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Letteratura scientifica selezionata sul tema "William Painter"

Autore: Grafiati

Pubblicato: 7 settembre 2024

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Articoli di riviste sul tema "William Painter"

Bogardus, Ralph F. "The Twilight of Transcendentalism: Ralph Waldo Emerson, Edward Weston, and the End of Nineteenth-Century Literary Nature". Prospects 12 (ottobre 1987): 347–64. http://dx.doi.org/10.1017/s0361233300005639.

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That there is a striking correspondence between the thinking of such A nineteenth-century transcendentalists as Ralph Waldo Emerson and Henry David Thoreau and that of the twentieth-century American master of photography Edward Weston should come as no great surprise, for it is widely recognized that transcendentalism has been an essential ingredient in the lives and work of numerous major American artists. During the nineteenth century, this influence was most fully expressed by poets like Walt Whitman and Emily Dickinson, by the painter Thomas Eakins, and by the architect Louis Sullivan. At the turn of the century, the composer Charles Ives and painters Robert Henri and his “Ashcan” colleagues John Sloan, George Luks, William Glackens, and Everett Shinn continued to draw sustenance from the ideas and example of the transcendentalists. And during the early twentieth century, the brilliant architect Frank Lloyd Wright, the gifted painter Georgia O'Keeffe, and major poets Ezra Pound, T. S. Eliot, Robert Frost, Wallace Stevens, and William Carlos Williams made clear through their work the looming presence of the transcendentalist tradition. Thus, well before the 1920s, when Edward Weston began making his most innovative photographs, transcendentalism consciously and unconsciously pervaded American intellectual and artistic life: It was something to absorb or reject-or both. “Matthew and Waldo, guardians of the faith, the army of unalterable law,” was how Eliot put it. Weston was not exempt from this law.

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Suciu, Silvia. "Afacerea artei. Piața de artă în Marea Britanie în secolele XVII -XVIII". Anuarul Muzeului Etnograif al Transilvaniei 35 (20 dicembre 2021): 105–45. http://dx.doi.org/10.47802/amet.2021.35.06.

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While the royal houses and the aristocracy of Italy, Low Countries, France and Spain had already an history in collecting pieces of art, Great Britain adopted this “fashion” only under Charles the 1st reign, in 17th century. Charles the 1st understood that his painted portraits, sculpted busts and a royal collection of art could bring a higher value to his royal status and this practice was representing the power, the authority and the virtues of a king. He was a prodigious collector and made numerous acquisitions of paintings and statues. He collected the artworks of more than 1750 artists; that formed the basis of Royal Collection, the greatest private collection nowadays. The reign of Charles the 1st was highly significant for the appearance of “Court Painters”, who also had the quality of diplomats at various European courts. Peter Paul Rubens and Antoon Van Dyck have been highly appreciated at the court of Charles the 1st. In his artworks Van Dyck captured the “flamboyant” spirit of the time; he gave brilliance to his characters and transformed significantly the image of the King, providing him a special refinement, as it can be seen in the portraits he painted to Charles the 1st. The next century was marked by painters such as William Hogarth, Joshua Reynolds and Thomas Gainsborough. Hogarth was considered „the most famous painter in London”, and he brought his important contribution to the establishment of a copyright law. His printed graphic series and satirical paintings have been inspired from the social and political reality of his time. Aristocracy’s and bourgeoisie’s emancipation in the 18th century led to the flourishing of the portraiture. Reynolds and Gainsborough were the most desired painters when it came about making portraits and their fame transcended their time. Keywords: collection, Great Britain, Royal Painter, portrait, art power

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Cora, Dominika. "Miniature Painting in Eighteenth-Century England: The Case of William Pether (1739–1821)". Arts 11, n. 3 (27 maggio 2022): 61. http://dx.doi.org/10.3390/arts11030061.

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William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.

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Naini, Farhard B. "William Hogarth's The Painter and His Pug". Archives of Facial Plastic Surgery 12, n. 2 (1 marzo 2010): 136. http://dx.doi.org/10.1001/archfaci.2009.136.

