Get Free Ebook People Knitting: A Century of Photographs, by Barbara Levine

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People Knitting: A Century of Photographs, by Barbara Levine

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Amazon.com Review

“Wonderful…. A fascinating look at people knitting from the 1860s through to the 1960s. There are photographs of people knitting while sitting, walking, driving, in a hair salon, and as a hobby, an occupation or a duty. All of them are compelling. Regardless if you're a knitter or not, Barbara Levine's photographs are a charming ode to this long and timeless tradition." —Atlas Obscura

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About the Author

Barbara Levine is a collector, artist and curator specializing in vernacular photography and unusual collections. She runs Project B, an archive and collaborative curatorial venture and is the author of Camera Era, Finding Frida Kahlo, Around The World: The Grand Tour in Photo Albums and Snapshot Chronicles: Inventing the American Photo Album. Her website is www.projectB.com.

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Product details

Hardcover: 144 pages

Publisher: Princeton Architectural Press (October 4, 2016)

Language: English

ISBN-10: 1616893923

ISBN-13: 978-1616893927

Product Dimensions:

5.2 x 0.6 x 7.9 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

44 customer reviews

Amazon Best Sellers Rank:

#38,312 in Books (See Top 100 in Books)

This is a cute book. There are two things that caused me to give it three stars: 1) its size. When I think of a book made up of photographs, I tend to think of a large, glossy, sits-on-your-coffee-table sized book. 5" x 8" matte was a surprise. Yes, I should have paid more attention to the description, but a small book didn't cross my mind. 2) The location of the captions/information about the photographs. I understand not wanting to place type over a photograph that fills the page. However, 81 photos out of the 100 contained in the book had white/blank space either around the photograph or on the opposite page that could have contained the simple description that is given at the back of the book. Instead, one looks at the photo and then must flip to the index if they wish to know anything further such as time period or location of the photo (if available).

i bought this as a gift for the woman who taught me to knit. she really enjoyed it. its a really cool look at knitting throughout history with pictures you really dont think of when you hear "knitting" --- the only thing we didnt really love is that all the discriptions are referenced in the back. i get the point to not take away from the aesthetic of the photo. but its a bit of a pain to have to flip through to the back to read about any of the photos. -- also, even though the size is listed. i failed to really pay much attention to that it the book is smaller than what i imagined. which is fine, just so if anyone is thinking the way i was, let it be know that it is not a very large book :)

This is, as has been said, a charming book. It shows knitting in social contexts over time, and I enjoyed looking at it that way. It is, however, a small book - less than 5.5" by 8", so the images are not large. Some are full page, others are snap shots that are a fair bit smaller than a full page. The photos are not, in general, particularly clear. If your interest is in details about the actual knitting, you may be disappointed, but it's a nice collection.

Not sure why so many give this one four and five stars nor what I was hoping for (maybe more text to accompany the photos?) but this was a total waste of money and time. Definitely not anything I would look at more than once. There are more and better pictures on Pinterest - and all for free.

I love this book. It is as unadulterated as knitting itself. The photos speak volumes about this craft. I had quit knitting in favor of quilting and given my supplies to my daughter, but now I want to go right back out and buy more needles and wool and be part of history again!

I like the photos but I did expect a coffee table book. The size IS in the description though so mostly my own fault for not paying attention. 5.2 x 0.6 x 7.9 inches

This is a little book full of charming vintage photos of people knitting. Wish the captions ere on the same page as the pictures rather than in a list a the back. It's a bit inconvenient to have to keep flipping back and forth.

This book of photos is wonderful! I have looked through it several times. Seeing so many stars from the past made it most enjoyable!

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Download Ebook The Sexuality of Christ in Renaissance Art and in Modern Oblivion

Download Ebook The Sexuality of Christ in Renaissance Art and in Modern Oblivion

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About the Author

Leo Steinberg is Benjamin Franklin Professor Emeritus, University of Pennsylvania.

