Visar resultat för..."five lives"

A moving biography, told in vivid illustrations, this graphic novel features key moments in the life of Swedish artist and pioneer of abstract painting Hilma af Klint (1862–1944). Long-underrecognized, af Klint’s sensational rediscovery continues to take art audiences by storm.Artist Philipp Deines traces the story of now world-famous af Klint’s unique life and groundbreaking oeuvre through five chapters featuring her development as an artist, her family background, and her relationship to the spiritual. Highlighting how she came to her distinctive paintings, her spiritual quest, and the friends who helped her, this is a story of the strength it took af Klint to continue as an artist against all odds.Beautifully drawn, brightly colored, and well-researched, this graphic novel is a new way of looking at the story of an artist. Referencing Julia Voss’s new biography of af Klint, Deines presents an accessible and lively introduction for many ages. Biography, art history, and contemporary narrative style merge and complement each other in these magnificent visual worlds.

Representing a historical cross-section of performance and training in Western music since the seventeenth century, Five Lives in Music brings to light the private and performance lives of five remarkable women musicians and composers. Elegantly guiding readers through the Thirty Years War in central Europe, elite courts in Germany, urban salons in Paris, Nazi control of Germany and Austria, and American musical life today, as well as personal experiences of marriage, motherhood, and widowhood, Cecelia Hopkins Porter provides valuable insights into the culture in which each woman was active.Porter begins with the Duchess Sophie-Elisabeth of Braunschweig-Lueneberg, a harpsichordist who also presided over seventeenth-century North German court music as an impresario. At the forefront of French Baroque composition, composer Elisabeth-Claude Jacquet de La Guerre bridged a widening cultural gap between the Versailles nobility and the urban bourgeoisie of Paris. A century later, Josephine Lang, a prodigiously talented pianist and dedicated composer, participated at various times  in the German Romantic world of lieder through her important arts salon. Lastly, the twentieth century brought forth two exceptional women: Baroness Maria Bach, a composer and pianist of twentieth-century Vienna's upper bourgeoisie and its brilliant musical milieu in the era of Gustav Mahler, Richard Strauss, Arnold Schoenberg, and Erich Korngold; and Ann Schein, a brilliant and dauntless American piano prodigy whose career, ongoing today though only partially recognized, led her to study with the legendary virtuosos Arthur Rubinstein and Myra Hess.  Mining musical autographs, unpublished letters and press reviews, interviews, and music archives in the United States and Europe, Porter probes each musician's social and economic status, her education and musical training, the cultural expectations within the traditions and restrictions of each woman's society, and other factors. Throughout the lively and focused portraits of these five women, Porter finds common threads, both personal and contextual, that extend to a larger discussion of the lives and careers of female composers and performers throughout centuries of music history.

"Five Black Lives is a collection of ex-slave narratives which spans 150 years in time, from 1729 to 1870, and some thousands of miles in geographical area from Africa to Connecticut. The autobiographies include the lives of Venture Smith, a native of Africa who ended his days as a resident of East Haddam, Connecticut; James Mars, born a slave near Norfolk, Connecticut in 1790, and freed at twenty-five by state law; William Grimes, a native of Virginia, who became Connecticut's first known runway when he arrived in New Haven about 1808; G.W. Offley, from Maryland, who was bought free by his father and later settled in Hartford; and James L. Smith, of Virginia birth, who escaped from slavery and settled in Norwich, Connecticut."-Victor B. Howard, The New England Quarterly