Search results for ""Author Bernd"

The buildings compiled in this volume by the Augsburg architects Titus Bernhard are committed to classical modernism. They are extremely sculptural and highly experimental in terms of their choice of materials. Based on those principles, an extensive, superior body of work has been developed since 1995.

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The formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time. 2022 CHOICE Outstanding Academic Title Winner. Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years. Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.

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In December 1937, the Chinese capital, Nanjing, falls and the Japanese army unleash an orgy of torture, murder, and rape. Over the course of six weeks, hundreds of thousands of civilians and prisoners of war are killed. At the very onset of the atrocities, the Danish supervisor at a cement plant just outside the city, 26-year-old Bernhard Arp Sindberg, opens the factory gates and welcomes in 10,000 Chinese civilians to safety, beyond the reach of the blood-thirsty Japanese. He becomes an Asian equivalent of Oskar Schindler, the savior of Jews in the European Holocaust.This biography follows Sindberg from his childhood in the old Viking city of Aarhus and on his first adventures as a sailor and a Foreign Legionnaire to the dramatic 104 days as a rescuer of thousands of helpless men, women, and children in the darkest hour of the Sino-Japanese War. It describes how after his remarkable achievement, he receded back into obscurity, spending decades more at sea and becoming a naturalized American citizen, before dying of old age in Los Angeles in 1983, completely unrecognized. In this respect, too, there is an obvious parallel with Schindler, who only attained posthumous fame.The book sets the record straight by providing the first complete account of Sindberg’s life in English, based on archival sources hitherto unutilized by any historian as well as interviews with surviving relatives. What emerges is the surprising tale of a person who was average in every respect but rose to the occasion when faced with unimaginable brutality, discovering an inner strength and courage that transformed him into one of the great humanitarian figures of the 20th century and an inspiration for our modern age, demonstrating that the determined actions of one person—any person—can make a huge difference.

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Leonard Bernstein's gifts for drama and connecting with popular audiences made him a central figure in twentieth century American music. Though a Bernstein work might reference anything from modernism to cartoon ditties, jazz permeated every part of his musical identity as a performer, educator, and intellectual. Katherine Baber investigates how jazz in its many styles served Bernstein as a flexible, indeed protean, musical idea. As she shows, Bernstein used jazz to signify American identity with all its tensions and contradictions and to articulate community and conflict, irony and parody, and timely issues of race and gender. Baber provides a thoughtful look at how Bernstein's use of jazz grew out of his belief in the primacy of tonality, music's value as a unique form of human communication, and the formation of national identity in music. She also offers in-depth analyses of On the Town, West Side Story, 1600 Pennsylvania Avenue, and other works to explore fascinating links between Bernstein's art and issues like eclecticism, music's relationship to social engagement, black-Jewish relations, and his own musical identity.

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Fourteen years after the first publication of Architectural Stories by Bernard De Clerck, this beautiful new book features the latest design projects from Flemish architect Bernard De Clerck - undoubtedly a conceptual architect who is not in the least conventional, even when he finds inspiration not only in ancient times, the Renaissance and the Arts and Crafts movement, but also in local architecture. Each house, living space, cluster of buildings created by Bernard De Clerck is based on a story, and in turn, is the beginning of a new one. It is both in the present and in the past. Timeless, warm, with clear lines and a sensitive attention to detail, New Architectural Stories presents 17 truly exceptional residential country homes and castles, some of them in collaboration with Axel Vervoordt. Text in English, French and Dutch.

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For fans of Bradley Cooper’s film Maestro, an appreciation that gives Bernstein his due as composer as well as conductor Leonard Bernstein stood at the epicenter of twentieth-century American musical life. His creative gifts knew no boundaries as he moved easily from the podium to the piano to television with his nationally celebrated Young People’s Concerts, which introduced an entire generation to the joy of classical music. In this fascinating biography, the breadth of Bernstein’s musical composition is explored, through the spectacular range of music he composed—from West Side Story to Kaddish to A Quiet Place and beyond—and through his intensely public role as an internationally celebrated conductor. For the first time, the composer’s life and work receive a fully integrated analysis, offering a comprehensive appreciation of a multi-faceted musician who continued to grow as an artist well into his final days.

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Bernard's got a problem: he's found a monster in the back garden but his mum and dad are just too busy to notice. So Bernard tries to befriend the monster… and that doesn't go quite to plan. David McKee's iconic picture book is loved by children, monsters and adults for forty years. ‘...even more relevant in an era of parents glued to their mobile phones’ DAILY MAIL, Best Reads Ever 'Arguably the finest children’s book ever written, McKee’s clever fable is both a warning to neglectful parents and a very funny story about being ignored.' THE i NEWSPAPER 'My favourite books for very young children are Where the Wild Things Are by Maurice Sendak and Not Now Bernard by David McKee.' Michael Rosen 'Not Now Bernard is THE book of our times' Frank Cottrell-Boyce 'It's so good!' Adam Buxton 'Funny to a four year old and meaningful to a 36 year old' Ben Bailey Smith aka Doc Brown

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Sensational news in the United States: the great actress Sarah Bernhardt is coming from France for a grand tour across the continent. The world of show business is in effervescence but some, such as the League of Virtue, are opposed to the tragedian's coming, because of her sulphurous reputation. President Rutherford B. Hayes, a theatre-lover, asks Lucky Luke to look after the lady, ambassador of French culture and charm...

