N88 Sprache: Deutsch Gewicht in Gramm: A sound copy. First Edition. Ein gutes und sauberes Exemplar. Ideologia e cultura di una famiglia aristocratica tra ellenismo e romanizzazione. Sehr gut. Die Vinyl-Platten sind stets in Inlays. N86 Sprache: Deutsch Gewicht in Gramm: Deutsch, Englisch.
Prompt shipment, with tracking. From Publishers Weekly Markus's latest foray into the world of Victorian passion describes the complexly intertwined circle of accomplished women who were involved with the American actress Charlotte Cushman in the midth century.
Among them were the sculptor Harriet Hosmer; the novelist Geraldine Jewsbery; the object of Geraldine's passionate attachment, Jane Welsh Carlyle the wife of British historian and essayist Thomas Carlyle ; and several others. All these women, save Jane, made their deepest emotional commitments to one another, often in a "Boston marriage," and may or may not have been sexually involved.
However, Markus sheds very little light on the nature of these relationships or their historical context. We learn next to nothing about how these women managed to succeed in their independent careers at a time when women, especially in Britain, had virtually no autonomy.
Indeed, because of the peculiarities of Markus's style, which mixes a Victorian fondness for exclamation points and italics with 20th-century slang, the unwary reader might have difficulty figuring out exactly when these women flourished. Markus, who previously dealt with the marriage of Elizabeth Barrett and Robert Browning in Dared and Done, appears to believe that the news that our ancestors were sexual beings is sufficient to carry a book.
It is not. Copyright Reed Business Information, Inc. Cushman was the most acclaimed actress in America and England in her day, and Carlyle, wife of Thomas Carlyle, is remembered for her volumes of letters.
Both women attracted and supported other artistic and literary women, notably, in Cushman's case, the young American sculptors Harriet Hosmer and Emma Stebbins. Many of these independent women challenged conventional roles and society in their professional and private lives. Appropriate for academic and large public libraries and women's studies collections. Index not seen. DPatricia A.
Beaber, Coll. As New. Milano, Galleria Schubert, 13 maggio - 13 luglio A cura di Caramel L. Traduzione di Kercher P.
Testo Italiano e Inglese. Milano, ; br. Arte Moderna. The volume, which accompanies Maria Cristina Carlini's one- woman show, presents a selection of about thirty works produced by the sculptor from to the present day.
The work of Maria Cristina Carlini is focused on an idea of geometric essentiality. She has rediscovered the rhythms of the ancient intarsias, but also the triangular and rhomboidal forms, like dream kites, of certain archaic or primitive decorations. The upward, and one would be tempted to say ascetic, thrust entailed in these linear tensions infuses the sculpture with a new rhythm. The interpenetration of painting and plastic work, a constant characteristic of Maria Cristina's output, has now found new inflections.
We are dealing here with a sculpture that does not weigh on the ground, but tends to become light and to project itself into the air, or to be set against a wall without resting on it.
The serial character of these works is transmuted into a musical repetition: like the notes of a score, the individual tesserae, the single modules, are set one next to the other to form a musical chord. But, on close examination, each of the units is different from the next if only in the diversity of the material, the patina, the mark impressed on the surface.
Thus the individual nature of the single parts is preserved. What we see, therefore, is a sort of magic, totemic object, that makes use of geometry, but without canceling out the oneiric and poetic qualities of the sculpture. Which is always, before all else, earth. And it conserves the earth's values of womb, fertility, fecundity, of the primary and ancient brick, even though eveything is translated into a mental design.
Elena Pontiggia Maria Cristina Carlini, born in Varese, started to work with pottery in the early seventies at Palo Alto in California, where she took a specialization course and practiced for two years. In she continued to work while teaching the art of throwing pots on the wheel in Brussels, where she had moved in the meantime.
Returning to Italy in , she worked for a year in the ceramics studio of the painter Concetto Tamburello before opening her own studio in Milan, on Via Ciovasso. In she held a one- woman show at the Rocca di Angera. Returning from the United States, she opened her studio, called Le Terre, to the public with an exhibition of recent works in In she showed at the Galerie Le Rencontre in Brussels and in had a stand of her own at the Arte Fiera Ceramica trade fair in Bologna, as well as participating in a joint exhibition of sculpture at the Museo Civico of Reggio Emilia.
