
As Hollywood entered the sound era, it was rightly determined that the same public fascinated by the novelty of the talkie would be dazzled by the spectacle of a song and dance film. In 1929 and 1930, film musicals became the industry’s most lucrative genre—until the greedy studios almost killed the genre by glutting the market with too many films that looked and sounded like clones of each other. From the classy movies such as Sunnyside Up and Hallelujah! to failures such as The Lottery Bride and Howdy Broadway, this filmography details 171 early Hollywood musicals. Arranged by subgenre (backstagers, operettas, college films, and stage-derived musical comedies), the entries include studio, release date, cast and credits, running time, a complete song list, any recordings spawned by the film, Academy Award nominations and winners, and availability on video or laserdisc. These data are followed by a plot synopsis, including analysis of the film’s place in the genre’s history. Includes over 90 photographs.
The first full account of the "American Brontës" focuses on Elizabeth, Mary, and Sophia Peabody--three sisters who were essential to American Romanticism as editors, writers, reformers, and ground-breaking thinkers. Reader's Guide available. Reprint.
'Superb. The most stunning memoir ever written about the cop world' Joseph Wambaugh 'Beautiful and inspiring, terrifying and heartbreaking' James Frey 'More chilling than even the most realistic cop dramas on TV' People 'A great book...with the testimonial force equal to that of Michael Herr's Dispatches' Time Blue Blood is the fast-paced, insider story of Edward Conlon's career in the New York Police Department. Conlon tells of his first days as a rookie, walking a beat in the south Bronx through his time in narcotics and his ascent to gold shield detective. Conlon is the product of generations involved in law enforcement, good cops and bad, and he paints a vivid portrait of the teeming street life of the city, in all its horror and splendour. It's all here: adrenaline-fuelled chases, toxic police politics, crackhead informants and police camaraderie. The pace is relentless, the stories hypnotic, the scope nothing less than monumental.
Release on 1998-10-06 | by Allan S. Janik,Hans Veigl
A biographical excursion throught the city and its history
Author: Allan S. Janik,Hans Veigl
Pubpsher: Springer Science & Business Media
"Wittgenstein in Vienna" documents Wittgenstein's life in the city: the places he, his family and those with whom he was in contact, lived, worked, entertained and socialized. The book will be a source of enrichment to the cultural tourist in Vienna. Its authors are authorities on Wittgenstein's philosophy especially in relation to Viennese culture and popular culture, in particular the world of the coffee house and cabaret.
A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship. A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre. Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982. Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history Contributions from internationally diverse scholars specializing in film, culture, and German studies. Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975), Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).