eBooks de Bellas Artes, página 21 de 85

Johnny es un marido y un padrastro ejemplar. Atento y cuidadoso, es además un hombre de aspecto fuerte y viril. La joven Louise no puede evitar sentirse atraída por él, y lo mismo le sucede a Johnny con ella. ¿Lograran reprimir sus impulsos o pondran el hogar que comparten patas arriba?

Tony y Jack llevan años viajando por el mundo como exitosos músicos de rock. Se conocen muy bien. De hecho, se conocen más que bien y en ocasiones no pueden evitar preguntarse qué tipo de relación mantienen realmente. No estan enamorados. Son grandes amigos. Y pasan veladas de sexo verdaderamente alucinantes...

Desde mi celda recoge la obra epistolar de Gustavo Adolfo Bécquer. La mayor parte de las cartas fueron escritas en el monasterio de Veruela, en la sierra de Moncayo, donde tanto Bécquer como su hermano Valeriano se instalaron a finales de 1863 seducidos por su paisaje colindante y a causa de la enfermedad del poeta.

From Ramsey Street to global icon, this is the revelatory exploration of one of the worlds most successful pop stars, Kylie Minogue.From her late-eighties beginnings - capturing our hearts as Charlene in Neighbours - to her gold-plated hits like Spinning Around and Padam Padam soundtracking the euphoria of dancefloors the world over, Kylie Minogue is a modern-day icon. But, having sold over eighty-million records internationally and becoming the bestselling Australian pop star of all time, who is the real Kylie? And how has she remained a mystery while also navigating a forty-year career in the fickle world of pop?Pop-academic and award-winning writer Michael Cragg takes us on a journey into the psyche of one of the worlds most enigmatic pop stars. Via a mix of brand new interviews, a dash of oral history and some joyfully irreverent music writing, Cant Get You Out of My Head aims to put the puzzle pieces together.

Discover the unique potential of using natural colour from plants in monoprintingBotanical Printing on Paper explains how to create vibrant, crisp monoprints using plants as a source of colour. It offers a meaningful, sustainable approach that celebrates a true connection to place and season. Written for artists, printmakers and crafters alike, it takes you on a complete journey from plants to printing on paper with clear step-by-step sequences, practical tips and in-depth instruction.

Virginia Vernon was responsible for the welfare of ENSA performers around the world during the Second World War. Her fluent French, a result of studying in Paris as a teenager, and her understanding of theatre after a successful career on Broadway made her an ideal candidate, so in 1939, the 46-year-old was recruited to bring morale-boosting entertainment to British troops in France. She soon discovered that "welfare" was a catch-all for many activities; much more than simply arranging accommodation for artistes and meeting performers on arrival.Battling grief after the loss of her husband, contending with male chauvinism in the Army, and travelling through the most inhospitable places, along the way Madam V won the support and admiration of royalty, the military, and the stars of stage and screen, gaining a fearsome reputation for achieving the impossible. This new study tells the story of her wartime journey, from Arras in 1939 to V.J. Day in Rangoon.

National treasure and television pioneer Anneka Rice has had an action-packed career jumping out of helicopters, racing against the clock on Challenge Anneka and inspiring millions with her boundless energy and much-loved jumpsuits. But the daring spirit on screen was forged in a very different kind of challenge.In this candid memoir, Anneka opens up for the first time about the crucible of her unusual childhood, revealing how the crippling loneliness she felt as a child and the teenage years she spent bringing up her baby sister sparked the fierce resilience that would later define her.With her trademark warmth and wit, she shares the vibrant, transformative possibilities that emerged from her arrival, aged nineteen, in Hong Kong on a one-way ticket, knowing no one, and describes the epiphanous moment in a refugee camp in Kowloon that taught her to imagine a life far beyond the one she had left behind.Full of heart, humour and hard-won wisdom, this is an astonishing story of adventure and survival, of personal battles and public triumphs. Its a manual on how to reinvent yourself, throw caution to the wind and take the path full of jeopardy. Its mad, bad and dangerous and should come with a warning: dont try this at home.

This monograph is the first comprehensive study of Italian artist Mariuccia Secol (*1929), who redefined the boundaries of feminist art through powerful textile and sculptural works. Her practice evolved from abstract painting in the 1950s and 1960s to innovative fabric assemblages, installations with everyday materials, ceramics, and collages. Thematically, her works revolve around issues such as the subordinate role of women, domestic violence, and social exclusion. Using embroidery, fabric deconstructions, and household objects, Secol created textile artworks that symbolize wounds and resilience and intensively address the political and social problems of our time. Mariuccia Secol was born in Castellanza (northern Italy) in 1929 and lives and works in Daverio near Milan. After completing her artistic training, she began exhibiting her work extensively and, in 1974, co-founded the feminist artist group Gruppo Feminist Immagine di Varese, with which she exhibited at the 1978 Venice Biennale. Today, her works are recognised worldwide and shown at important feminist art exhibitions, such as The Unexpected Subject: 1978 Art and Feminism in Italy at the FM Centre for Contemporary Art in Milan and Cooking, Cleaning, Caring: Care Work in the Arts Since 1960 at the Josef Albers Museum Quadrat in Bottrop.

