This brilliant book focuses on the aesthetic concerns of the two most important sculptors of the early 19th century, the great Italian sculptor Antonio Canova (1757-1822) and his illustrious Danish rival Bertel Thorvaldsen (1770-1844). Rather than comparing their artistic output, the distinguished art historian David Bindman addresses the possible impact of Kantian aesthetics on their work. Both artists had elevated reputations, and their sculptures attracted interest from philosophically minded critics. Despite the sculptors' own apparent disdain for theory, Bindman argues that they were in dialogue with and greatly influenced by philosophical and critical debates, and made many decisions in creating their sculptures specifically in response to those debates. Warm Flesh, Cold Marble considers such intriguing topics as the aesthetic autonomy of works of art, the gender of the subject, the efficacy of marble as an imitative medium, the question of color and texture in relation to ideas and practices of antiquity, and the relationship between the whiteness of marble and ideas of race.

This book covers the life of the Italian neo-classical sculptor Antonio Canova (1757-1822), some of his works and the lives of two of his contemporaries: John Gibson RA (1790-1866), known as the ‘British Canova’, and the Danish sculptor Bertel Thorvaldsen (1770-1844). Both Gibson and Thorvaldsen lived and worked in Rome under the influence and in the shadow of Canova. All three sculptors helped and guided each other. Gibson was under considerable pressure to return to London, which he resisted, while Thorvaldsen returned to his homeland on several occasions and was greeted as a celebrity. The book aims to rectify the dearth of information in English on Canova and updates the information available on Gibson and Thorvaldsen in this bicentenary year of the death of Antonio Canova.

From a "New York Times"-bestselling author and today's most admired storyteller, here is an unforgettable tale of a most miraculous love affair: a meeting of passion, wit, and true romance between a thoroughly modern woman--and a man who lived 400 years before.

Rubens and the Eloquence of Drawing re-examines the early graphic practice of the preeminent northern Baroque painter Peter Paul Rubens (Flemish, 1577–1640) in light of early modern traditions of eloquence, particularly as promoted in the late sixteenth- and early seventeenth-century Flemish, Neostoic circles of philologist, Justus Lipsius (1547–1606). Focusing on the roles that rhetorical and pedagogical considerations played in the artist’s approach to disegno during and following his formative Roman period (1600–08), this volume highlights Rubens’s high ambitions for the intimate medium of drawing as a primary site for generating meaningful and original ideas for his larger artistic enterprise. As in the Lipsian realm of writing personal letters – the humanist activity then described as a cognate activity to the practice of drawing – a Senecan approach to eclecticism, a commitment to emulation, and an Aristotelian concern for joining form to content all played important roles. Two chapter-long studies of individual drawings serve to demonstrate the relevance of these interdisciplinary rhetorical concerns to Rubens’s early practice of drawing. Focusing on Rubens’s Medea Fleeing with Her Dead Children (Los Angeles, Getty Museum), and Kneeling Man (Rotterdam, Museum Boijmans Van Beuningen), these close-looking case studies demonstrate Rubens’s commitments to creating new models of eloquent drawing and to highlighting his own status as an inimitable maker. Demonstrating the force and quality of Rubens’s intellect in the medium then most associated with the closest ideas of the artist, such designs were arguably created as more robust pedagogical and preparatory models that could help strengthen art itself for a new and often troubled age.

The plots of many films pivot on the moment when a dowdy girl with bad hair, ill-fitting outdated clothing, and thick glasses is changed into an almost unrecognizable glamour girl. Makeover scenes such as these are examined beginning with 1942's Now, Voyager. The study examines whether the film makeover is voluntary or involuntary, whether it is always successful, how much screen time it takes up, where in the narrative structure it falls, and how the scene is actually filmed. Films with a Pygmalion theme, such as My Fair Lady, Vertigo, and Shampoo, are examined in terms of gender relations: whether the man is content with his creation and what sort of woman is the ideal. Some films' publicity capitalizes on a glamorous star's choice to play an unattractive character, as discussed in a chapter examining stars like Bette Davis, Meryl Streep, and Cameron Diaz. Topics also include folk literature's Cinderella tale, men as the inspiration for makeovers in teen flicks films like Clueless, She's All That, and Me, Natalie, and class repositioning in such movies as Working Girl, Pretty Woman, and Grease. Photographs are presented in a before/after format, showing the change in the madeover character.

Special 3-in-1 Edition of Bestselling Series In the 1890s, three women with secrets hope to find a home for their hearts. With her future uncertain, Marty leaves her Texas ranch to marry a man she's never met. While Texas seemed like the answer to Alice's prayers, her peace may be shattered at any moment. And Jessica's plans take a sharp turn when she finds that her Texas fortune can't protect her from a broken heart. Lone Star Brides combines three of Tracie Peterson's well-loved novels in one heart-stirring package.

Alice Chesterfield is a woman pursued. Having survived an attack that left her scarred and her father dead, she is never free from the fear and memories of the man who is responsible. Texas seems to be an answer to Alice's prayers, and when she has the opportunity to relocate to a ranch near Dallas, Robert Barnett captures her attention. Unlike any man Alice has ever known, Robert doesn't worry about the obstacles that stand in their way--and he hardly seems to notice the scar she bears. But there are storm clouds gathering; devastating information about her family comes to light, threatening Alice's peaceful sanctuary. Disillusioned, Alice must learn to place her trust in God as she seeks a measure of peace for her future...and for her heart.

The Art of the Text contributes to the fast-developing dialogue between textual studies and visual culture studies. It focuses on the processes through which writers think and readers respond visually and, in essays by researchers in literature, screen and visual studies, the volume explores the visuality of the literary and non-literary text, with a sustained focus on French material of the later nineteenth and twentieth centuries. Visuality is appraised here not as a state, but as a set of processes of adaptation, resistance, negotiation, and transformation. By reading visually, the contributors here reactivate the visual-textual relations of canonical texts – from Romanticism to Naturalism, Surrealism to high Modernism; from film to fan literature, television to picture language.

Another chance to enjoy this bestselling novel from Sandra Marton! Wed for the tycoon’s baby! Renowned bachelor Damian wasn’t looking for commitment, and Laurel didn’t date arrogant men, but when they collide as guests at the Wedding of the Year, their mutual red-hot attraction is undeniable. Yet they are left with more than just sensual memories of their night together and, when Damian discovers Laurel is carrying his child, he demands she marry him! Laurel might have said “I do” for the sake of her baby, but it will take more than their potent passion to make this convenient marriage real… Book one in The Wedding of the Year trilogy Originally published in 1997 as The Bride Said Never!