Simon Schama Knihy

Simon Schama, známý popularizátor umění, nás zve na procházku po Národní portrétní galerii v Londýně a zároveň po dějinách Velké Británie. Pohlédneme do tváře řady významných osobností – monarchů, šlechticů, umělců a dalších, kteří ve tváři ostrovního impéria zanechali výrazný otisk. Schama jako skvělý vypravěč podniká výpravy do hloubi dějin, koření je barvitými příběhy, každá kapitola je dobrodružnou cestou do vzdálenější i nedávné historie; najdeme v nich odpovědi na otázky, proč se portréty malují a jaký byl jejich význam ať už z uměleckého nebo třeba i z politického hlediska. Kniha je také pobídkou zamyslet se nad osobnostmi, které většinou známe z učebnic, nad jejich osudy, touhami a nad tím, čím se zapsaly do dějin.

An extraordinary book that explores how the earth itself has shaped the Western imagination and how, as a result, our interaction with the environment is far richer and more complex than today's doomsayers would have us believe.

A narrative history of the French Revolution by the author of "Patriots and Liberators" and "The Embarrassment of Riches". Drawing on resources of social and cultural history, Schama focuses on the transformation of the initial euphoric vision of the Revolution into the reality of the Terror.

This dazzling, unconventional biography shows us why, more than three centuries after his death, Rembrandt continues to exert such a hold on our imagination. Deeply familiar to us through his enigmatic self-portraits, few facts are known about the Leiden miller's son who tasted brief fame before facing financial ruin (he was even forced to sell his beloved wife Saskia's grave). The true biography of Rembrandt, as Simon Schama demonstrates, is to be discovered in his pictures. Interweaving of seventeenth-century Holland, Schama allows us to see Rembrandt in a completely fresh and original way.

The words that failed were words of hope. But they did not fail at all times and everywhere. These gripping pages teem with words of defiance and optimism, sounds and images of tenacious life and adventurous modernism, music and drama, business and philosophy, poetry and politics.

Simon Schama sets out to discover which story, if any story, is the story of the many stories of the disappearance of Doctor George Parkman, the perfect Yankee. Plus: William Boyd, Geoffrey Wolff, Louise Erdrich, Don DeLillo, Amitav Ghosh, and Martin Amis’s Time’s Arrow (part two).

Simon Schama, the author of "The Embarrassment of Riches" and "Citizens", sets out to tell the history of two certainties, of two deaths. In discussing the "speculations" surrounding them, he finds himself involved in a history he cannot classify - the unpredictable history of stories. On 13 September 1759, General James Wolfe, having led the British troops up the St Lawrence to victory in the Battle of Quebec, died on the Heights of Abraham. Schama examines this death, and how Wolfe was made to die again - through the spectacular painting by Benjamin West, and through the writings of the 19th-century historian Francis Parkman. Schama's second death concerns Parkman's uncle, George Parkman of Harvard Medical College, who disappeared in 1849 in mysterious circumstances and who was rumoured to have been murdered by a colleague. Through these incidents, Schama sheds light on the writing of history, the history of history, and the relationship of "story" to "history".

The great 17th-century Dutch artist Rembrandt van Rijn left us so many arresting self-portraits, painted at every stage in his eventful life, that his distinctive face and bearing are a familiar part of the 20th-century cultural landscape, a recognizable presence in galleries across Europe and North America. Nonetheless, the artist himself remains an enigma. Rembrandt was a notoriously difficult man and an inveterate risk taker in life and art: his aspirations to a grandiose Amsterdam lifestyle in the heyday of his popularity as a painter of portraits and large-scale historical works bankrupted him, and he died in relative poverty. His personal effects and treasured collection of paintings and natural rarities were sold off and dispersed, leaving the historian with a tantalizingly scant body of fragmentary records around which to build a convincing biography. In Rembrandt's Eyes , Simon Schama - the leading historical craftsman of our era, with a career-long commitment to Dutch history - succeeds with consummate skill in bringing the heroic painter of such masterpieces as The Night Watch and Portrait of Jan Six vividly to life. Returning to the bustling Dutch world with which he first made his reputation in the bestselling Embarrassment of Riches (1987), Schama re-creates Rembrandt's life and times with all the verve and panache of a historical novelist--while never for an instant losing his scrupulous grip on recorded fact and detail. The telling surviving fragments of archival information about Rembrandt's personal and professional history are skillfully embedded in a rich, dense tapestry of the commercial whirl and political hurly-burly of the 17th-century Low Countries--a divided territory, split between the Catholic and Protestant faiths and the contested powers of the Spanish Hapsburgs and the Dutch Republic--with the tentacles of the tale reaching into the most unexpected shadowy corners of European love and war, aspiration and intrigue. Rembrandt's Eyes is, in fact, two biographies for the price of one. From the outset, Schama contrasts the life of Rembrandt with that of his older, equally talented countryman Peter Paul Rubens, whose meteoric rise and sustained success as a society painter forms a revealing contrast with Rembrandt's unhappier relationship with fame and fortune. The comparison is a telling one. Where Rubens furnishes the wealthy and powerful with glorious reflections of, and visual foils for, their social and political aspirations and glory, Rembrandt can never resist testing the envelope of taste and stylistic acceptability. His challenge to his clients to embrace the shock of his painterly experiments with technique, texture, and composition ultimately produced his downfall. The Amsterdam town council took down his The Oath-swearing of Claudius Civilis , rolled it up, and returned his masterpiece to him to be cut down in an attempt to sell it to a suitable buyer. This is a gorgeous book to own, too. Rembrandt's Eyes is printed on heavy, high-gloss paper and lavishly illustrated throughout in full color. The double-page color spreads of the most memorable of Rembrandt's works will take readers' breath away. But above all, this is narrative history at its very best, a page-turner and an adventure story that will make the reader laugh and cry by turns in the time-honored tradition of masterly writing. --Lisa Jardine

For Rembrandt, as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing, the wardrobe and face-paint, the full repertoire and gesture and gimace, the flutter of hands and the roll of the eyes, the belly-laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle and to console; to strike a pose or preach a sermon, to shake a fist or uncover a breast; and how to sin and how to atone. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between.

This work takes us from the mid-1770s when the country was intoxicated by a great surge of political energy through to the massive advances of technology and industrialisation during the Victoria era, and the burgeoning of the British Empire