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zitrus medica lyman deborah griscom passmoreCitrus medica Lyman : eine Ode an die strahlende Natur In dieser kunstdruckversion von Citrus medica Lyman entfhrt uns die Knstlerin Deborah Griscom Passmore in eine lebendige Welt, in der die leuchtenden Farben der Zitrusfrchte mit bemerkenswerter Feinfhligkeit verschmelzen. Die sorgfltig komponierte Darstellung hebt Nuancen von Gelb und Grn hervor, die Frische und Vitalitt der Natur widerspiegeln. Die meisterhaft angewandte Aquarelltechnik verleiht
Citrus medica Lyman : eine Ode an die strahlende Natur In dieser kunstdruckversion von Citrus medica Lyman entführt uns die Künstlerin Deborah Griscom Passmore in eine lebendige Welt, in der die leuchtenden Farben der Zitrusfrüchte mit bemerkenswerter Feinfühligkeit verschmelzen. Die sorgfältig komponierte Darstellung hebt Nuancen von Gelb und Grün hervor, die Frische und Vitalität der Natur widerspiegeln. Die meisterhaft angewandte Aquarelltechnik verleiht dem Werk eine luftige Leichtigkeit, die fast vergänglich wirkt. Jedes Detail, von den zart gezeichneten Blättern bis zu den saftigen Früchten, lädt den Betrachter zu einer aufmerksamen Betrachtung und einer Feier der natürlichen Schönheit ein. Deborah Griscom Passmore : eine Pionierin der naturalistischen Bewegung Deborah Griscom Passmore, aktiv gegen Ende des 19. Jahrhunderts und zu Beginn des 20. Jahrhunderts, ist eine ikonische Figur der naturalistischen Bewegung. Beeinflusst von den künstlerischen Strömungen ihrer Zeit, konnte sie die Schönheit von Pflanzen und Blumen mit wissenschaftlicher Präzision einfangen und gleichzeitig eine künstlerische Sensibilität einfließen lassen. Ihre Leidenschaft für die Botanik und ihr Engagement für eine treue Darstellung der Natur brachten sie an die Spitze der Kunstszene. Passmore war auch eine der ersten Frauen, die sich in einem von Männern dominierten Bereich einen Namen machten, und hinterließ ein Erbe, das zeitgenössische Künstler weiterhin inspiriert. Eine dekorative anschaffung mit vielfältigen vorteilen Die Entscheidung für den kunstdruck von Citrus medica Lyman bedeutet, eine Leinwand zu wählen, die jedem Raum eine Frische- und Farbnote verleiht. Ob im Wohnzimmer, im Büro oder im Schlafzimmer, dieses Werk fügt sich harmonisch in verschiedene Einrichtungsstile ein, vom klassischen bis zum modernen. Die Druckqualität garantiert eine Treue zu den Originaldetails, sodass Sie die ästhetische Anziehungskraft des Werks voll genießen können. Mit diesem Bild in Ihrer Sammlung treffen Sie nicht nur eine dekorative Wahl, sondern laden auch einen Teil der Natur in Ihren Alltag ein.Shipping Notes
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4.4 ★★★★★
Based on 23 reviews
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Product Reviews
★★★★★ 5
Anne Carson is a Genius
Format: Hardcover
There is no one writing right now -- in essays, novels, poems or short stories -- who is as consistently brilliant as Anne Carson. Her last book, AUTOBIOGRAPHY OF RED contained some of the finest, most exquisite writing I've ever read; and this next collection is a masterpiece. There is a long essay in the book titled IRONY IS NOT ENOUGH: My Life As Catherine Deneuve that is at once moving, sexy and intelligent. There are also a sequence of poems about Hoppers paintings, paired with St. Augustine's Confessions that show perfectly how Carson dances on the fault lines of the modern and the ancient. This woman will win a Nobel Prize.
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Reviewed in the United States on May 10, 2000
★★★★★ 3
Interesting juxtapositions - some successes, some failures
Format: Paperback
As is to be expected from Anne Carson, the breadth of her knowledge results in thought-provoking writing even when it fails as "poetry". An example Hopper:Confessions begins with a quotation from Edward Hopper, followed with 9 separately title poems accompanied by quotations from Augustine's Confessions, and ending with a piece by Hopper.
Her essay on female pollution in antiquity is excellent scholarship made enjoyable reading for the "common reading".
Several pieces, or portions of pieces, consider Lazarus raising interesting issues from the perspective of Lazarus ... what is his reaction at being called forth (rotting?) from the grave?
While many of the pieces, especially the very short pieces, are not impressive, the book is worth your time - for the reflections it provokes in the reader.
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Reviewed in the United States on July 28, 2001
★★★★★ 1
very droll
Format: Paperback
I understand the attraction to Anne Carson. I like experimental poetry, too. I like scholarship. But this book is pointless. The poems are so terrible that by the time I got to the essay at the end about hot & cold symbolism for the writers of antiquity I was so upset with the book that I just couldn't care about anything in it. These poems don't sound good. If nothing else, there should at least be the sound. & in any other respects, the experiments are to no end in themselves. I recommend forgetting this book & going for such progressive, ambitious younger poets as Karen Volkman & Brenda Shaughnessy.
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Reviewed in the United States on May 1, 2003
★★★★★ 2
seems like an unspecified struggle with herself
Format: Hardcover
I don't know. It'ts a struggle for her to come up with the next line. Doesn't feel especially creative, inspired, or notably intelligent. I read other disappointed reviews people had written about this book, & bought it anyway. I tend to have avant-garde sensibilities, so I thought I'd enjoy it for its avant-garde qualities. I really tried to appreiate the experimentality of it, but I couldn't, because I realised I was readin it more for the sake of reading, & because I enjoy reading,than because this book is any good. I know a lot of unskilled teenagers who write dada-influenced poetry that's much more interesting than this uninspired book; I don't see what makes Anne Carson so special. 1 star because it's not a good book. 1 more star, bringing the total to 2, because I feel bad just giving it 1 star. At least she wrote something...
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Reviewed in the United States on June 30, 2001
★★★★★ 1
A Slip-Up
Format: Paperback
I don't know what happened here but Carson's last two books have really gone down hill. Men in the Off Hours, her first book since Autobiography of Red, is a mess. I don't know how else to describe it. It's not that I'd expect an easy read after her last book--just a consistent one. There are poems in here that first appeared in prose elsewhere and now are in lines! This suggests a lack of understanding of the line and its history and uses on the part of the writer, which shocks me since Plainwater and Autobiography of Red I truly liked.
I would not suggest this book if you like Anne Carson. It will disappoint you!
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Reviewed in the United States on June 5, 2001
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