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Das Buch vereinigt einige wichtige ältere sowie drei unveröffentlichte Aufsätze zum Werk und zur Rezeption des Barockbaumeisters Johann Bernhard Fischer von Erlach. Zentrale Themen sind die Zagreber Zeichnungen zu dessen Buch Entwurff einer Historischen Architectur (1721) sowie die Kirchen in Salzburg und der Prunksaal der Hofbibliothek in Wien. Daneben werden seine englischen Beziehungen und das Werk seines ersten Monographen, Albert Ilg, untersucht. Zeichnungen Fischer von Erlachs und Rezeption seines Werkes Albert Ilg Englischer Barock Blick ins Buch

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In 1878, the first complete dinosaur skeleton was discovered in a coal mine in Bernissart, Belgium. Iguanodon, first described by Gideon Mantell on the basis of fragments discovered in England in 1824, was initially reconstructed as an iguana-like reptile or a heavily built, horned quadruped. However, the Bernissart skeleton changed all that. The animal was displayed in an upright posture similar to a kangaroo, and later with its tail off the ground like the dinosaur we know of today. Focusing on the Bernissant discoveries, this book presents the latest research on Iguanodon and other denizens of the Cretaceous ecosystems of Europe, Asia, and Africa. Pascal Godefroit and contributors consider the Bernissart locality itself and the new research programs that are underway there. The book also presents a systematic revision of Iguanodon; new material from Spain, Romania, China, and Kazakhstan; studies of other Early Cretaceous terrestrial ecosystems; and examinations of Cretaceous vertebrate faunas.

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-- Publishers Weekly

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Franz Kafka's 1915 novella of unexplained horror and nightmarish transformation became a worldwide classic and remains a century later one of the most widely read works of fiction in the world. It is the story of traveling salesman Gregor Samsa, who wakes one morning to find himself transformed into a monstrous insect. This hugely influential work inspired George Orwell, Albert Camus, Jorge Louis Borges, and Ray Bradbury, while continuing to unsettle millions of readers. In her new translation of Kafka's masterpiece, Susan Bernofsky strives to capture both the humor and the humanity in this macabre tale, underscoring the ways in which Gregor Samsa's grotesque metamorphosis is just the physical manifestation of his longstanding spiritual impoverishment.

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Through a decade of friendship, sharing the same environs and being active collectors, Sonja Graber and Christian Graber are inextricably connected to the photographer Annelies Strba, the jewellery and object artist Bernhard Schobinger and the painter Adrian Schiess. A far cry from thoughts of prestige and conjecture, one of the most extensive collections from all genres of the three Swiss artists has now emerged out of artistic and personal esteem. In the collectors, the artists and the Kunsthaus Zug, like-minded people have come together in the most indiscriminate appreciation of fine and applied art. To mark the occasion of the donation of the Graber collections to the museum, the three internationally renowned artists along with hitherto largely unpublished works are now united in one publication. Contents: Art is an Experiment for Us by Matthias Haldemann; Supporting the Artists: Building the Graber Collection by Marco Obrist; Things, Art ... Art Things by Felix Philipp Ingold; Undine's Song by Ildegarda Scheidegger; The Year's Production from 1981, the Start of Painting by Ulrich Loock; The Graber Collection at Kunsthaus Zug; artists' biographies. Text in English and German.

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From 1839 when it was invented, photography has served to create portraits of individuals, and soon thereafter portraits of families, later placed in photo albums. Photography, collected and archived, entered the intimate sphere, enabling people to arrange the fragmented images of their lives as they saw fit. Following its forerunners (miniature portraits, silhouettes, physionotraces), the photographic portrait also served the new expectations of the emerging urban bourgeoisie and its need for social representation. Studios opened up in cities everywhere to meet the fast growing demand. In addition, the new medium distinguishted itself with its esthetic superiority. "Even as it emerged, although the technique was still very primitive, photography enjoyed an exceptional quality of artistic finish (Gisèle Freund)". What can photography show us to day of the visible and invisible aspects of family sociology? "How do the roles we expect them to play betray the emotional realities and complexities of lived life?" wonders Daniel Mendelsohn, in his introduction entitled "Unknown Faces/ Redeeming Structures". By creating this corpus of fixed black and white images, each composed in a large 5'x7' frame, the photographer has produced a work of anthropological scope, reaching beyond representation by placing the subject at palpable distance, thereby objectifying it. What should we think of these seemingly impassive faces and their hypnotic gazes, what should we think of these postures, seated or standing? What goes on within these families and outside the frame? The use of a rigid protocol similar in all sessions makes every family portraits intriguing, and encourages our reflection. Inspired by the work of Bernd and Hilla Becher, whose esthetics of objectivity tended towards minimalism, Isabelle Boccon-Gibod, a self-made artist, with an interest for technique, has played with a frontality quite similar to that of the Bechers, resting on the idea that our bodies, when joined together, form a sort of architecture. The idea, also, that a face, deprived of its smile, offers a neutrality of expression worth considering: masks fall and reveal a nakedness (naked truth?) to be admired and deciphered beyond the appearances of social games. She was guided, yet not limited, by this principle: the image of a family seen as a façade-like structure, in which faces are the windows.