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Kusserow, Karl. "William Sidney Mount: Painter of American Life". Journal of American History 87, n. 1 (giugno 2000): 172. http://dx.doi.org/10.2307/2567922.

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Dr. Dharmendra Kumar Singh. "Painting in Poetry and Poetry in Painting: Aesthetic Reflections in D.G. Rossetti". Creative Launcher 7, n. 3 (30 giugno 2022): 58–75. http://dx.doi.org/10.53032/tcl.2022.7.3.08.

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Bright eyed and bushy-tailed poems and paintings are very rare, so are their past masters who create them. The history of the world literature is often brimming with such rare authors as are the unparalleled amalgamator of paintings and writings. In this field, the names, which are counted highly with boundless esteem, are of William Blake, Lewis Carroll, Hans Christian Andersen, Elizabeth Bishop, Leo Tolstoy, Lorraine Hansberry, Victor Hugo, Sylvia Plath, George Sand, Jack Kerouac, Herman Hesse, Gunter Grass, Charles Bukowski, Henry Miller, William S. Burroughs, E.E. Cummings, Tennessee Williams, Carlo Levi, J.B. Priestley, and R.N. Tagore. Undisputedly, D.G. Rossetti is one such figure. When the world literature is deconstructed, two clusters of the authors appear on the literary landscape. The first cluster consists of those authors who are painters and writers as well. The painters who have painted the literary pieces of the authors fall into the second cluster. D.G. Rossetti somewhere stands in- between. He is painter (especially illustrator) as well author-poet. But the flabbergasting certitude is that his elite poetry is found in his pieces of mural, and his elite mural in his pieces of poesy. His all creations, be they paintings, or poems, fall in three categories. In the first faction fall such pieces of his poems as are only poems—without any illustration, in the second faction fall such pieces of his paintings as are without poems, while in the third faction fall such pieces of his paintings as are with poems, or with mythical illustrations, or on certain literary pieces. Nothing to say about these groups, but one thing is clear that all of them possess aesthetic reflections. Keeping this very fact in mind, the present article aims at exploring, analyzing, and presenting the three-dimensional view in Rossetti painting and poetry with the help of the textual analysis, visual methods, and descriptive and explorative approach.

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Palmer, Sheridan, e Harriet Parsons. "Tuhituhi: William Hodges, Cook's painter in the South Pacific". Journal of Pacific History 48, n. 2 (giugno 2013): 238–39. http://dx.doi.org/10.1080/00223344.2013.774738.

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Irving, Howard. "Empiricism, Ideology and William Crotch's Specimens". Nineteenth-Century Music Review 9, n. 2 (dicembre 2012): 237–53. http://dx.doi.org/10.1017/s1479409812000298.

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William Crotch's Specimens of Various Styles of Music Referred to in a Course of Lectures Read at Oxford and London was a remarkable new type of score anthology when it first appeared in three volumes published between 1807 and 1810. Many anthologies in this period effectively serve as memorials to an earlier classical tradition, but Crotch compiled the Specimens with an almost museum-like detachment and intended it only for the practical pedagogical purpose of tracing the evolution of music. Crotch's empirical, dispassionate, and one might say scientific approach in the Specimens mirrors a turn in British culture generally around the turn of the century toward empiricism, a shift that has been discussed at length in connection with the painter John Constable and his circle. Crotch himself was, not coincidentally, a significant landscape painter and a friend of Constable during the years in which the Specimens were published.Crotch's relatively objective approach to criticism in the Specimens is most noticeable in his treatment of so-called “national” music. In this area his remarks are strikingly different from the criticism of contemporaries, especially Charles Burney. In connection with concert music, however, Crotch is less successful at pursuing a programme of value-free criticism. In some cases he clearly selects examples with the goal of influencing a composer's reception and stresses qualities that are in line with his developing conception of what might be called “classical music”.

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Van Der Merwe, Pieter. "William Pratt of Greenwich (1717–95): Ship’s carpenter and painter". Mariner's Mirror 107, n. 3 (3 luglio 2021): 370–73. http://dx.doi.org/10.1080/00253359.2021.1940526.