This monograph is the first comprehensive study of Italian artist Mariuccia Secol (*1929), who redefined the boundaries of feminist art through powerful textile and sculptural works. Her practice evolved from abstract painting in the 1950s and 1960s to innovative fabric assemblages, installations with everyday materials, ceramics, and collages. Thematically, her works revolve around issues such as the subordinate role of women, domestic violence, and social exclusion. Using embroidery, fabric deconstructions, and household objects, Secol created textile artworks that symbolize wounds and resilience and intensively address the political and social problems of our time. Mariuccia Secol was born in Castellanza (northern Italy) in 1929 and lives and works in Daverio near Milan. After completing her artistic training, she began exhibiting her work extensively and, in 1974, co-founded the feminist artist group Gruppo Feminist Immagine di Varese, with which she exhibited at the 1978 Venice Biennale. Today, her works are recognised worldwide and shown at important feminist art exhibitions, such as The Unexpected Subject: 1978 Art and Feminism in Italy at the FM Centre for Contemporary Art in Milan and Cooking, Cleaning, Caring: Care Work in the Arts Since 1960 at the Josef Albers Museum Quadrat in Bottrop.

GEL PRINTING is packed with practical instruction and exciting ideas to get everyone started with this new and very accessible monoprinting technique. With very little equipment (and no press) needed, it explains how simple prints can be made quickly and easily, and shows how more in-depth and advanced techniques can also be explored. Some 26 exercises cover making prints with stencils, natural materials, mark making and image resist, as well as using art materials and combining layers and techniques. This beautiful book will serve as your companion as you learn and enjoy making versatile and vibrant prints with just a gel plate, roller, ink and paper.

LEARN A DYNAMIC APPROACH TO PORTRAITURE THAT BRINGS DEPTH AND ENERGY TO YOUR PAINTINGSPortrait Painting explains how to portray people in oils and acrylics by looking beyond likeness to light, shadow, colour and form. Instead of copying, youll learn to see abstract shapes, experiment with colour and create portraits that feel alive, expressive and meaningful.

Paul Martins Grand Tour is the story of the life of the popular Flog It! presenter, from his life as a musician and antiques dealer on the Portobello Road to being the star of the BBCs daytime schedules.It is also a Grand Tour, as Paul takes the reader on a journey through many of Britains regions, uncovering and celebrating the most intriguing and often previously unknown places, stories and people across the country. Fully illustrated in colour, Paul Martin highlights, in his own distinctive and enthusiasts voice, the very best of the sites, subjects and stories featured in his six years of travels filming one of the most beloved daytime shows in Britain.

Em um confronto real, seu cérebro não reage como nos treinos. Sob estresse extremo, a região mais primitiva do cérebro assume o controle, e o foco em técnica e precisão perde eficácia. Se você já sen

On November 20, 1941, a twenty-three-year-old woman was brought to George Washington University Hospital, strapped to an operating table, and kept conscious throughout the procedure that would end her life as she had known it. Surgeons drilled holes in her skull, inserted metal spatulas, and severed the connections of her prefrontal cortex while asking her to sing "God Bless America" and count backward from one hundred. When she fell silent and her words became nonsense, they stopped cutting. Her father had authorized the procedure. Her mother had not been told. Rosemary herself did not understand what was happening.Name Kept from the Record reconstructs the full history of Rosemary Kennedys lobotomy not merely as a family tragedy, but as the intersection of three distinct systems of power, each operating at its most dangerous: medical hubris, patriarchal legal authority, and dynastic political ambition. The medical dimension centers on Dr. Walter Freeman and Dr. James Watts, the George Washington University surgeons who performed the operation despite the American Medical Associations formal position that spring that lobotomies remained too experimental and their side effects too severe to be performed on live patients. Freeman, who would go on to perform over 3,400 lobotomies during his career many of them on women, many of them against patient will had diagnosed Rosemary with "agitated depression" and promised her father a compliant, contented daughter. The American Medical Associations warning was available. Joseph Kennedy had the resources to find it. He proceeded anyway.

There are four days between Southampton and the iceberg four days in which history handed two thousand people an enclosed world of extraordinary beauty and suspended consequence. The RMS Titanics maiden voyage was not merely a crossing. It was, for its first-class passengers, a social theater unlike any other: a floating palace of mahogany, silk, and crystal where the hierarchies of the Edwardian age were simultaneously observed and, in the particular intimacy of a ship at sea, quietly transgressed.Between One World and Another is a work of historical drama that uses the documented physical and social world of the Titanic as the architecture for imagined human relationships characters drawn from the spectrum of shipboard society, placed with precision into spaces that the historical record has preserved in extraordinary detail. Its protagonists move through rooms that actually existed: the first-class Reading and Writing Room, its great bow window framing the North Atlantic in late afternoon light, its white-painted walls warm against the cold outside; the Turkish Bath on F-Deck, where the ships gymnasium steward Thomas McCawley collected his one shilling admission dressed always in white flannels; the Grand Staircase, its glass dome admitting the flat grey sky, where first-class passengers descended to dine on ten-course menus while stewards in white livery stood at measured intervals along the walls.

