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How photographers from Cecil Beaton to Mario Testino have portrayed the UK's new king across the decades
Celebrating the new king of the United Kingdom in the year of his coronation, this beautiful gift book includes a timeline of key events from Charles' life, and explores the future of the monarchy through photographs and paintings of the wider royal family, including Diana, Princess of Wales, Camilla, Queen Consort, William and Catherine, Prince and Princess of Wales, Harry and Meghan, Duke and Duchess of Sussex, and Prince George of Wales.
Presenting family photographs alongside important formal portraits, and including an introductory essay by the National Portrait Gallery's Chief Curator Alison Smith, Charles III: The Making of a King features works by key artists who have depicted the king from 1948 to the present day, such as Nadav Kander, Cecil Beaton, Marcus Adams, Lisa Sheridan, Lord Snowdon, Joan Williams, Patrick Lichfield, Norman Parkinson, Bern Schwartz, Carole Cutner, Bryan Organ, Terence Donovan, Nicola Philipps and Mario Testino.
Comparing multilevel governance models for homelessness in four large Canadian cities, Multiple Barriers looks at the production of social protection for some of the most vulnerable and marginalized people in the country.
Georges Didi-Huberman is a philosopher of images whose work is overdue for attention from English-language readers. Since the publication of his first book in 1982, he has published 46 essays, mostly with the prestigious Editions de Minuit, on topics ranging from monographs on individual artists to critical excursions into political philosophy. He is recognised in France and elsewhere in Europe as one of the foremost philosophers of the image writing today.
In Georges Didi-Huberman and Film, Alison Smith concentrates on how Didi-Huberman's work has been informed by cinema, especially in his major (and ongoing) recent work L'Oeil de l'Histoire (The Eye of History). The book traces the development of Didi-Huberman's visual thought towards a cinematic sensibility already inherent in his early work on images in relationship to each other. After exploring his increasingly political understanding of the vital role of cinematic montage, it traces his growing understanding of cinema as a medium for expressing a dynamic representation of peoples' memory and experience, and documents his engagement with contemporary filmmakers such as Laura Waddington and Vincent Dieutre.
This title was first published in 2000: John Petts (1914-1991) is one of the outstanding wood-engravers of the twentieth century. His stunning prints featuring Welsh mountains and the people who live amongst them reflect his deep concern for the history of the land and are distinguished by his profound understanding of the physical and psychological properties of light. Extensively illustrated, John Petts and the Caseg Press spans the entire career of this reclusive artist and offers the first account of the private press he founded in Snowdonia in 1937. In 1935, John Petts and Brenda Chamberlain abandoned their studentships at the Royal Academy Schools, London for a rundown farmhouse in the rugged terrain of Snowdonia. They started the Caseg Press in 1937 in the hope that it might finance their freedom to work. At first dedicated to saleable ephemera such as Christmas cards and bookplates, the press later became involved in the broader Welsh cultural scene, providing illustrations for the Welsh Review, a monthly literary periodical. In 1941, with the writer Alun Lewis, the Caseg press produced a series of broadsheets designed to express continuity and identification with the life of rural Wales in the face of social change precipitated by the second world war. John Petts and the Caseg Press is the first monograph on this artist. It covers both his work for the Caseg Press and for other publishers such as the Golden Cockerel Press. The volume offers a unique insight into an important chapter in the history of private presses in Britain and the development of neo-romanticism in art and literature during the inter-war period.
El libro de la costura expone paso a paso y con gran riqueza de detalles y fotografías todas las técnicas: pinzas, lorzas, pliegues, dobladillos, bolsillos, ojales, cremalleras y muchas más.
Las fotografías de calidad muestran las herramientas y los materiales más apropiados para tu labor, además de las mejores telas. Te garantizamos que aprenderás a usarlas y a sacarles partido!
Más de 300 técnicas y 10 proyectos acompañados de patrones. Aprende a leer cada patrón y a adaptar los diseños de manera que se ajusten a tus medidas, y aplica tus conocimientos de costura adquiridos para elaborar prendas de vestir y ropa para el hogar
Un libro de referencia ideal tanto para personas que desean comenzar un nuevo hobby como para todo aquel que busca expandir su repertorio de técnicas.
--------------------------------------------Explore everything you need to know to sew your clothes and home furnishings.
Demystify your sewing machine and master essential techniques with The Sewing Book. This bestselling guide covers over 300 techniques with illustrated step-by-step sequences, showing you how to create everything from seams and hems to darts, gathers, and collars.
Discover how to read a pattern and adapt designs to suit your measurements, learn about tools and materials, and find the best fabrics for whatever you want to make. Complete with ten homeware and clothing projects to help you put your new-found skills to the test. The Sewing Book shows you everything you need to know, stitch by stitch.
Georges Didi-Huberman is a philosopher of images whose work is overdue for attention from English-language readers. Since the publication of his first book in 1982, he has published 46 essays, mostly with the prestigious Editions de Minuit, on topics ranging from monographs on individual artists to critical excursions into political philosophy. He is recognised in France and elsewhere in Europe as one of the foremost philosophers of the image writing today.
In Georges Didi-Huberman and Film, Alison Smith concentrates on how Didi-Huberman's work has been informed by cinema, especially in his major (and ongoing) recent work L'Oeil de l'Histoire (The Eye of History). The book traces the development of Didi-Huberman's visual thought towards a cinematic sensibility already inherent in his early work on images in relationship to each other. After exploring his increasingly political understanding of the vital role of cinematic montage, it traces his growing understanding of cinema as a medium for expressing a dynamic representation of peoples' memory and experience, and documents his engagement with contemporary filmmakers such as Laura Waddington and Vincent Dieutre.