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Ballantyne, Margo. "STUART DAVIS: AMERICAN PAINTER. Lowery Stokes Sims , William C. Agee". Art Documentation: Journal of the Art Libraries Society of North America 11, n. 3 (ottobre 1992): 156–57. http://dx.doi.org/10.1086/adx.11.3.27948468.

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Tesi sul tema "William Painter"

Jacobi, Carol. "Painter, painting, paint : a reappraisal of the work of William Holman". Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286207.

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Art historians tend to focus on the literary aspects of Hunt's paintings and little is said about their disconcerting appearance. This thesis explores Hunt's attitude to art-making and his artistic practice in order to investigate the relationship between the form of his work and its content. To this end, Hunt's written output is reevaluated. A distinction is made between public texts and private journals and letters. The latter display accelerating concerns about the artistic persona. A sense of religious doubt, weakness and mortality is answered by an alternative self-image which aspires to prophetic authority. During later years, this fantasy centres on hopes of resurrection. These anxieties pivot around the perfection and authenticity of the artist's production. The realism of Hunt's painting style authenticates his religious subject matter and the beliefs and self-image behind it. Public texts emphasise an objective, mimetic technique and attempt to elide the processes by which subjective meanings are inscribed into the image. However, in practice, Hunt completes his paintings in two distinct stages. The combination, on the same canvas, of an elaborate, linear design and precise, mimetic colour effects represents the artist's attempt to synthesise the imagined and the real. This process results in a paradoxical subversion of both imaginative and optical authority which retraces the doubts manifested in Hunt's writings. The dislocation between real and imagined appearance is confronted at the point of laying the colour on the canvas. Hunt conducts extensive research into technique in order to gain control over this act, but this also heightens an awareness of the contradictory identity of the image as paint. He addresses this by aligning the materials themselves with the moral order which is being depicted. Their inevitable imperfections therefore connote disorder and the art object, as well as the image, becomes an expression of the artist's unstable identity and beliefs.

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Spencer, Susan Ambler Ziskin Rochelle. "William Hogarth's The Painter and his pug intent and interpretation /". Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2008.
"A thesis in art history." Typescript. Advisor: Rochelle Ziskin. Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 68-72). Online version of the print edition.

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Painter, William [Verfasser], e J. [Akademischer Betreuer] Blümer. "Development of a SiPM camera for detection and measurement of fluorescence emission from extensive air-showers generated by ultra high energy cosmic rays / William Painter ; Betreuer: J. Blümer". Karlsruhe : KIT-Bibliothek, 2019. http://d-nb.info/1197138757/34.

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Fuga, Béatrice. "Buona Novella, Cattiva Reputazione. Domesticating Matteo Bandello's Novelle in Early Modern England". Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030021.

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Le répertoire des traductions anglaises d’œuvres en italien au début de la période moderne est vaste et hétérogène, notamment en raison de la circulation européenne des textes en langue vernaculaire. Publiés à peine dix ans après les Novelle (1554) de Matteo Bandello,The Palace of Pleasure (1566-1567) de William Painter et Certain Tragicall Discourses(1567) de Geoffrey Fenton peuvent être considérés comme des catalyseurs du développement de la fiction et du théâtre élisabéthains. Cependant, Fenton et Painter s'inscrivent dans un processus de traduction bien plus vaste, dont les précurseurs sont les traducteurs français, Pierre Boaistuau et François de Belleforest. Ces deux écrivains publient dès 1559 le premier tome des Histoires tragiques. La novella, elle-même à la croisée des genres, peut surtout éclairer les relations ambivalentes entre l'Italie, la France et l'Angleterre. Dans la présente thèse, j’analyse les traductions anglaises des Novelle en les mettant à la fois en rapport avec le texte source et ses traductions françaises. Ces textes montrent, à travers leurs lacunes linguistiques, omissions et ajouts, la tendance anglaise à la réappropriation des mœurs italiennes. L’objectif de ce travail est de réaffirmer la valeur littéraire de ces œuvres, en particulier celle de la monographie bandellienne de Fenton, qui demeure assez inexplorée à cause de sa prose ardue et baroque. En effet, en purifiant le contenu des Novelle, Fenton tentait d’offrir à ses lecteurs et lectrices un pharmakon contre la mauvaise conduite, tout en gardant ses distances à travers les mécanismes de traduction, de ‘domestication’ et de moralisation de la coutume italienne
Issued only a decade after Matteo Bandello’s Novelle (1554), William Painter’s ThePalace of Pleasure (1566-1567) and Geoffrey Fenton’s Certain Tragicall Discourses(1567) can be seen as catalysts for the development of later Elizabethan fiction and drama.However, Fenton and Painter need to be situated more finely within a wider European translating process, as they mostly based their own endeavours upon the work of Bandello’s French translators, Pierre Boaistuau and François de Belleforest. Indeed, in1559, these two writers published a collection of Histoires tragiques, drawing on the Italian source. In the English translation of the Italian novella, the domestication of Italian culture is operated through a moralisation and a redemption of‘Italianated’ corrupted manners. The present study, which seeks to situate itself within thefield of early modern translation studies, will necessarily be comparative, taking into account the different strata leading up to the final cultural and literary output in English,with a distinct focus on Fenton’s Bandellian monography

