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Value priced! The Tyndale Concise Bible Commentary offers clear and concise commentary on every passage in the NLT in one handy volume. Previously published as The New Bible Companion, this helpful resource also includes introductions to each Bible book, an article about the theme of the entire Bible, and detailed maps of places mentioned in Scripture. Sunday school teachers, pastors, and anyone who studies the Bible will find this commentary a great starting point for learning about God's Word. Teachers, pastors, and anyone wanting to learn more about the Bible will rely on the Tyndale Reference Library for solid, evangelical scholarship packed into concise, user-friendly reference works.
“I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails . . . I don’t think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one . . . Consequently, most of the human race doesn’t matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason t...
Robert Hughes begins where American art itself began, with the Native Americans and the first Spanish invaders in the Southwest; he ends with the art of today. In between, in a scholarly text that crackles with wit, intelligence and insight, he tells the story of how American art developed. Hughes investigates the changing tastes of the American public; he explores the effects on art of America's landscape of unparalleled variety and richness; he examines the impact of the melting-pot of cultures that America has always been. Most of all he concentrates on the paintings and art objects themselves and on the men and women - from Winslow Homer and Thomas Eakins to Edward Hopper and Georgia O'Keeffe, from Arthur Dove and George Bellows to Jackson Pollock and Mark Rothko -awho created them. This is an uncompromising and refreshingly opinionated exploration of America, told through the lens of its art.
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Whenever a Christian spreads the gospel, obstacles arise. It doesn't matter whether that Christian is the apostle Paul or you. Second Corinthians is a letter from Paul that deals not only with those problems, but also with their solutions. A careful study provides you with many practical rules to apply to your own situations. Robert B. Hughes clarifies the meaning of the text in a paragragh-by-paragraph analysis that follow the logic and progression of Paul's arguments and highlights the heart of the apostle's message to the church. He treats the text seriously without becoming overly technical. You will find this commentary both helpful and highly readable.
When Paul wrote his first letter to the Corinthians, he was responding to their plea for guidance and spiritual leadership. The new believers at Corinth were facing serious problems--divisions, immorality, marital strife, confusion regarding spiritual gifts, and misuse of money. They had lost sight of the joy of Christian liberty. Paul's instruction to this new church, though tailored to meet the Corinthians' specific needs, will speak to all believers. His discussion includes such central issues as wisdom and foolishness, full and partial knowledge, weakness and strength, worldliness and holiness, sin and purity, and humility and boasting. Robert B. Hughes outlines Paul's teachings, verse-by-verse, tracing the logic of the apostle's argument and instruction. His in-depth commentary--not too technical for the general reader--is helpful, informative, and highly readable.
The first English-language study of the influential French painter Robert Delaunay to appear in thirty years. Delaunay has long been appreciated as one of the leading Parisian artists of the early twentieth century. And art historians have consistently viewed his vibrantly colored paintings starting in 1912 as early experiments in abstraction. Hughes, however, tautly argues that Delaunay was not just one of the earliest artists to work in pure abstraction, but the earliest one to do so. The colorful, optically driven canvases that Delaunay produced set him apart from the more ethereal abstraction of Kandinsky, Mondrian, Malevich, and Kupka, with whom he is often clubbed and whose spiritual motivations he rejected. Delaunay s paintings were grounded in material sensation and reflected the modern optical science of his time. They had nothing in common with the idealism that drove Kandinsky and the others. As a result, his work set the stage not only for the kind of abstraction that would come to dominate painting in the mid twentieth century (Pollock, Stella, Still, Kline); it also inspired the critics who theorized and elevated that particular strain of modernist practice."
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From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-fa...