A History of Chinese Art is a lavishly illustrated work in four volumes covering the history of Chinese art from the Pre-Qin period (pre-221 BC) to the early twentieth century. Compiled by leading art historians at the Central Academy of Fine Arts in Beijing, the volumes offer a Chinese perspective on the rich artistic tradition that has flourished throughout China's long history, from ancient pottery and tomb painting to furniture, sculpture, ceramics, calligraphy and fine art. Discussion is supported by full-colour illustrations throughout, sourced from collections in China and around the world, including recent archaeological discoveries. A History of Chinese Art provides an introductory point of reference for those with an interest in Chinese history, culture and art.
It is an August morning. It is an old English manor-house. There is a breakfast-room hung with old gilded leather of the times of the Stuarts; it has oak furniture of the same period; it has leaded lattices with stained glass in some of their frames, and the motto of the house in old French, "J'ay bon vouloir," emblazoned there with the crest of a heron resting in a crown. Thence, windows open on to a green, quaint, lovely garden, which was laid out by Monsieur Beaumont when he planned the gardens of Hampton Court. There are clipped yew-tree walks and arbors and fantastic forms; there are stone terraces and steps like those of Haddon, and there are peacocks which pace and perch upon them; there are beds full of all the flowers which blossomed in the England of the Stuarts, and birds dart and butterflies pass above them; there are huge old trees, cedars, lime, hornbeam; beyond the gardens there are the woods and grassy lawns of the home park. The place is called Surrenden Court, and is one of the houses of George, Earl of Usk, -his favorite house in what pastoral people call autumn, and what he calls the shooting season.
Arthur Roberts was a schoolmaster in country NSW (1861 to 1894) and it was education and the changing educational system that shaped his life. Born in the hop-growing region of Kent, England, his life and prospects were transformed by a wave of educational reform that carried him far from family, class and country. Roberts found himself on the frontier of attempts to establish a national school system in Australia. With a swiftly growing family - one with a severe disability - he was moved from one struggling district to another, fighting insolvency, ignorance, natural disaster and bitter sectarian divides. His letters requesting schoolroom furniture, upgrades to buildings and teaching assistants give some insight into his plight. Photographs and family folklore reveal a taciturn, deeply flawed man while the evidence of writings (as Scone correspondent for The Maitland Mercury) suggests a fiery intelligence and defiant pride. This is amplified by a portrait of Roberts in Havelock Ellis's autobiographical novel, Kanga Creek. The schoolmaster, Mr Williams, is portrayed as an educated and passionate agnostic who uses the pen name Anti-Humbug when writing letters to The Stockwhip, a journal possibly modeled on publications like The Bulletin. This narrative presents these contradictions and hopefully gives the reader some sense of this teacher's journey.
The esteemed collectors Laurence and Patrick Seguin first discovered the work of Jean Prouve in the late 1980s, and were quick to embrace his entire aesthetic vision, from architectural design to furniture. "There is no difference between constructing a piece of furniture and constructing a building," Prouve once famously said, and the Seguins have modeled their collection around his stance, becoming major advocates and disseminators of his work in France. This gorgeously produced volume, which presents the Seguins' Prouve collection for the first time, consequently provides a comprehensive overview of their holdings. An entire chapter is devoted to Prouve works at the Seguins' Paris residence. Other sections include an examination of Prouve's relevance to contemporary art; a chapter on Prouve's Aluminum Metropole House, a structure that exemplifies the brilliance of Prouve's architectural work; and a survey of around 40 pieces, most of which are prototypes or rarities, from the armchair designed for the University of Nancy in 1932, to the light armchair created for the University of Antony in 1954, to the African furniture. These are supplemented by archival documents (sketches, models, photographs, etc. and detailed analysis. Also included is a wealth of photo-documentation of the exhibition this volume accompanies, held at the famous former Fiat building in Turin, Italy--once described by Le Corbusier as "one of the most impressive sights in industry" and recently rebuilt into a modern shopping/cultural complex by Renzo Piano, a longstanding admirer of Prouve.Equally admired for his work in furniture, metalwork and architecture, Jean Prouve (1901-1984) is one of the most influential designers of the early modern design movement. His innovative chairs, desks, lamps and shelves have long been collector's items.
The taxation of partnerships' income in an international context greatly influences partnerships as to their choice of legal entity. This book analyzes some of the main issues in the taxation of international partnerships. The analysis is structured within the framework of the tax laws of the United States, Germany and The Netherlands.
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