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Sjöberg, Viktoria. "Lifting the Veils in William Somerset Maugham's The Painted Veil". Thesis, Karlstad University, Division for Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1742.

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Novels with love as a theme often deal with a passionate or forbidden love. In 1925 William Somerset Maugham wrote a different version of the typical love story we have read so many times. It tells a story about a married couple who never really shares the same love for each other. Maugham mentions that he was inspired by Dante when he wrote The Painted Veil. Indeed, he uses different sources of inspirations, such as poems from Shelley and Goldsmith. The aim of this essay is to investigate what these intertextual references bring to the novel and what their functions are. The method I use is looking at the different references used by Maugham and stating their purpose and significance to the novel. The result of my investigation illustrates how the use of Shelley’s theme of veiling signifies hiding, as well as not wanting to see the truth, while Goldsmith’s poem shows the true relationship between the married couple and how corrupted society is. Maugham also lets Dante’s Purgatorio demonstrate how Kitty, the wife, gets the chance to change her life for the better.

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Rowe, Karen D. "Painted Sermons: Explanatory Rhetoric and William Holman Hunt's Inscribed Frames". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1118717402.

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Tarantino, Clelia. "Razionalizzazione delle politiche di gestione prodotti nel settore Paints: il caso Sherwin Williams". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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L’elaborato espone il contributo apportato in un progetto di miglioramento delle politiche di gestione prodotti, avviato nell’azienda Sherwin Williams, attraverso la revisione del portafoglio. Nello specifico, l’obiettivo è quello di fornire una razionalizzazione delle politiche di gestione attraverso un’analisi accurata dei dati di vendita e di scorta dell’azienda. Per condurre tale analisi sono stati calcolati i valori di Smoothness Index dei codici esaminati e sono state definite delle metriche di classificazione che hanno permesso di individuare tre differenti famiglie di prodotti in base all’andamento delle scorte. Nel dettaglio, è stato indentificato un cluster di codici caratterizzati da un andamento anomalo delle giacenze, gestiti come make-to-order (MTO) ma con trend riconducibile ad una gestione make-to-stock (MTS). Infine, è stato implementato un tool di supporto, nel linguaggio Excel VBA, che permette di replicare l’analisi ed estenderla a codici con caratteristiche differenti.

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Lamb, Robert. "Egalitarian political thought in the 1790s : equality in the moral philosophies of Thomas Paine and William Godwin". Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438753.

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Micchinelli, Matilde. "Analisi e razionalizzazione delle politiche di gestione prodotti nel settore paint: il caso Sherwin-Williams Company". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.

