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derde schets voor het schilderij van caroline mathilde en frederik peder alsDer derde schets voor het schilderij van Caroline Mathilde en Frederik: een blik op de koninklijke intimiteit. Deze boeiende kunstdruk, "Der derde schets voor het schilderij van Caroline Mathilde en Frederik", beeldt een scne uit vol tederheid en majesteit uit. De zachte kleuren, varirend van pasteltinten tot diepere nuances, creren een warme en uitnodigende sfeer. De techniek van de kunstenaar, die vaardig tekenen en schilderen combineert, laat toe
Der derde schets voor het schilderij van Caroline Mathilde en Frederik: een blik op de koninklijke intimiteit. Deze boeiende kunstdruk, "Der derde schets voor het schilderij van Caroline Mathilde en Frederik", beeldt een scène uit vol tederheid en majesteit uit. De zachte kleuren, variërend van pasteltinten tot diepere nuances, creëren een warme en uitnodigende sfeer. De techniek van de kunstenaar, die vaardig tekenen en schilderen combineert, laat toe de emoties van de personages te voelen. De subtiele belichting benadrukt de delicate trekken van Caroline Mathilde en Frederik, waardoor deze schets bijna levendig lijkt. Elke penseelstreek lijkt een verhaal te vertellen en nodigt de kijker uit om onder te dompelen in het intieme universum van de royalty. Derde schets voor het schilderij van Caroline Mathilde en Frederik: een reflectie van de neoclassicistische kunst. De kunstenaar achter deze kunstdruk, Der derde schets voor het schilderij van Caroline Mathilde en Frederik, opereert binnen de neoclassicistische stroming, een periode gekenmerkt door een terugkeer naar de esthetische waarden van de Oudheid. Geïnspireerd door de grote meesters van zijn tijd, streeft hij ernaar schoonheid en waarheid te verenigen, terwijl hij thema's uit de geschiedenis en mythologie benadrukt. Zijn carrière, hoewel minder bekend, past in een context waarin kunst dient om de monarchie en civiele waarden te verheerlijken. Via zijn schetsen getuigt hij van een tijd waarin kunst werd gebruikt om iconische figuren te vereeuwigen en tegelijkertijd de essentie van menselijke relaties vast te leggen. Een decoratief stuk met vele voordelen. Kiezen voor een kunstdruk van "Der derde schets voor het schilderij van Caroline Mathilde en Frederik" is een slimme keuze om je interieur te verrijken. Of het nu in een elegante woonkamer, een inspirerend kantoor of een rustgevende slaapkamer is, dit doek brengt een vleugje verfijning en geschiedenis. De kwaliteit van de kunstdruk garandeert een nauwkeurigheid van de originele details, zodat je van het kunstwerk in al zijn pracht kunt genieten. De esthetische aantrekkingskracht van dit werk zal ongetwijfeld de bewondering van je gasten wekken, terwijl het een culturele dimensie toevoegt aan je decoratie.Shipping Notes
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4.9 ★★★★★
Based on 8 reviews
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Product Reviews
★★★★★ 5
Not what I was expecting, but I liked it.
Format: Paperback
My first book by Emma Slate. Wonderful writing style, I wanna read some more MC books.
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Reviewed in the United States on September 8, 2024
★★★★★ 1
Poor read
Format: Paperback
Not worth the hype. Was poorly written and had to put it down and not finish it.
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Reviewed in the United States on May 20, 2025
★★★★★ 4
Great story
Format: Paperback
I’m not an avid reader, but this was finished in a few days. Such a good book!
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Reviewed in the United States on June 14, 2025
★★★★★ 3
Won’t be buying book two.
Format: Paperback
Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Reviewed in the United States on July 8, 2025
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY
By Lisa Cron
Reviewed by C J Singh (Berkeley, California)
Excellent Primer on Novel-Writing
In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/
Here's my review of Lisa Cron's "Wired For Story"
"WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft.
Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow.
"Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information.
Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23).
.
"Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own.
Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65)
.
"Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious.
"Story Secret: There's no writing; there's only rewriting" (p 219).
Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow.
"Myth: Write What You Know.
"Reality: Write What You Know EMOTIONALLY" (p 62).
.
"Myth: Sensory Details Bring a Story to Life."
"Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118).
.
"Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying.
"Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152).
Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene.
At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti."
An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 )
WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020
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