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Collecting Italian Renaissance paintings during America's Gilded Age was fraught with risk because of the uncertain identities of the artists and the conflicting interests of the dealers. Stanley Mazaroff's fascinating account of the close relationship between Henry Walters, founder of the legendary Walters Art Museum in Baltimore, and Bernard Berenson, the era's preeminent connoisseur of Italian paintings, richly illustrates this important chapter of America's cultural history. When Walters opened his Italianate museum in 1909, it was labeled as America's "Great Temple of Art." With more than 500 Italian paintings, including self-portraits purportedly by Raphael and Michelangelo, Walters's collection was compared favorably with the great collections in London, Paris, and Berlin. In the midst of this fanfare, Berenson contacted Walters and offered to analyze his collection, sell him additional paintings, and write a scholarly catalogue that would trumpet the collection on both sides of the Atlantic. What Berenson offered was what Walters desperately needed-a badge of scholarship that Berenson's invaluable imprimatur would undoubtedly bring. By 1912, Walters had become Berenson's most active client, their business alliance wrapped in a warm and personal friendship. But this relationship soon became strained and was finally severed by a confluence of broken promises, inattention, deceit, and ethical conflict. To Walters's chagrin, Berenson swept away the self-portraits allegedly by Raphael and Michelangelo and publicly scorned paintings that he was supposed to praise. Though painful to Walters, Berenson's guidance ultimately led to a panoramic collection that beautifully told the great history of Italian Renaissance painting. Based primarily on correspondence and other archival documents recently discovered at the Walters Art Museum and the Villa I Tatti in Florence, the intriguing story of Walters and Berenson offers unusual insight into the pleasures and perils of collecting Italian Renaissance paintings, the ethics in the marketplace, and the founding of American art museums.

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Bernie Gunther returns in the thirteenth book in the Sunday Times and New York Times bestselling series, perfect for fans of John le Carre and Robert Harris.'One of the greatest anti-heroes ever written' LEE CHILD'Kerr leads us through the facts of history and the vagaries of human nature' TOM HANKS'One of the greatest master story-tellers in English' ALAN FURST1957, Munich. Bernie Gunther's latest move in a string of varied careers sees him working for an insurance company. It makes a kind of sense: both cops and insurance companies have a vested interest in figuring out when people are lying to them, and Bernie has a lifetime of experience to call on.Sent to Athens to investigate a claim from a fellow German for a sunken ship, Bernie takes an instant dislike to the claimant. When he discovers the ship in question once belonged to a Greek Jew deported to Auschwitz, he is convinced the sinking was no accident but an act of vengeance. And so Bernie is once again drawn inexorably back to the dark history of the Second World War, and the deportation of the Jews of Salonika - now Thessaloniki. As Europe prepares to move on to a more united future with Germany as a partner rather than an enemy, at least one person in Greece is ready neither to forgive nor forget. And, deep down, Bernie thinks they may have a point.

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Ediciones de textos clásicos rigurosas y asequibles que incluyen un estudio preliminar, claro y orientativo elaborado por los mejores filólogos.

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This volume is dedicated to Bernardo Bellotto (1722-1780), grandson of Canaletto and protagonist of 18th century landscape painting. It explores the less investigated period of the Venetian painter's life, the one preceding the successful career undertaken in the European courts starting from 1747, the year in which he moved to Dresden. In the age of the Grand Tour, the eighteen year old Bellotto visited the great Italian art cities, leaving us with exceptional views that already reveal the peculiar characteristics and modernity of his painting. This book contains precious and rare works, among which are the ones related to the itinerary followed by the painter in Tuscany in 1740, and the series dedicated to the city of Lucca, coming from the British Library in London and the York Art Gallery, along with the views of Florence and Livorno. Edited by Bozena Anna Kowalczyk, one of the greatest scholars of Canaletto and Bellotto, the volume is divided into sections introduced by texts resulting from new and unpublished historical and archival research, and is completed by a documentary appendix, bibliography and indicies. Text in English and Italian.

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When Chet the dog, "the most lovable narrator in all of crime fiction" (Boston Globe), and his human partner, PI Bernie Little, are approached by down-and-out older man with a cardboard sign at an exit ramp, Bernie is shocked to discover the man is a former teammate from his high school baseball team. Chet and Bernie take Rocket out for a good meal, and later, Bernie investigates Rocket's past, trying to figure out what exactly went wrong. Then, Rocket goes suspiciously missing. With his former teammate likely in danger, Bernie goes back to his old high school for answers, where much that he remembers turns out not to be true-and there are powerful and dangerous people not happy with the questions Bernie is asking. Bernie soon learns that he misunderstood much about his high school years - and now, Chet and Bernie are plunged into a dangerous case where the past isn't dead and the future could be fatal.

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