Armáda duchů je nezvyklý název 23. americké jednotky čítající 1100 mužů. Jejím úkolem bylo za druhé světové války zmást německé nepřátele rozmístěním umělých tanků, děl či letadel. Němci na radarech nerozeznali pravé válečné stroje od falešných, a očekávali tak útok na špatných místech. Kniha shrnuje konkrétní případy, kdy se Američanům manévr podařil.
In die Porträts der Frida Kahlo sind sowohl ihr Leben als auch ihr Wirken selbst eingeflossen. Ihr malerischer und schriftlicher Nachlass stellen den mutigen Lebensdbericht einer Frau dar, die auch an der Seite des berühmten Diego Rivera fortwährend auf der Suche nach sich selbst war.
Diego Rivera is celebrated by Gerry Souter as a virtuoso Mexican muralist, where he could express at once his legend and myths, his technical talent, his intense story-telling focus and self-indulgent ideological convictions. His easel paintings and drawings also constitute a large body of both his early and late work and are represented in the book. Gerry Souter, the author of the remarkable Frida Kahlo, overcomes his huge admiration for Diego Rivera to give the artist a human dimension, found in his political choices, his love affairs and his belief that this truth was Mexico, the language of his thoughts, the blood in his veins, the azure sky above his resting place.
Exploring the legacy of NASCAR's leading family, the narrative delves into their pivotal role in shaping the multibillion-dollar sport. It highlights the family's influence on the racing industry, detailing their triumphs, challenges, and the evolution of NASCAR over the years. The book offers an insider's perspective on the dynamics of family, competition, and the passion that drives the sport, making it a compelling read for racing enthusiasts and those interested in American sports history.
Kazimir Malevich (1878 - 1935) was a painter and a great art theorist but first and foremost he was the founder of Suprematism (pure abstraction), a style based on geometrical forms. ""Suprematism,"" he wrote, ""has led me to discover something that had not been understood until then??? there is in human consciousness an imperious desire of space and the will to escape from Earth."" This new publication presents the brilliant works of Malevich, the original painter, who until the age of twentyseven had no professional background as a painter, and who learned to draw out of curiosity and out of his will to learn. Gerry Souter once more offers us the works of a brilliant artist as well as a new perspective on the artist's personality.
Kasimir Malewitsch (1878-1935) war ein Maler und ein groer Kunsttheoretiker, vor allem aber war er der Begrnder des Suprematismus, einer auf geometrische Formen gegrndeten Ausprngung der reinen abstrakten Kunst. OCxDer SuprematismusOC, schrieb er, OCxhat mich etwas entdecken lassen, das bis dahin noch nicht verstanden worden war, OC im menschlichen Bewusstsein gibt es ein unberwindliches Verlangen nach Raum und den Willen, der Erde zu entfliehen.OC Diese neue Publikation prnsentiert die brillanten Arbeiten Malewitschs, dieses hAchst originellen Knstlers, der sich erst im Alter von 27 Jahren wirklich ernsthaft der Malerei zuwandte und sich das Zeichnen aus bloer Neugier und reiner Freude am Lernen aneignete. Gerry Souter macht uns einmal mehr mit den Werken eines brillanten Knstlers sowie einer neuen Sichtweise der PersAnlichkeit des Knstlers vertraut."
Edward Hopper, born in Nyack in 1882, remains one of the most important American painters. After studying to be an illustrator, he entered the famous New York School of Art, where he studied under the direction of Robert Henri, whose influence on Hoppers work was fundamental, as he was the one who encouraged Hopper to paint scenes from American life. In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Done in cold colours and inhabited by anonymous characters, Hoppers paintings also symbolically reflect the Great Depression. Despite his numerous trips to Europe, he remained impervious to the major trends revolutionizing painting at the time, such as cubism or surrealism. Dedicated to a very personal approach to his subjects, he modelled himself on classical painters, such as Rembrandt, Degas, or Daumier.His paintings of gas stations, motels, and scenes from everyday life represent an aesthetic testimony to individualism, wide open spaces, and the fundamental values of the American nation. He died in 1967, leaving behind a definitive imprint on American art.
