SKU: 13191947896

bekijken zonsondergang over rygoku brug van de ommaya dijk edo ommayagashi yori rygoku bashi no sekiy wo miru ca 1829 1833 katsushika hokusai

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bekijken zonsondergang over rygoku brug van de ommaya dijk edo ommayagashi yori rygoku bashi no sekiy wo miru ca 1829 1833 katsushika hokusaiGun uzelf een venster op de ziel van Japan met de kunstdruk van het schilderij Zonsondergang op de Rygoku brug gezien vanaf de oever van Ommaya door Katsushika Hokusai. Dit werk, gemaakt tussen 1829 en 1833, belichaamt de essentie van de Japanse kunst en vangt de vergankelijke schoonheid van een zonsondergang op de beroemde Rygoku brug. Hokusai, de onbetwiste meester van de Japanse prentkunst, toont hier een scne waarin elk detail zorgvuldig is

Gun uzelf een venster op de ziel van Japan met de kunstdruk van het schilderij Zonsondergang op de Ryōgoku-brug gezien vanaf de oever van Ommaya door Katsushika Hokusai. Dit werk, gemaakt tussen 1829 en 1833, belichaamt de essentie van de Japanse kunst en vangt de vergankelijke schoonheid van een zonsondergang op de beroemde Ryōgoku-brug. Hokusai, de onbetwiste meester van de Japanse prentkunst, toont hier een scène waarin elk detail zorgvuldig is uitgewerkt om de sereniteit en pracht van een landschap aan het einde van de dag op te roepen.

In de artistieke context van die tijd onderscheidt Hokusai zich door zijn vermogen om de natuur te verheffen via gedurfde composities en levendige kleuren. Dit schilderij is een getuigenis van zijn genialiteit en illustreert de harmonie tussen mens en natuur, een terugkerend thema in zijn werken. De zonsondergang, met zijn warme tinten en delicate schaduwen, nodigt de toeschouwer uit tot meditatie over de schoonheid van de wereld om ons heen.

Het aanschaffen van deze kunstdruk verrijkt niet alleen uw leefruimte, maar biedt ook een uniek gespreksstuk. Of het nu in uw woonkamer of kantoor is, dit werk zal uw gasten boeien en inspireren, terwijl het uw smaak voor verfijnde kunst bevestigt. Naast dit stuk kunt u alle werken van Katsushika Hokusai verkennen om andere meesterwerken te ontdekken zoals De grote golf van Kanagawa of de Kunstdruk van de baai van Tago bij Ejiri op de Tokaido-weg. Mis ook niet de Watervallen van Kirifuri bij Mt. Kurokami, een andere meesterlijke illustratie van de natuur door deze grote kunstenaar. Het bezitten van een werk van Hokusai, zelfs als kunstdruk, is het vieren van een tijdloos en waardevol artistiek erfgoed.

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SKU: 13191947896

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4.5 ★★★★★
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David R. Papke
Dallas, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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DoubtfulReader
West Palm Beach, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Los Angeles, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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J. Christian
Natrona Heights, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
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Classics professor
Bozeman, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017

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