In she took part in a joint exhibition at the La Bottega dei Vasai gallery in Milan. In May she exhibited at the Galleria Borgogna in Milan. If you knew how good it is, when one feels so deprived of friendship, to receive a letter like yours. For an instant have relief from this life, which you give me, these are joys for which a heavy price must be paid afterward. For once it is over, it will only make you miss the moments when they were real, but I thank you for them once again and ask you to give me such as often as possible.
How I would like to profit by your advice, imparted in such friendship, but I think that the seduction the contemplation of masterpieces exerts on the imagination demands a completely different moral state than that in which I am. You know my character very well, and you also know how much I am subject to ambient influences, and as well how this entire city oppresses, annihilates me. I am suffocating and am perfectly incapable of any good motion to shake up all this vile torpor, which makes me see things in a detestable light.
All this because I am here by virtue of a decree forcing me to feel the shadow of the Academy weighing down upon me. I am quite sure that Michelangelo would really laugh if he heard all that. It is true that we are lads who are too small to venture down these paths.
If you were here with me, how I would talk with you. All I will be bringing back from Rome will be the fever. I already have one not Roman which is another reason for me to be very sad and think far too much of the friendship I left behind in Paris not to want to return there as quickly as possible. You are perhaps going to find me quite ungrateful to reply so sadly to your letter and your kindness, which is truly so good, professor, at this way of spending my time.
I ask you pardon for it, I have to do better. I am sad and ill, to boot, and as you are the only person to whom I can say all that I think, I profit by it without fearing the matter of boring you about me too much. No matter I am quite afraid that if I stay here too long I will lose a lot of time for nothing, that that will be the death of many of my artistic projects, and I tell you quite frankly of not being able to wait for the moment of my deliverance [.
As to the rest, the moment she heard Madame Vasnier, it was over. I think Mme. Carvalho is artist enough that the pleasure of the lessons given on the one part and received on the other is equal. I ask you to give my regards to Madame Vasnier and embrace Marguerite and Maurice for me. Tell them I miss them very much. I have written to Gounod. He has not yet replied". Mme Carvalho, whom Debussy discusses in his postscript, was the soprano Marie Miolan who used the name Caroline Carvalho after her marriage to the French baritone and opera manager, Leon Carvalho.
This something serious is simply the fever, which has recurred very strongly. At last, for some days I am feeling better and hope to be rid of it. That, for example, has not increased my liking of the villa. On the contrary, I assure you that I often got the idea of leaving these horrid barracks where life is so sad and fever is too easy to get. And there are people who extolled, glorified the climate of Italy. I find this assertion a bit sinister. Above all now.
Unfortunately, your lett. Gesamtpreis 1 Artikel Artikel : Versandziel:. Zum Warenkorb. Warenkorb einsehen. Weiter einkaufen. Treffer 1 - 30 von Versand: Gratis. Fleischmann Trude Johanna Terwin. Ebendorferstrasse 3". Versand: EUR 5, Versand: EUR 3, Dieser Anbieter akzeptiert die folgenden Zahlungsarten: Kreditkarte, Vorauskasse.
Original postcard signed and inscribed 'Petula'. Versand: EUR 9, Dieser Anbieter akzeptiert die folgenden Zahlungsarten:. Semino Rossi. Roy Black. Rex Gildo. Peter Alexander. Freddy Quinn. Kastelruther Spatzen. Judy, I Love You. Ich find Schlager toll - Das Beste. Immer, immer wieder du.
Hits mit Bata Illic. Erfolge, Vol. Candida - Schwarze Madonna - Wo Die Sonne Nie Untergeht. Album Tracks. Similar artists. Roland Kaiser fans. Die Flippers 9 fans. Howard Carpendale 38 fans. Wolfgang Petry 86 fans. Andrea Berg fans. Costa Cordalis 2 fans. Michael Holm 4 fans. Juliane Werding 11 fans. Semino Rossi 19 fans.Ich moecht' der Knopf an Deiner Bluse sein. Dann koennt' ich nahnahnahnahnah an Deinem Herzen sein. Und legst Du nachts die Bluse hin. Dann bin ich froh da ich in Deinem Zimmer bin. Susanna oh Susanna. Fuer die Liebe nimmt ein Mann soviel in Kauf. Susanna oh Susanna. Mach' doch endlich mal ein Knoepfchen fuer mich auf. Ich moecht' der.