Showing results by author "Edward Smith" in All Categories

The Masters had ruled all space with an unconquerable iron fist. But the Masters were gone. And this new, young race from Terra who came now to take their place - could they hope to defeat the powerful ancient Enemy of All? FNH Audio presents an unabridged reading of this classic science fiction story of a war that spans a galaxy.

The bloody two-day battle of Shiloh changed the course of the American Civil War. The conflagration at Shiloh had its roots in the strong Union advance that resulted in the capture of Forts Henry and Donelson in Tennessee. The offensive collapsed General Albert S. Johnston's advanced line in Kentucky and forced him to withdraw to northern Mississippi. Anxious to attack the enemy, Johnston began concentrating Southern forces at Corinth, a major railroad center just below the Tennessee border.

Poetry is often cited as our greatest use of words. The English language has well over a million of them and poets down the ages seem, at times, to make use of every single one. But often they use them in simple ways to describe anything and everything from landscapes to all aspects of the human condition. Poems can evoke within us an individual response that takes us by surprise, that opens our ears and eyes to very personal feelings.

The new exhibition at the National Gallery in London ought to be yet another triumph for an institution that is now running a very ambitious exhibition program. Yet this event makes a curiously uneasy effect. There are several, not just one, reasons for this. The first is that Rubens, of all great artists the one who enjoyed the greatest degree of worldly success, had distinctly uneasy beginnings. Of sound Flemish bourgeois stock, he was born in 1577 at Siegen in Westphalia.

In this study, Art, Poetry, and WW1 by Edward Lucie-Smith of writing, poetry, and painting in the centenary year of the outbreak of the First World War, the author considers the historical impact on the general psyche of the calamitous events, reflected in the expression of poets and visual artists. He establishes a continuity to the theme with reference to works by Velázquez, Watteau, Goya, and others, in their treatment of the spectacle of battle and the horrors of war and human conflict.

The Titian Show at the National Gallery here in London has just opened to the public again. It was available for just three days before the big lockdown. Now, it is with us once more, though on rather different terms from what was the case previously. You have to book a time. You have to be wearing a mask. You have to maintain distance between yourself and other visitors booked in for the same slot. Is it worth the hassle? Yes, of course it is. Titian is one of the greatest figures in the history of Western art.

Prize-winning and best-selling historian Jean Edward Smith tells the dramatic story of the liberation of Paris during World War II - a triumph that was achieved through the remarkable efforts of Americans, French, and Germans, all racing to save the city from destruction.

It is a paradox of a sort that the only fully authentic Holbein painting of King Henry VIII of England should now reside in Madrid, in the Museo Thyssen-Bornemisza. It left Britain as late as 1933, sold by Earl Spencer, grandfather of Diana, Princess of Wales. Holbein is, after all, the author of what is perhaps the most iconic and formidable of all British royal images. Fittingly, the Thyssen-Bornemizsa portrait adorned the cover of the catalogue that accompanied the "Holbein in England" exhibition at Tate Britain in London.

Each of us is given a gift - the gift of life. At times, some may wish they could exchange their gift for a different version. Since that's not possible, we have to deal with what we are given. We have to learn how to play the game. Developing you is huge in understanding the gift of life. In her book, The Checkerboard Game of Life, author Vickie Edwards Smith tells Eva's story. Like most of us, she wants to get the most out of life. She's always thought of life as a game of checkers. Life makes its move and then it's her turn to make hers.

An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.

Ben Luke, resident art critic of the London Evening Standard, calls Ai Weiwei "probably the most famous artist in the world. He has transcended the world of museums and galleries, and exerts a newsworthiness that no other artist competes with." This statement, if one bothers to look through the kind of publicity that Ai now attracts - thanks to the digital revolution most of this is easily available with a few clicks on one’s computer - is self-evidently true.

An essay by Edward Lucie-Smith on David Hockney's portraits exhibited at the Royal Academy's "82 Portraits and One Still-Life", and also "David Hockney and the Yorkshire Landscape" at RA in 2012.

Lucio Fontana is rightly regarded as one of the most important Italian artists active in the 20 years after World War II, important not only in Italy, but in a pan-European sense. It is, however, also important to remember additionally that he was born in Argentina and spent quite important parts of his early career there, working first as an assistant to his father, Luigi, a sculptor, and then independently.

The first body art performer, as well as the first professional bodybuilder, was the showman Eugene Sandow (1867-1925). Though Sandow’s heyday occurred before the birth of the Modern Movement, there are compelling reasons for giving the primacy to him. Sandow, born Friedrich Wilhelm Müller in Prussia in 1867, left his native country in 1885 in order to avoid military service and first appeared on the London stage in 1885. His real celebrity began when the American impresario Florenz Ziegfield hired him to appear at the 1893 World’s Columbian Exhibition in Chicago.

The new exhibition at Tate Britain celebrates one of the best loved of all British artists, the landscape painter, John Constable. In his own lifetime, Constable was constantly struggling to catch up with his great rival, J. M. W. Turner, whose astonishing fluency he could never match. Turner has maintained his fame, but, among the British at least, Constable is now more intimately loved.

A good art collection is always much more than the sum of its parts. This applies with especial force to collections of contemporary work. A collection of this kind, whether the collector intends it to be so or not, is always a portrait - a reflection in the mirror of a particular epoch, and, willy-nilly, a self-portrait of the person who takes the trouble to bring it together.

As a working critic, I find the most difficult exhibitions to write about are those that combine an evidently important subject with a faintly dispiriting result. The new Edvard Munch show at Tate Modern is a case in point. Munch is undoubtedly a major Modernist artist, a Norwegian cultural icon who was the precursor and to some extent the inventor of what came to be known as Expressionism. One version of his composition, The Scream, very recently made a record price.

A study of Aubrey Beardsley's work exhibited at Tate Britain until May 25, 2020. The author considers the darkly vigorous imagery of the short lived genius, his graphic work for the notorious Yellow Book, and sublimely erotic illustrations for Lysistrata by Aristophane and Salome by Oscar Wilde, which frank imagery even shocked the author.

From the earliest times, human beings have found it difficult to represent their own bodies in a straightforward way. The rare painted images of humans in Paleolithic art are much less naturalistic than the images of animals created at the same epoch. At the dawn of art, representations of the nude body were simply vehicles for statement about the need for fertility if the human race was to survive successfully.

There is something about the number 3. The Ancient Greeks believed 3 was the perfect number, and in China 3 has always been a lucky number, and they know a thing or two. Whatever history and culture says WE think 3, a hat-trick of stories, is a great number to explore themes and literary avenues that classic authors were so adept at creating.