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Velazquez
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Straight Walk
As a child, Patricia Velasquez watched her mother struggle to make ends meet and put food on the table for their large family. In her unprivileged community in Venezuela, food and water were scarce. It pained her to see her mother work so hard, often denying herself food or clothing for the sake of her six children, and Patricia was determined to escape this impoverished life. Straight Walk is the story of how this courageous young girl found a way to earn money for her family—and ultimately became a supermodel and Hollywood actress. When Patricia was in her late teens, a friend groomed her to enter the Miss Venezuela pageant, which opened the door to the modeling world. From there, her st...
José Velásquez
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Velázquez
The complete Velazquez in one volume. All the paintings are reproduced with detailed explanations. The text contains biographical data, including references to contemporary sources and re-evaluated historical documents. A register of his work with scholarly analysis is also included.
Official Gazette
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Estudios críticos de jurisprudencia de la Corte Suprema de Justicia 3
La presente obra de estudios de jurisprudencia constituye un esfuerzo continuo realizado por los profesores de derecho penal de las facultades de derecho de la Universidad de los Andes y de la Sergio Arboleda (Bogotá, Colombia), algunos de ellos colombianos y otros extranjeros, y, desde luego, jueces y abogados en ejercicio. La idea fundamental es analizar, de manera seriada, algunas sentencias escogidas de la Sala de Casación Penal de la Corte Suprema de Justicia colombiana, para acercar la jurisprudencia de esta corporación, como una herramienta imprescindible, a la realidad y práctica de los tribunales, a las aulas de clase y al ejercicio profesional, con el objetivo de generar nuevo conocimiento.
The Late Paintings of Vel?uez
The startling conclusion of The Late Paintings of Vel?uez is that Diego Vel?uez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel?uez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the "handedness" of painting. Knox removes Vel?uez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve ...
