Home. In this unique volume, prominent American writers from the past and present--Willa Cather, Henry David Thoreau, Eloise Greenfield--give voice to the region of the country each calls home. Thomas Locker's lavish oil paintings accompany each passage, transporting the reader from the crashing waves of the Pacific coast to the bluebonnet fields of the Texas prairie. Come along on a spectacular journey through our home--America.
The Howard family moved from San Haydren Caifornia to Bayou Bayside Florida due to the loss of a wife and mother. Michael's wife lost her six year long battle with breast cancer a couple of months ago. His boss Mr. McPheeny thought since Michael and his kids were going through such a rough time that it would be in their best interest to move to a new state, start over make a new life for themselves and get some normalcy back in their lives, besides he has a new country club down south that he needs someone to run for him to and so Michael's his best bet. He's hoping that the move proves to be helpful and be the best thing for them all. Michael knows that this move is going to be hard on his kids. He's not to worried about his young son Noah because Noah is a go getter, out going person who works through everything quickly and efficiently. But his daughter D.J on the other hand is a whole other story, she's a loner type who would rather be by herself. She's extremely smart, artistic and talented. She has a love of drawing and painting which she in herited from her mother and that's what keeps her going and connected to her mother even though her mom's no longer with her in person she's with them in spirit.
It's 1808 . . .
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.
Laurel Collingsworth-Davis thought she had everything she could ever want: a beautiful home, a fulfilling career, financial security and a devoted husband. However, at the beginning of their marriage, she and Matt--each for their own private reasons--had agreed to never have children. When her grandmother dies, Laurel realizes that she does, in fact, want to be a mother. She desperately needs Matt to reconsider his position, but when he refuses, she fears her storybook life may be over. Matt Davis has very real reasons for not wanting to become a father; reasons he's never shared with Laurel. Now he realizes that in order to get her to understand, he may have to reveal more of himself to her than he's ever revealed to anyone. But doing that may very well cost him his marriage regardless. Will Laurel and Matt be able to trust God to help them overcome the seemingly insurmountable obstacles that stand in the way of them staying a family? Or will their fears drive them apart and end the marriage that had seemed so perfect?
Sydney Wide Painters Articles
Sydney Wide Painters Books
Sydney Wide Painters