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Product details

Paperback: 426 pages

Publisher: University of Chicago Press; 2nd edition (January 1, 1997)

Language: English

ISBN-10: 0226771873

ISBN-13: 978-0226771878

Product Dimensions:

7.8 x 1.1 x 9.2 inches

Shipping Weight: 2.1 pounds (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

8 customer reviews

Amazon Best Sellers Rank:

#543,180 in Books (See Top 100 in Books)

Leo Steinberg was an art critic who was very well regarde in his field of branching the subjects of Christian art and sexuality. This seems a controversial point but brings to the fore, the topics of Christology, his human-ness and spirit and the nature of thought into depiction of body and soil. Leo Steinberg was truly a visionary and I am so very pleased to have his work to cherish and ponder.

this book remains timely for the student of theology or one who wishes to expand the mind beyond the mundane . The art is beautiful even if the premise is uncomfortable. FPB Ann Arbor

Beautiful book

Exactly as expected

As a visitor enters the nave of the Episcopal church I attend, his gaze is immediately drawn to the stark pentagonal brick wall behind the raised altar, and to the large cross on it with a life-size statue of a crucified Jesus, naked except for the loin cloth about his hips to satisfy the normal decency criteria of the Church. Although we do know that crucifixion victims were stripped of all their clothing, and that the Bible specifically describes the Roman soldiers gambling for Jesus' garments, good taste forbids us to show Jesus naked. Yet there was a time when this was not true.This book examines the Renaissance period (14th to 16th century) when artists presented Jesus either completely naked or covered by a simple loincloth that accentuated a rigidly erect member. Three hundred beautiful plates show this state of undress of both the baby Jesus and of the dying or resurrected Christ. What caused the artists to break the normal decency codes, asks the author, and he advances various theories to answer his own question. The first half of the book was written in 1983 and is divided into two parts: the main analysis and 39 excursuses (appendices to you and me) that amplify various points made. The second half was written thirteen years later and presents the author's newer thoughts plus a detailed refutation of the arguments put forth by his critics.The paintings examined in the book relate to three periods of Jesus' life: his infancy, his baptism, and his crucifixion. Those depicting his infancy show a progressive diminution of worn apparel with passing time: in the 12th century Jesus is shown covered completely by a long philosopher's tunic; in 13th century paintings he appears in short child's dresses; and in the next two centuries he is painted either completely nude, or wearing short, sometimes see-through shifts, that are pulled up by either the baby or his mother to reveal his genitals, while the actions of the surrounding figures direct the viewer's attention to them. Whether it is Mary's mother poking at them (in Hans Baldung Grien's "Holy Family" 1511) or a magus staring at them intently (in Monticello's "Adoration of the Magi," c. 1470), or even the baby himself holding or pointing to them, these treatments of a baby's, let alone baby Jesus' genitals seem to transcend good taste.Steinberg explains it as an effort by the painters to bring to the viewer's attention Jesus' full humanity, and to remind us that as a true Jew he shed his first blood for us during his circumcision. It is, "I, your Creator, have come to share your humanity"; or, "See how I have not delayed to pour out for you the price of my blood." The Magus's almost indecent examination is just an effort to certify the sex or the circumcision status of the child. St Anne's poking, in Grien's woodcut, is explained away as some type of the artist's preoccupation with fecundity and miracle-working spells.The manner in which the adult Jesus was painted relates to the beliefs regarding original sin held by the Eastern Orthodox and the Western Catholic Churches. The Orthodox Church believed that there was no sex in Paradise, and