Farbenrausch in ausdrucksstarken Bildern: Wagen Sie sich an Farbe, Leindwand, Papier, Spachtel und Pinsel und lassen Sie sich von der Künstlerin Anke Ryba anleiten!
This is the first extended study comparing the philosophies of mind promoted by Sigmund Freud and William James, whose opposing views had profound influences on the development of twentieth-century philosophy, cognitive science, and psychology.
Uno podría considerar que, en la sobreexposición de su vida privada, Frida Kahloabdicó de su libertad, cuando en realidad fue lo que le permitió acceder a la libertad de vivir asu antojo, a la libertad de crear, disimulada tras el disfraz de pintora «doméstica», una obraque terminaría eclipsando la de sus contemporáneos, empezando por la de su esposo.
Healing the sick, bringing freedom from evil spirits, proclaiming the good news of the kingdom of God--these instructions are the core of what Jesus commanded the Twelve and seventy to do as he sent them out on mission.
The Unseen Heroes of the Global Missionary MovementThe Student Volunteer Movement for Foreign Missions was a Protestant missionary recruiting organization.
This is the first extended study comparing the philosophies of mind promoted by Sigmund Freud and William James, whose opposing views had profound influences on the development of twentieth-century philosophy, cognitive science, and psychology.
This book investigates the aesthetic and political dialectics of East Berlin to argue how its theater and opera stages incited artists to act out, fuel, and resist the troubled construction of political legitimacy.
Reflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves.
Die Beiträge in diesem Band beleuchten die Entstehung von bedeutenden Zeichnungssammlungen in Wien und Mitteleuropa, die heute vielfach den Grundstock der großen Kabinette etwa in Wien, Berlin, Dresden und Hamburg bilden.
This book answers one of the most puzzling questions in contemporary art: how did performance artists of the '60s and '70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the '80s, '90s and today?
