: Katharina Grosse (*1961) is considered to be one of the defining painters of her generation; her powerfully colourful interventions have had a determining effect on contemporary art dialogue. Grosse's works cross the boundaries of space and concept with expansive gestures and enormous vitality and call for a new reception culture. Katharina Grosse's spectacular projects - as seen, for example, in the recent solo exhibitions in the Hamburger Bahnhof in Berlin, the Baltimore Museum of Art and the Helsinki Art Museum - reveal a powerful and expansive painting that celebrates the processual, the unfinished and the ostensible.
The handsome publication presents impressive images which lead the reader through Grosse's multidimensional work and illustrate the broad creative spectrum of this exceptional artist's oeuvre through the most recent examples of her in-situ praxis.
: The book consists of Beginner (A1) and Elementary (A2) courses with parallel German-English texts. The author maintains learners` motivation with funny stories about real life situations. The list of the most common words contains about 1500 entries divided into several topics. The audio tracks are available inclusive.
A little girl turns ten and all of her family and friends are coming to her birthday party! A Cantonese/English bilingual rhyming story book for ages 2 to 6. Jyutping included alongside Traditional Chinese. Perfect for bilingual families.
Islamic Folklore The Black Crow & The First Murder In Earth Bilingual Edition English Germany Based from The Noble Quran and Al-Hadith.
{Then Allah sent a crow who scratched the ground to show murderer) said, 'Woe to me Am I not even able to be as this crow and to hide the dead body of my brother?' Then he became one of those who regretted.} (The Noble Quran Surah Al-Ma'idah: 31)
Time changes everything. People's hair turns white as they grow older, but one thing always stays the same, the feathers of the crow that never change color. If anyone experienced what we, the crows, had experienced, his hair would never turn white.
As a creature I was the only eyewitness to the first crime of murder committed on the earth. I witnessed the first drop of human blood that was shed treacherously. I also knew that Allah SWT (God) was witnessing it all.
(Da schickte Allah eine Kr he, die den Boden kratzte, um den M rder zu zeigen) und sagte: 'Wehe mir Bin ich nicht einmal in der Lage, wie diese Kr he zu sein und den toten K rper meines Bruders zu verstecken?' Dann wurde er einer von denen, die bereuen.} (Der edle Koran Surah Al-Ma'idah: 31)
Die Zeit ver ndert alles. Die Haare der Menschen werden wei , wenn sie lter werden, aber eines bleibt immer gleich, das Gefieder der Kr he, das nie seine Farbe ndert. Wenn jemand das erlebte, was wir, die Kr hen, erlebt hatten, w rde sein Haar niemals wei werden.
Als Gesch pf war ich der einzige Augenzeuge des ersten Mordverbrechens, das auf der Erde begangen wurde. Ich war Zeuge des ersten Tropfens menschlichen Blutes, das heimt ckisch vergossen wurde. Ich wusste auch, dass Allah SWT (Gott) Zeuge von allem war.
: Presents exciting, original conclusions about Leonardo da Vinci's early life as an artist and amplifies his role in Andrea del Verrocchio's studio
This groundbreaking reexamination of the beginnings of Leonardo da Vinci's (1452-1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435-1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio's studio--specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist's hand among the tempera works from Verrocchio's studio and proposes new criteria for judging Verrocchio's own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59-1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter's detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.
: A curated collection of Enlightenment operas, paintings, and literary works that were all marked by the "Telemacomania" scandal, a furious cultural frenzy with dangerous political stakes.Imaginatively structured as a guided tour, Opera and the Politics of Tragedy captures the tumultuous impact of the so-called Telemacomania crisis through its key artifacts: literary pamphlets, spoken dramas, paintings, engravings, and opera librettos (drammi per musica). Prominently featured in the gallery are two operas with direct ties to this aesthetic and political war: Mozart and Cigna-Santi's Mitridate (1770) and Mozart and Varesco's Idomeneo (1781). Reading and listening across the Enlightenment's cultural spaces (its new public museums, its first encyclopedias, and its ever-controversial operatic theater), this book showcases the Enlightenment's disorderly historical revisionism alongside its progressive politics to expose the fertile creativity that can emerge out of the ambiguous space between what is "ancient" and what is "modern."
: Custom and ritual, or their Hebrew equivalent minhag, has intrigued rabbis and scholars for generations. Here, Simcha Fishbane treats minhag from a socio-anthropological perspective. She discusses the theory and model of minhagim, using the Mishnah Berurah and the Arukh Hashulkhan, analyses rabbinic texts concerned with custom, and describes current rituals from a socio-anthropological viewpoint.