that there never would be. "God did not need marriage to fill the earth," preached St John Chrysostom. The Church maintained that Adam and Eve had been created sexless and it was only after they sinned that they were endowed with procreative organs. The author presents an 11th century Spanish drawing showing Adam acquiring a penis after he sinned. Since Jesus was not subject to the original sin, he resembled the original man having no genitalia. So this is how he was painted in Medieval times (12th and 13th centuries); during his baptism, or on the cross, he was shown naked and sexless. Since there were no sexual organs to give rise to feelings of shame these naked paintings of Jesus could be freely exhibited in and out of church.In later years, the Catholic Church in the West was influenced by St. Augustine's theory of original sin. According to him Adam and Eve were created with all their genitalia intact, but after they sinned God punished them by removing from them conscious control of these organs. Instead of performing the procreative act in a calm and emotionless manner, they were now subject to the vicissitude of their lustful emotions; Adam could no longer control the erection status of his member. (Charitably the author did not mention St. Augustine's sexual history: as a young man in Africa he took a concubine and produced a son; then he turned to his childhood boyfriend Alypius; and finally moved to Rome where, with five other friends, he took a vow of celibacy, upon which his concubine took his son and left.) The question then became, how did this affect Jesus since he was not subject to original sin?Michelangelo's response was "Risen Christ," a work more resembling pagan Greek and Roman works than Christian Church statues, a completely nude Christ holding onto a cross. It seems, however, that Michelangelo was not very interested in this work since he had one of his pupils finish it. Even so, at least seven copies of it were produced during this period, but in all of them Christ was suitably covered. So why did Michelangelo produce such a statue? Before they sinned Adam and Eve had walked naked in the Garden without feeling shame. It was only after they sinned that they became ashamed of their private parts and covered themselves. By this reasoning, since Jesus was without sin he did not need to feel ashamed and cover himself. Most other paintings of the period, however, do not show this much frontal nudity. Although Christ's naked body may be shown removed from the cross, one of his hands is usually placed strategically to prevent exposure. This can be explained, argues Steinberg, by the common belief that a dying man often tends to place his hand on his groin.Perhaps more shocking to the viewer are those paintings where the dead Christ's loincloth clearly shows a massive underlying erection. In the first part of the book, the author advanced various explanations for this practice: in pagan days the phallus was equated with power; in the Egyptian Osiris myth the erection and resurrection motifs were almost combined. But by the time he wrote the second half of his book the author had come up with his Theory of Penile Erection. Since, according to St. Augustine, after the Fall man lost his ability to control this member of his body, what better way for a painter to show that Jesus is unaffected by the original sin than to depict him in control of his erections. And to dissociate it from any sexual involvement, and thus sin, these erections occur either after his death or during his infancy.All in all this is a very interesting book that can be appreciated by even non-artistic types like me. It obviously contains much more that I have space to comment upon. The only thing that I failed to understand was another reviewer's description of breaking up with hilarity while reading it. Perhaps it is because I am neither an artist nor a trained theologian but, with the possible exception of Joos van Cleve's "Holy Family" where Joseph is portrayed reading a book with his spectacles on, I didn't see anything particularly funny in this book.(The writer is the author of "Christianity without Fairy Tales: When Science and Religion Merge.")

