Bøger af Jessica Findley

Giovanni Boldini enjoyed a long and successful artistic career. According to a 1933 article in Time magazine, he was known as the "Master of Swish" because of his flowing style of painting. His paintings showed his subject in soft-focus, elongated, in movement, alive, and sophisticated. The brush work on his paintings was swift and bold. It is the masterful brushwork that gives his paintings the sense of motion. Boldini painted mostly portraits and also landscapes in the naturalistic style of his day, influenced by the Macchiaioli schooled artists he knew in Florence, and worked on engravings, with pastels, watercolors and etchings. Boldini's style of painting shows some Impressionist influence but most closely resembles the work of his contemporaries John Singer Sargent and Paul Helleu. Only toward the end of his long life, did his style change, using mainly dark, rich colors.

Anders Zorn was one of Sweden's foremost artists who obtained international success as a painter, sculptor and print maker in etching. His fame abroad is founded mostly on his portraiture where he had the ability to capture the character and the personality of the depicted person. His incisive ability to depict the individual character of his model is, for example, apparent in portraits of prominent cultural personalities. The model's surroundings were important; Zorn believed that a portrait should be painted in an environment that was natural for the model. An artificial studio environment was not to his taste. Beginning in 1910, Zorn focused on developing his control of the technique and motif. He accomplished this with such certainty that the process of painting can assume the dominant role, sometimes to the detriment of the work's emotional expression.

This Art Book contains selected and annotated detailed color reproductions of paintings from Jean-Auguste-Dominique Ingres. Jean-Auguste-Dominique Ingres (1780 -1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy. Ingres is a puzzling artist and his career is full of contradictions. Yet more than most artists he was obsessed by a restricted number of themes and returned to the same subject again and again over a long period of years. He was a bourgeois with the limitations of a bourgeois mentality but as Baudelaire remarked, his finest works 'are the product of a deeply sensuous nature'. The central contradiction of his career is that although he was held up as the guardian of classical rules and precepts, it is his personal obsessions and mannerisms that make him such a great artist. His technique as a painter was academically unimpeachable. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eugène Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art.

Anthony van Dyck was a Flemish Baroque artist who became the most important court painter in England. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in watercolor and etching. Anthony van Dyck is also considered to be one of the most brilliant colorists in the history of art. He was one of the most influential 17th-century painters, set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and Thomas Gainsborough of that school were his artistic heirs.

One of the most brilliant and original artists of the eighteenth century, Antoine Watteau had an impact on the development of Rococo art in France and throughout Europe lasting well beyond his lifetime. Living only thirty-six years, and plagued by frequent illness, Watteau nonetheless rose from an obscure provincial background to achieve fame in the French capital during the Regency of the duc d'Orléans. His paintings feature figures in aristocratic and theatrical dress in lush imaginary landscapes. During Watteau's lifetime, a new term, fête galante, was coined to describe them. Watteau was also a gifted draftsman whose sparkling chalk sheets capture subtle nuances of deportment and expression. His method of juxtaposing flecks of color on the canvas was carried further by Delacroix and later reduced to a science by Seurat and the Neo-Impressionists.

Amedeo Clemente Modigliani was an Italian painter and sculptor who worked mainly in France. Primarily a figurative artist, he became known for paintings and sculptures in a modern style characterized by mask-like faces and elongation of form. Amedeo Modigliani was born July 12, 1884 in Livorno, Italy. After studying in Italy, Modigliani settled in Paris and exhibited at the Salon des Indépendants. Following the advice of Brancusi, he studied and was influenced by African sculpture. In 1917 he began painting a series of female nudes that are among his best works. Modigliani died in 1920 in Paris of tubercular meningitis, exacerbated by poverty, overwork and addiction to alcohol and narcotics.

Reviews the scientific support for popular advocacy recommendations. It first summarises trial commentators' recommendations, then reviews the scientific support for these recommendations, and finally evaluates the recommendations in light of the scientific support. Topics include attorney demeanour, verbal and nonverbal communications, the attorney-client relationship, and storytelling.