They stand among the most visited institutions in the world grand neoclassical facades housing irreplaceable objects of human civilization, attended by millions each year, insured for sums that strain comprehension. And yet, with a frequency that would astonish the casual visitor, museums have proven to be among the most penetrable repositories of value in the modern world. Not because their curators were careless, or their directors indifferent, but because the very nature of a museum open, inviting, architecturally complex, staffed by underpaid guards managing vast physical spaces creates vulnerabilities that determined thieves have exploited with remarkable consistency across more than a century of documented cases.The fragility of museum security is not a modern discovery. In 1911, Vincenzo Peruggia walked out of the Louvre with the Mona Lisa hidden under his coat, having spent the previous night concealed inside the building. The theft went undetected for twenty-six hours. At the Gardner Museum in Boston, two thieves posing as police officers talked their way past the front desk in the early hours of March 18, 1990, and spent eighty-one minutes removing thirteen works valued at over five hundred million dollars works that have never been recovered. In each case, the failure was not merely technological but institutional: a culture within museums that prioritized public access and aesthetic experience over the unglamorous mechanics of physical security, and that consistently underestimated the sophistication of those who viewed their collections as targets.

There is something particular about the person who steals a painting. Unlike the bank robber or the jewel thief, the art thief operates in a domain where the object of desire cannot easily be converted into profit where the stolen thing is, by the very nature of its fame, almost impossible to sell, display, or share. And yet they come, again and again, through skylights and service entrances, past laser grids and sleeping guards, drawn by something that defies straightforward criminal logic. Art theft is among the most psychologically complex of crimes precisely because its motive is so rarely purely economic. It lives at the intersection of obsession, aesthetics, and the oldest human hunger: the desire to possess beauty absolutely.The history of art theft is simultaneously a history of the art world itself its valuations, its vanities, its institutional blind spots, and the remarkable frequency with which museums, galleries, and private collectors have proven catastrophically vulnerable to determined human ingenuity. The Isabella Stewart Gardner Museum heist of 1990 thirteen works stolen in eighty-one minutes, including Vermeers The Concert, never recovered remains the largest property theft in history, a wound in the art world that has never closed. Nazi art looting during World War II displaced an estimated five million objects across Europe, many still missing, still contested, still surfacing in auction houses and private collections decades later. Each case carries within it a story not merely of crime, but of cultural identity, institutional power, and the question of who truly owns a work of art.

She arrived in New York with little more than beauty, wit, and an instinct for the geometry of influence. Arabella Huntington born Arabella Duval Yarrington in 1850 would die one of the wealthiest women in American history, her name attached to one of the greatest private art collections ever assembled on the continent. Yet the arc between those two points was neither smooth nor innocent. It was navigated with extraordinary precision through the social labyrinth of the Gilded Age, where a womans power depended entirely on the men she chose and who chose her.Her first great alliance was with Collis P. Huntington, the railroad magnate whose Central Pacific line helped stitch together a transcontinental nation. For years Arabella occupied an ambiguous position in his orbit intimate companion, trusted confidante, the quiet woman behind one of the eras most aggressive industrial fortunes. When Huntingtons first wife died in 1883, Arabella married him, stepping fully into the light of Gilded Age society. She became not merely a wife, but a curator of legacy overseeing vast art acquisitions across Europe, developing a taste that rivaled the old continental aristocracies she so admired.After Collis Huntingtons death in 1900, Arabella did not retreat. She expanded. Her eventual marriage to his nephew, Henry E. Huntington, merged two of Californias greatest fortunes and produced the Huntington Library and Art Gallery in San Marino an institution that endures to this day as a monument to a woman who understood that beauty, like power, must be collected carefully and displayed with absolute intention.

In the decades following the American Civil War, a new aristocracy rose not from ancient bloodlines but from iron rails and coal smoke. The railroad barons of the Gilded Age Vanderbilt, Gould, Stanford, Huntington commanded empires that stretched across continents, dictated the pace of nations, and shaped the social architecture of an era defined by breathtaking ambition and breathtaking excess. Behind the mahogany doors of their palatial mansions, however, the machinery of power ran on something far older than steam: desire, betrayal, and the ruthless negotiation of reputation.Romance among the railroad elite was rarely innocent. Marriages were forged like contracts sealing alliances between competing dynasties, silencing rivals, or consolidating land grants that no legislature could otherwise deliver. Yet beneath the corsets and white gloves, beneath the ballroom chandeliers and the carefully worded society columns, passion moved with a will of its own. Lovers were taken in secret. Fortunes were gambled on whispered promises. Scandals, when they broke, did not merely wound reputations they collapsed stock prices, dissolved partnerships, and sent tremors through the political establishment.

Esta obra introduz questões centrais do fazer editorial no Brasil, situando o papel do editor e apresentando, de forma clara e didática, as principais etapas que compõem o processo de produção de um