"This extraordinary book is the first in a projected series of specialized catalogues documenting the permanent collections of The Nelson-Atkins Museum of Art in Kansas City, Missouri. The collection of Italian paintings, a total of sixty works, is a representative one for the years 1300-1800 with significant examples from all major schools." "Each catalogue entry, written by Eliot W. Rowlands, includes a thorough and lively biography on the artist; complete technical notes and a detailed description; a fully documented commentary with a discussion of attribution, date, subject, and function; an exacting list of references that also summarizes the critical history of each work; and a full account of exhibition history and provenance. All the Italian paintings in the Nelson-Atkins collection are reproduced in full color, and there are over 200 black-and-white comparative illustrations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The director of twenty-five films, including My Night at Maud's (1969), which was nominated for a Best Picture Academy Award, and the editor in chief of Cahiers du cinéma from 1957 to 1963, Éric Rohmer set the terms by which people watched, made, and thought about cinema for decades. Such brilliance does not develop in a vacuum, and Rohmer cultivated a fascinating network of friends, colleagues, and industry contacts that kept his outlook sharp and propelled his work forward. Despite his privacy, he cared deeply about politics, religion, culture, and fostering a public appreciation of the medium he loved. This exhaustive biography uses personal archives and interviews to enrich our knowledge of Rohmer's public achievements and lesser known interests and relations. The filmmaker kept in close communication with his contemporaries and competitors: François Truffaut, Jean-Luc Godard, Claude Chabrol, and Jacques Rivette. He held a paradoxical fascination with royalist politics, the fate of the environment, Catholicism, classical music, and the French nightclub scene, and his films were regularly featured at New York and Los Angeles film festivals. Despite an austere approach to life, Rohmer had a voracious appetite for art, culture, and intellectual debate captured vividly in this definitive volume.

Robert Bresson, the director of such cinematic master-pieces as Pickpocket, A Man Escaped Mouchette, and L’Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the “advances” of Cinerama and Cinema-Scope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing—in his view—art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

This book is both dif?cult and rewarding, affording a new perspective on logic and reality, basically seen in terms of change and stability, being and becoming. Most importantly it exemplifies a mode of doing philosophy of science that seems a welcome departure from the traditional focus on purely analytic arguments. The author approaches ontology, metaphysics, and logic as having offered a number of ways of constructing the description of reality, and aims at deepening their relationships in a new way. Going beyond the mere abstract and formal aspects of logical analysis, he offers a new architecture of logic that sees it as applied not only to the “reasoning processes” belonging to the first disciplinary group – ontology – but also directly concerned with en- ties, events, and phenomena studied by the second one – metaphysics. It is the task of the book to elaborate such a constructive logic, both by offering a lo- cal view of the structure of the reality in general and by proffering a wealth of models able to encompass its implications for science. In turning from the merely formal to the constructive account of logic Brenner overcomes the limitation of logic to linguistic concepts so that it can be not only a logic “of” reality but also “in” that reality which is constitutively characterized by a number of fundamental dualities (observer and observed, self and not-self, internal and external, etc.

Verzameling brieven van de Oostenrijkse componist (1860-1911).