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Il presente elaborato si propone di illustrare il progetto condotto presso la Sherwin-Williams Company, azienda operante nel settore paint, allo scopo di analizzare le politiche di gestione prodotti e volto alla razionalizzazione delle stesse. L’attività analitica è stata condotta presso lo stabilimento produttivo di Minerbio, nel bolognese, nel periodo compreso tra maggio 2020 e febbraio 2021. Sul totale del portafoglio prodotti ne è stata selezionata una classe specifica (classe AA), mediante l’implementazione preliminare di analisi che hanno condotto all’individuazione dei codici maggiormente stoccati e maggiormente venduti, in termini di volume e valore. La suddetta base di dati è stata impiegata per condurre ulteriori analisi concentrate prima sull'osservazione critica dei dati di vendita mediante Smoothness Index, e successivamente sulle politiche di gestione delle scorte, graficandone i relativi andamenti e confrontando i diagrammi dei codici MTO con un grafico standard di riferimento. A valle delle numerose criticità emerse è stato sviluppato uno studio più approfondito mediante strumenti matematici, appositamente definiti, che hanno permesso di ottenere una segmentazione dei codici in tre sottoclassi. A supporto dell'azienda è stato inoltre sviluppato un tool applicativo per permettere alla stessa di replicare lo studio condotto anche su una differente base di dati. Successivamente è stato elaborato un modello di razionalizzazione cost-based volto all'individuazione della politica di gestione prodotti ottimale su un totale di tre alternative proposte; i parametri di input del modello sono stati definiti ad hoc sulla base dell'osservazione diretta dei cicli produttivi di polveri e di liquidi. La struttura matematica definitiva è stata ottenuta per sostituzione inserendo nel modello di riferimento i parametri definiti per attività caratteristiche di setup e stoccaggio individuate a valle di visite in stabilimento.

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Botha, Werner. "Investigating the Sherwin Williams Sales Model : towards developing a similar model in South Africa". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/97279.

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Thesis (MBA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: Retailing is a common modern day phenomenon for which there are many angles of research widely and easily available. Retailing in the context of the global paint and coatings industry however, is a more specified and unique field of study of which resources for research are few. Having had the opportunity of a first-hand close-up inside look into, not only one of the world’s leading paint and coatings companies, but also the global leader in company-owned paint and coatings retailing. This global leader not only led to the origin of my research, but also rekindled the passion within for the global paint and coatings industry and trade. Prior to my employment by PPG, towards the end of 2013, I intentionally embarked on a journey with The Sherwin Williams Company during 2011 to 2013, in collaboration with my current employer at the time, Duraline paints, who afforded me the opportunity only a few people had or ever will.. During the course of four years, I had the opportunity to not only meet a series of wonderful people across the various segments, as well as internal departments of the Sherwin Williams Company globally. Additionally I also had the opportunity to visit the company’s headquarters, 101 Prospector Avenue, Cleveland, Ohio, on numerous occasions whilst staying in close proximity for the duration of the training and strategic planning sessions, in preparation to duplicate the SHW in South Africa. During my involvement with The Sherwin Williams Company, it was evident that the backbone of the company’s sales model, was the consistency as well as continuous growth of the Paint Stores Group; which is the leading North American retail segment of SHW. Since 2011, in an effort to establish the best method of implementation of this sales model in South Africa, various concepts were explored from several angles. It became evident that much research was required to establish feasibility of the SHW sales model in South Africa. Preliminary research however, would have had to be conducted of what the SHW sales model entailed and how it would benefit the company in being a global leader, thereby also exploring the possibility of it being an industry best practice as foundation to what was precisely required to be implemented in South Africa, prior to establishing feasibility in South Africa. The preliminary research became the primary and sole focus of this research project, not only fulfilling the research needs as explained above, but also to serve as evidence of what I perceived the SHW company and the Paint Stores Group to be whilst dealing with the company.

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Libri sul tema "William Painter"

Jacobi, Carol. William Holman Hunt: Painter, painting, paint. Manchester, UK: Manchester University Press, 2006.

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1838-1921, Walker William Aiken, Toledano Roulhac e Swanson Betsy, a cura di. William Aiken Walker, southern genre painter. Gretna: Pelican Pub. Co., 2008.

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M, Townsend Joyce, e Blake William 1757-1827, a cura di. William Blake: The painter at work. London: Tate, 2003.

