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This Collected Works of Samuel Smiles book is not really ordinary book. The benefit you get by reading this book is actually information inside this reserveincredible fresh, you will get information which is getting deeper an individual read a lot ofinformation you will get. "Heaven helps those who help themselves" is a well-tried maxim, embodying in a small compass the results of vast human experience. Samuel Smiles was a Scottish author and government reformer. His masterpiece, Self-Help, promoted thrift and claimed that poverty was caused largely by irresponsible habits, while also attacking materialism and laissez-faire government. But he concluded that more progress would come from new attitudes than from new laws. Self-Help has been called "the bible of mid-Victorian liberalism", and it raised Smiles to celebrity status almost overnight.
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Examines the posthumous reception of Turner's work.
An exploration of Turner's final, vital years, including new readings of some of his most significant paintings0 The paintings and drawings Joseph Mallord William Turner (1775-1851) produced from 1835 to his death in 1851 are seen by many as his most audacious and compelling work, a typical example of "late style." In this study, Sam Smiles goes beyond late style, with its focus on formal qualities and assumptions about personal expression, as an explanatory framework for Turner's late works. Instead, he argues that Turner, in his final fifteen years, was an artist entirely engaged with his own times. Smiles examines the artist's critical reception in these years and scrutinizes accounts that presumed Turner's physical and mental health collapsed in his seventies, to see what can be reliably said about his work as he aged. Emerging from this study is an artist who used his final years to consolidate the principles that had motivated him throughout his career.
The autobiography, published in 1905, of one of the most popular Victorian writers, whose Self-Help (1859) made his name.
This title was first published in 2000: This study examines the ways in which very different visual fields might be said to have shared certain working assumptions concerning the truth of representation. It concentrates particularly on prints.