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Edwin Howland Blashfield Master American Muralist
Painting in a romantic style that owed much to Michelangelo, Blashfield (d.1936) was a pre-eminent muralist in the U.S., painting the ceilings of state capitols, courthouses, banks, hotels, churches, libraries, and residences in the Northeast and Midwest. This illustrated volume catalogues his work and includes essays on his oeuvre, the conservation of the murals, and the legacy of his students.--Annotation ©2009 Book News, Inc., Portland, OR.
Artists, Advertising, and the Borders of Art
Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.
The Book of the Homeless
Although Edith Wharton may be best known for her novels analyzing New York's upper crust, the author lived in France from 1907 until her death in 1937. There, she witnessed the ravages of World War I, especially the hardships endured by refugees. She helped by establishing The Children of Flanders Relief Committee and The American Hostels for Refugees. To raise money for her charities, she edited this work of poems, essays, and pictures. Contributors include some of the brightest names of the time -- Joseph Conrad, Jean Cocteau, Paul Claudel, Thomas Hardy, Henry James, Maurice Maeterlinck, George Santayana, Igor Stravinsky, and W.B. Yeats. Theodore Roosevelt provided the introduction, in whi...
Italian Cities
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Picturing Old New England
Despite the fact that there is a New England of cities, factories, and an increasingly diverse ethnic population, it is the Old New England that Americans have always treasured, finding in it a kind of 'national memory bank.' This book examines images of Old New England created between 1865 and 1945, demonstrating how these images encoded the values of age and tradition to a nation facing complex cultural issues during the period.
Mural Painting in America; The Scammon Lectures, Delivered Before the Art Institute of Chicago, March, 1912, and Since Greatly Enlarged, by Edwin Howl
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Prosper's Demon
"As if Deadpool had slipped into the body of the Witcher Geralt." —The New York Times In the pitch dark, witty fantasy novella Prosper's Demon, K. J. Parker deftly creates a world with vivid, unbending rules, seething with demons, broken faith, and worse men. In a botched demonic extraction, they say the demon feels it ten times worse than the man. But they don’t die, and we do. Equilibrium. The unnamed and morally questionable narrator is an exorcist with great follow-through and few doubts. His methods aren’t delicate but they’re undeniably effective: he’ll get the demon out—he just doesn’t particularly care what happens to the person. Prosper of Schanz is a man of science, determined to raise the world’s first philosopher-king, reared according to the purest principles. Too bad he’s demonically possessed. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Mural Painting in America: The Scammon Lectures, Delivered Before the Art Institute of Chicago, March, 1912, and Since Greatly Enlarged, by Edwin
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