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Joyce, Townsend, Hamlyn Robin e Blake William 1757-1827, a cura di. William Blake: The painter at work. Millbank, London: Princeton University Press, 2003.

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Pennington, Estill Curtis. William Edward West, 1788-1857: Kentucky painter. City of Washington: National Portrait Gallery, Smithsonian Institution, 1985.

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Nicholson, William. William Nicholson: Painter : landscape and still life. Eastbourne: Towner Art Gallery, 1995.

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Johnson, Deborah J. William Sidney Mount: Painter of American life. New York: American Federation of Arts, 1998.

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William, Nicholson. William Nicholson, painter: Paintings, woodcuts, writings, photographs. London: Giles de la Mare, 1996.

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Mount, William Sidney, 1807-1868, ill., a cura di. William Sidney Mount: Painter of rural America. Worcester, Mass: Davis Publications, 1994.

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1788-1857, West William Edward, a cura di. William Edward West, 1788-1857: Kentucky painter. City of Washington: National Portrait Gallery, Smithsonian Institution, 1985.

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Capitoli di libri sul tema "William Painter"

Evans, Dorinda. "1. A Secret Inheritance". In William Rimmer, 1–22. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.01.

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Chapter one gives an overall view of William Rimmer's life, how he was perceived, and the impact of family mental illness on his life and reputation. Not only was Rimmer a bipolar artist but also his father mistakenly claimed to be the heir to the French throne, the missing Dauphin. Rimmer tried to make a living as a printmaker, a painter, and a sculptor. He also became a physician and an instructor in art anatomy. This last occupation provided his chief source of income. Self-taught and a Bostonian, he strayed outside of New England only to teach in New York at the Cooper Union School of Design for Women of which he became director. Although he achieved fame internationally as a sculptor and author of two books on art anatomy, he exhibited rarely and created most of his artwork for family and friends.

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Evans, Dorinda. "3. Self-Expression in Flight and Pursuit". In William Rimmer, 51–80. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.03.

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A chapter is devoted to this painting not only because of its quality but also the fact that its subject matter has long been in public dispute. Part of the problem is that Rimmer has been misunderstood as more secular and more oriented toward contemporary subject matter than he actually was. He painted from himself and from his own feelings, which were often concerned with the moral and spiritual. Much of his work is so personal as to be quite enigmatic in meaning, but this picture, showing a man fleeing his conscience, can be understood through his writings ("Stephen and Phillip," a fictitious narrative), patterns in his work, his illness, and a drawing by him with a subject re-identified as a man and his conscience. Flight and Pursuit is related to similar allegorical works on moral themes, such as Dying Centaur.

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Bindman, David. "Blake as a painter". In The Cambridge Companion to William Blake, 85–109. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol0521781477.005.

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"Chapter 5. Kent the Painter". In William Kent: Designing Georgian Britain. Bard Graduate Center, 2013. http://dx.doi.org/10.37862/aaeportal.00218.005.

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"‘The inventions of William Blake, painter and poet’ 1830". In William Blake, 199–205. Routledge, 2002. http://dx.doi.org/10.4324/9780203199039-42.

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"SHALL HE BECOME A PAINTER?" In The Thought and Character of William James, 58–62. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kv92.11.

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"Blake as a Painter, 1779–1827". In William Blake in the Desolate Market, 45–68. McGill-Queen's University Press, 2014. http://dx.doi.org/10.1515/9780773590298-013.

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Katritzky, M. A. "Don Quixote in Eighteenth-Century British Book Culture". In Tobias Smollett After 300 Years:, 59–76. Liverpool University Press, 2024. http://dx.doi.org/10.3828/liverpool/9781638040811.003.0004.

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The portraitist, history painter and book illustrator Francis Hayman (1708–1776) produced the drawings for the twenty-eight engravings illustrating the first edition of Smollett’s translation of Don Quixote (1755), which also included editorial notes and a ‘Life of Cervantes’ by Smollett. In the late 1760s, Hayman also painted a series of oil sketches relating to his Don Quixote book illustrations. This chapter looks closely at some of Hayman’s drawings and paintings, in relation both to Smollett’s work and that of their contemporary, the painter and printmaker William Hogarth (1697–1764). It contextualizes Smollett and Hayman’s 1755 illustrated edition within an examination of the impact of Don Quixote on eighteenth-century British book and visual culture.

