Hailed the Prince of the Impressionists, Claude Monet (1840-1926) transformed expectations for the purpose of paint on canvas. Defying the precedent of centuries, Monet did not seek to render only reality, but the act of perception itself. Working en plein air with rapid, impetuous brush strokes, he interrogated the play of light on the hues, patterns, and contours and the way in which these visual impressions fall upon the eye.

Monet's interest in this space between the motif and the artist encompassed too the ephemeral nature of each image we see. In his beloved water lily series, as well as in paintings of poplars, grain stacks, and the Rouen cathedral, he returned to the same motif in different seasons, different weather conditions, and at different times of the day, to explore the constant mutability of our visual environment.

This book offers the essential introduction to an artist whose works simultaneously reflected upon the purpose of a picture and the passage of time, and in so doing transformed irrevocably the story of art.

• Published to celebrate the opening of the Denver Art Museum's newly renovated campus
• Featuring highlights from a collection of over 70,000 works

Published to celebrate the opening of the Denver Art Museum's newly renovated campus, this stunning volume highlights masterworks from the museum's global art collection. Founded in 1893, the Denver Art Museum is now one of the largest art museums between Chicago and the West Coast. Featuring around 70,000 works, the collection represents cultures from Africa and Asia to Europe and Oceania, from the ancient past to the present day. Housed in landmark buildings by Daniel Libeskind and Gio Ponti, the museum also showcases work by regional artists, and provides invaluable ways for the community to learn about the world.

Hailed the Prince of the Impressionists, Claude Monet (1840-1926) transformed expectations for the purpose of paint on canvas. Defying the precedent of centuries, Monet did not seek to render only reality, but the act of perception itself. Working en plein air with rapid, impetuous brush strokes, he interrogated the play of light on the hues, patterns, and contours and the way in which these visual impressions fall upon the eye.

Monet's interest in this space between the motif and the artist encompassed too the ephemeral nature of each image we see. In his beloved water lily series, as well as in paintings of poplars, grain stacks, and the Rouen cathedral, he returned to the same motif in different seasons, different weather conditions, and at different times of the day, to explore the constant mutability of our visual environment.

This book offers the essential introduction to an artist whose works simultaneously reflected upon the purpose of a picture and the passage of time, and in so doing transformed irrevocably the story of art.

Hailed the Prince of the Impressionists, Claude Monet (1840-1926) transformed expectations for the purpose of paint on canvas. Defying the precedent of centuries, Monet did not seek to render only reality, but the act of perception itself. Working en plein air with rapid, impetuous brush strokes, he interrogated the play of light on the hues, patterns, and contours and the way in which these visual impressions fall upon the eye.

Monet's interest in this space between the motif and the artist encompassed too the ephemeral nature of each image we see. In his beloved water lily series, as well as in paintings of poplars, grain stacks, and the Rouen cathedral, he returned to the same motif in different seasons, different weather conditions, and at different times of the day, to explore the constant mutability of our visual environment.

This book offers the essential introduction to an artist whose works simultaneously reflected upon the purpose of a picture and the passage of time, and in so doing transformed irrevocably the story of art.

Das vorliegend beschriebene Verfahren dient der Berechnung von l ngs starren Rahmen. Es wird die Kenntnis der Arbeit 1] vorausgesetzt, so da eine kurze Darstellung des Sachverhaltes erreicht wird. Da das in 1] ver ffentlichte Ver- fahren vorwiegend f r l ngselastische Rahmenst be gedacht ist und damit im Falle von starren St ben versagt oder zu numerischen Schwierigkeiten f hrt, sollen mit dem vorliegenden Verfahren diese Schwierigkeiten behoben werden. In beiden F llen handelt es sich um Iterationsverfahren. Ergaben sich im Falle der Arbeit 1] Konvergenzschwierigkeiten, d. h. erhebliche Rechenzeiten oder gar Divergenz, so wird im vorliegenden die Konvergenz betr chtlich beschleu- nigt, d. h., die Rechenzeiten werden erheblich reduziert. Im brigen verwenden wir wie in 1] die Darstellung mit Hilfe der Matrizen- und Vektorrechnung, wodurch die Programmierung erleichtert wird, da doch wohl in den meisten Rechenzentren der Matrizenkalk l standardm ig programmiert ist. Weiterhin werden im vorliegenden nur die Knotenverdrehungen iterativ be- stimmt, hingegen die Riegel- bzw. Stielverschiebungen mittels eines linearen, Gleichungssystems. Der Grad dieses Systems bestimmt sich lediglich als Summe der Riegel- und Stielanzahl, so da der Speicherbedarf des zugeh rigen Koef- fizientenschemas ertr glich ist, selbst bei gr eren Rahmen. 9 Knoten Unter einem Knoten verstehen wir einen Punkt des Stabwerkes, in welchem mindestens zwei St be zusammenkommen. Die Knoten werden abgez hlt: k = 1, ..., k (k ist die Knotenanzahl). Die St be, die in einem Knoten zusam- menkommen, z hlen wir ab Ok = 1,2,3,4 (s. Abb. 11).