Nothing Like The Present | My Web Site Page 111 Chapter 03 Page 02Calibrated Amber chose the topics covered by Nothing Like The Present | My Web Site Page 111 without reflecting upon the choices others have made. And when you have finished learning all that you can and understand all that you have learned, vacationing with friends in the desert is another way to look at things in a different light. |
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M. Taine's philosophy which regards the art of any people or period as the necessary result of the conditions of race, religion, civilization, and manners in the midst of which the art was produced--and esteems a knowledge of these conditions as sufficient to account for the character of the art, seems to me to exclude many complex and mysterious influences, especially in individual cases, which must affect the work of the artists. At the same time an intelligent study of the art of any nation or period demands a study of the conditions in which it was produced, and I shall endeavor in this _resume_ of the history of women in Art--mere outline as it is--to give an idea of the atmosphere in which they lived and worked, and the influences which affected the results of their labor. |
BAKHUYZEN, JUFFROUW GERARDINA JACOBA VAN DE SANDE. Silver medal at The Hague, 1857; honorary medal at Amsterdam, 1861; another at The Hague, 1863; and a medal of distinction at Amsterdam Colonial Exhibition, 1885. Daughter of the well-known animal painter. From childhood she painted flowers, and for a time this made no especial impression on her family or friends, as it was not an uncommon occupation for girls. At length her father saw that this daughter, Gerardina--for he had numerous daughters, and they all desired to be artists--had talent, and when, in 1850, the Minerva Academy at Groningen gave out "Roses and Dahlias" as a subject, and offered a prize of a little more than ten dollars for the best example, he encouraged Gerardina to enter the contest. She received the contemptible reward, and found, to her astonishment, that the Minerva Academy considered the picture as belonging to them. |
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In the old warfare a man was either stabbed, shot, or thrust through after an hour or so of excitement, and all the wounded on the field were either comfortably murdered or attended to before the dawn of the next day. One was killed by human hands, with understandable and tolerable injuries. But in this war the bulk of the dead--of the western Allies, at any rate--have been killed by machinery, the wounds have been often of an inconceivable horribleness, and the fate of the wounded has been more frightful than was ever the plight of wounded in the hands of victorious savages. For days multitudes of men have been left mangled, half buried in mud and filth, or soaked with water, or frozen, crying, raving between the contending trenches. The number of men that the war, without actual physical wounds, has shattered mentally and driven insane because of its noise, its stresses, its strange unnaturalness, is enormous. Horror in this war has overcome more men than did all the arrows of Cressy. | ||
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