At the heart of the Castilian plateau, far from the coastal towns and ports of Spain, sits the great city of Madrid. Perched some 2,200 feet above the distant sea, it is at once the loftiest and also the most enigmatic of Europe's capitals: hard to decipher for the Spanish and for foreigners alike. Its intense character and the abrupt manner and hectic lifestyle of the Madrileños can make even other Spaniards feel exhausted. Yet, Madrid has a rich historical and cultural life which attracts almost 8 million visitors per year, drawn to its beautiful palaces and churches, the magnificent collections of the Prado and everywhere the echoes of a faded empire. The grand entry of Fernando and Isabel to Madrid in the late-fifteenth century brought about the unification of Spain. However it was not until 1561 that Madrid was declared the capital. During Spain's golden age in the sixteenth and seventeenth centuries, Madrid was a centre of commerce – the hub of a global empire which stretched from the Andes to the Philippines – and of culture – the greatest Spanish writers and poets of the Spanish Renaissance, including Cervantes, Lope de Vega, Calderón de la Barca and Francisco de Quevedo, as well as the immortal Spanish painters Velázquez and Goya, all gained their fame working in Madrid. In the nineteenth and twentieth centuries Spain struggled against dictatorial rulers – from Napoleon to Franco – and witnessed a succession of wars and uprisings – from the Spanish War of Independence to the Spanish Civil War. Yet the city ultimately emerged triumphant and in the twenty-first century stands as the third-largest city in Europe. Jules Stewart here provides an insider's account of Madrid and unveils the history and culture of one of Europe's most fascinating, but least-understood cities.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...