Donald R. Maxwell Libri

Although geared toward professional artists, this accessible approach to landscape sketching will also appeal to amateurs. English artist Donald Maxwell's entertaining and straightforward attitude begins with the basics: "We will draw a brick. Anybody can draw a brick."Following introductions to perspective, light and shade, and composition, Maxwell proceeds to demonstrate how to direct a picture's focus, and he discusses the challenges of ink as a medium. His observations are complemented and enhanced with illustrative examples of boatyards, bridges, churches, and country farms from throughout Great Britain that date from the early twentieth century. A concluding gallery features a bonus collection of twenty-five images by Frank Brangwyn, Joseph Pennell, Otto Fischer, and other contemporary masters of pen-and-ink landscapes. Specially added for this edition is a new Foreword written by Sonja Rozman and Gašper Habjanič, two landscape architects with a passion for drawing.

Set in early 1900s Paris, this narrative explores the complex love affair between Marie Curie and physicist Paul Langevin, as observed by her graduate student, Georges Fournier. Through Fournier's eyes, readers witness his admiration for Marie and the turmoil that ensues when her private letters are exposed, leading to threats from Langevin's wife. Georges is drawn into a protective role for Marie, navigating the intricacies of her life and relationships, all while maintaining historical accuracy about the key figures involved.

Donald R. Maxwell discusses the differences and similarities in the cultures and disciplines of literature and science, the origin of this dichotomy, the distinction in the use of language, and the differences in the practice of the two cultures. As distinct from literature, the physical sciences are empirical and concern truths that cannot be deduced intuitively. Science, not literature, is cumulative, predictive, and reproducible and its language is transparent and unambiguous. Literature attempts to give utterance to the ineffable and uses ambiguity, metaphor, and the evocation of memory to create new and wonderful worlds. Science discovers that which already exists while literature creates that which might never exist. These differences are illustrated by the writings of Marcel Proust, Henri Bergson, and others.

Donald R. Maxwell analyzes the concepts of time, memory, self, and thought in Proust's ¿ la recherche du temps perdu and in the philosophy of Henri Bergson. Dr. Maxwell introduces the digital-analogic opposition (abacus and rainbow) that permeates Bergson's philosophy. Bergson's analysis of memory is distinct from Proust's, but resembles that of contemporary neurophysiology. He specifies two aspects of being, as well as the twinning of self in memory, which are both present throughout Proust's great novel. While Bergson uses linguistic imagery to communicate his philosophy, Proust's use of language is more to suggest, evoke, and create. Both Bergson and Proust describe the process of artistic creation in related yet contrasting ways. Dr. Maxwell provides new insight into the origins of the similarities between Bergson's philosophy and elements of the Proustian universe.