Richard Whelan Ordine dei libri (cronologico)

A rich selection of Robert Capa's work as a war photographer.

La fiducia in se stessi rappresenta il manifesto dell’individualismo democratico che ha segnato la storia della crescita economica degli Stati Uniti. In questo saggio si trovano sintetizzati gli elementi teorici che costituiscono il bagaglio filosofico dei trascendentalisti americani: una visione idealistica e romantica della natura, unita alla religiosità puritana. I temi favoriti di Emerson sono dunque ripresi e sviluppati qui con chiarezza e coerenza. Come scrive il curatore, Piero Pignata, ritroviamo: “la fiducia nelle incommensurabili risorse dell’individuo, che solo abbandonandosi alla propria ispirazione, senza altri condizionamenti esteriori che non siano la contemplazione della natura, potrà raggiungere la sua piena realizzazione e avvicinarsi alla divinità, di cui la natura, come il profondo del suo animo, non sono che lo specchio.”

Includes illustrations and photographs of leaflets, cartoons, posters, campaign buttons, and other memorabilia and includes profiles of the candidates and a look at their individual campaigns and platforms.

Since the dawn of human consciousness, the sun, the moon, and the stars have inspired awe, curiosity, fear, and delight. The great works of art collected in this book beautifully convey the sense of wonder and magic that have always attended these cosmic presences. The illustrated works range from Tintoretto's painting of the mythical origin of the Milky Way to a star map by Albrecht Durer; from Claude Monet's Impression: Sunrise (the painting from which Impressionism got its name) to Italian Renaissance tarot cards of the planets; and from a golden Inca sun god to a Japanese painting of the moon and a rabbit. These images are enhanced by dozens of great quotations and by Richard Whelan's essays, which explore astronomy, astrology, and mythological lore through the ages.Lavishly illustrated with 185 paintings, drawings, photographs, maps, and charts, over 150 in color.

In an almost novelistic fashion, the pictures--presented chronologically--tell as much about the photographer as they do about the times Capa was chronicling. --Margarett Loke, "ARTnews" "His coverage of the Spanish civil war established Capa's reputation as a peerless battlefield photojournalist... But he was also a man who loved making pictures of beautiful women, famous men and grand parties. Often overlooked when discussing the Capa legacy, those too, were his life's work. Both Capas--the raconteur of high society and the fearless witness to war--are evident in "Robert Capa: Photographs." The two sides of Capa's work may seem irreconcilable, but they're not. He was recording one world. His own." --Allison Adato, "Life Magazine"

Oversize hardback book with dust jacket titled CHILDREN OF WAR, CHILDREN OF Photographs of Robert Capa. Edited by Cornell Capa & Richard Whelan. Published by Bullfinch Press in 1991 - first edition. See photographs (7) of this book on main listing page. Bookseller since 1995 (LL-1-middle) rareviewbooks

A finely honed abridgement of Emerson's principal essays with an introduction that clarifies the essence of Emerson's ideas and establishes their relevance to our own troubled era. This is the first truly accessible edition of Emerson's work, revealing him to be one of America's wisest teachers.

In fast romanhaften Stil erzählen die Bilder – chronologisch präsentiert – ebenso viel über den Fotografen wie über die Zeiten, die Capa dokumentierte. Seine Berichterstattung über den Spanischen Bürgerkrieg festigte Capas Ruf als unübertroffenen Kriegsfotografen. Aber er war auch ein Mann, der es liebte, Bilder von schönen Frauen, berühmten Männern und großen Partys zu machen. Oft übersehen, wenn über das Erbe Capas gesprochen wird, waren auch diese Teil seines Lebenswerks. Beide Seiten Capas – der Geschichtenerzähler der High Society und der furchtlose Zeuge des Krieges – sind in "Robert Capa: Fotografien" evident. Die beiden Seiten von Capas Werk mögen unvereinbar erscheinen, sind sie aber nicht. Er dokumentierte eine Welt. Seine eigene.