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"William Bell Scott (1811-90)". In A Century of Sonnets, a cura di Paula R. Feldman e Daniel Robinson, 212. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0082.

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Abstract William Bell Scott was a poet, artist, and critic who was part of the Pre Raphaelite circle. His first published poem was a tribute to Percy Bysshe Shelley. He contributed to the short-lived periodical the Germ, edited by William Michael Rossetti, and published poetry throughout his life. He achieved success as an engraver but gave up illustrating to become a painter.

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Stamy, Cynthia. "Precision, Perspective, and the Harnessing of Silence". In Marianne Moore and China, 136–63. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0006.

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Abstract Marianne Moore, like William Carlos Williams and Henry James, wanted in her youth to become a painter. Her poems display a penetrating and attentive visual sense augmented by a sensitivity to colour and the proximal relations and interactions of the various subjects in her compositions. Painterly verbiage appears repeatedly throughout her poetry and prose, with particular references alluding to matters of style and execution in Chinese art and art generally. Books on oriental rugs and carpets, Chinese bronzes, Chinese theories of art, museum bulletins on Chinese stele and prints, as well as gallery and auction catalogues on Chinese porcelains, jades, bronzes, textiles, fans, pottery, and sculpture make up a significant portion of Moore’s library holdings.

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Nistor, Cristina mihaela, e Doina Comanetchi. "THE INCONVENIENTLY CONVENIENT ONLINE EDUCATION". In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-031.

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In many ways, 2020 was the year that has made a difference in everybody's life, although one cannot say that it was all for the better. At the respective time, the very few who could afford to work remotely were corporate employees who had chosen to do so for various (mostly personal) reasons, and who were envied by many other types of workers. When, under the pressure of the COVID-19 rapidly spreading threat, education made the switch from the classroom to the online, it was hailed as the beginning of a new era, bringing it into the 21st century. As expected, commentators, most of them outside the educational field, claimed that education-by-screen was the future, with the internet offering endless possibilities for knowledge growth, which, in turn, would give rise to a new learner - and to a new type of teacher, as well. However, as it often happens with theories, when they take a reality check, bad news came soon: computers may have brought cutting-edge technology into the classroom, but that was not enough. More and more voices were heard making comments about online learning and its (in)convenient nature, dwelling on the idea that, over the past year, remote learning has painted a different picture, leading to the conclusion that in-person education cannot and should not be replaced. How open and willing are students to embrace this new form of education is a question most teachers have probably asked themselves. The authors of this article have tried to formulate an answer based on a questionnaire administered to first-year students.

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Montgomery, Louise. "Bush, the Media & the New American Way". In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2726.

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The run-up to a full-scale U.S. military attack on Iraq - “shock and awe” -- provided an unusual and ideal test the effectiveness of a parsimonious content analysis methodology designed to determine when a national leader made or would make a decision to go to war. As W. Ben Hunt’s work that is the model for this study anticipated, editorials in The Wall Street Journal clearly ramped up war fever with not only the number of “get to it, George” editorials but also with the language. Critical editorials ad-vised/urged/demanded Bush to get on with the second phase of the long-planned remaking of the Middle East -- taking out Saddam Hussein. The paper links several aspects of post-Cold War, postmodern American life -- low levels of knowledge, use of poll data throughout society, declining news consumption and others -- to paint a picture of a newly vulnerable society, one willing - polls would indicate - to listen to and follow clear, perhaps simplistic, policies even to the point of a pre-emptive strike on a small nation that many could not locate on a map.

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In-depth survey report: control technology for removing lead-based paint from steel structures: chemical stripping using caustic (Peel Away ST-1) at Williams Pipeline Terminal and Station, Marshall, Minnesota. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, novembre 1994. http://dx.doi.org/10.26616/nioshectb18315a.

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