Steinberg's book is intriguing. He is much more knowledgable about Catholic theology and hagiography than most Catholics. The many samples of the art work referred to in his book give ample support to his thesis.Be sure to get the second edition which includes responses to the critiques of the first edition.This book is really amazing.

Several art historians of my acquaintance, experts in the period, say that this is the best art history book ever written. I'm not an expert, but I can say that it's terrific, and one of the few academic books that, at first reading, had me lying on my back on the floor with my feet in the air, laughing hysterically. Steinberg had the audacity to wonder, looking at a Renaissance painting, why is it that Jesus's male member is so, well, *prominent*? Instead of averting his eyes (which is what most of us would do) he started looking for other paintings with which to compare it, and lo and behold, he discovered lots of them where indeed the painter seems to be deliberately *accenting* a part of the anatomy which normally one would expect to be concealed. He concludes that the painters were trying to show that the son of God had become Incarnate as a man in the most literal sense. In that sense, what seems scandalous to us is simply a manifestation of Renaissance humanism.Beyond the screamingly funny prose lies a serious argument, about the Renaissance, and the way to do art history. Finally, Steinberg teaches the reader's eye how to look at a painting.

By no means a leisurely read.... I bought this for a class and it was a decent textbook. Nothing spectacular, but it was informative.

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Download PDF The Art of Perfume: Discovering and Collecting Perfume Bottles, by Christie Mayer Lefkowith

Download PDF The Art of Perfume: Discovering and Collecting Perfume Bottles, by Christie Mayer Lefkowith

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The Art of Perfume: Discovering and Collecting Perfume Bottles, by Christie Mayer Lefkowith

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From Library Journal

The hundreds of containers illustrated here, which are from the author's own collection, date from the beginning of the 20th century through the 1950s. In the art of perfumery, scent is not the only allure. As the author points out in this detailed history, serious attention is also given to the selection of a name (which carries its own cachet), the design of the label, the bottle, the stopper, ornaments that might be affixed to it, and the box in which it is packaged. Often, this multimedia art form represents the work of well-known artists, designers, and couturiers. Although this book does not give advice on how to collect perfume bottles-which some readers might consider a drawback-it does contain a directory of hundreds of designers (past and present) with their addresses, a brief history of each firm, and the names of some of their best-known products. This would be an attractive addition to most libraries.Margarete Gross, Chicago P.L.Copyright 1994 Reed Business Information, Inc.

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From Booklist

By the time someone documents and publishes the history and artistry of a particular collectible, chances are that prices will be in the decidedly nonaffordable range. Be that as it may, Lefkowith concentrates on the first 60 years of this century, chronicling the effects of fashion, architecture, and art on the development of perfume bottles. All of the creations echo well-known design influences, including art nouveau and art deco. Offering many black-and-white and color photographs, this is a fascinating education in the arts as seen through a glass lightly. Barbara Jacobs

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Product details

Hardcover: 208 pages

Publisher: Thames & Hudson; 1St Edition edition (October 1, 1994)

Language: English

ISBN-10: 0500236860

ISBN-13: 978-0500236864

Product Dimensions:

9.2 x 1 x 12.2 inches

Shipping Weight: 3 pounds

Average Customer Review:

5.0 out of 5 stars

2 customer reviews

Amazon Best Sellers Rank:

#656,709 in Books (See Top 100 in Books)

Good book

As an avid collector of advertisements and literature on perfume, this is the first book I always recommend to fellow collectors. In the past ten or twelve years, many books were published to cater to the exploding popularity of perfume bottles as a collectors item. Christie Lefkowith's book stands out because of its focus on the ART of perfume bottles (hence the title), rather than their monetary value. Bottles are viewed in the cultural context of their time, with photographs of by far THE best quality I have ever seen in perfume books. I agree with the previous reviewer, though: too bad the book ends with the fifties. There should be a sequel.

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Download PDF Reporting Inequality: Tools and Methods for Covering Race and Ethnicity

Download PDF Reporting Inequality: Tools and Methods for Covering Race and Ethnicity

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Reporting Inequality: Tools and Methods for Covering Race and Ethnicity

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About the Author

Sally Lehrman is an award-winning reporter on medicine and science policy with an emphasis on race, gender and social diversity. Her byline credits include Scientific American, Nature, Health, the Boston Globe, the New York Times, Salon.com and The DNA Files, three public radio series distributed by NPR. Honors include a Peabody Award, a duPont-Columbia Award, and the JSK Fellowship at Stanford University. She started and leads the Trust Project, a global network of newsrooms that is addressing the misinformation crisis through transparency. Venise Wagner is a professor of journalism at San Francisco State University, where she has taught since 2001. She has a 12-year career as a reporter for several California dailies, including the Orange County Register, the San Francisco Examiner and Chronicle. She has covered border issues, religion and ethics, schools and education, urban issues and issues in the San Francisco Bay Area's various black communities.

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Product details

Paperback: 314 pages

Publisher: Routledge; 1 edition (March 20, 2019)

Language: English

ISBN-10: 113884988X

ISBN-13: 978-1138849884

Product Dimensions:

6 x 9 inches

Shipping Weight: 15.5 ounces (View shipping rates and policies)

Average Customer Review:

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Amazon Best Sellers Rank:

#5,065,155 in Books (See Top 100 in Books)

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PDF Ebook The Insider's Guide to Grantmaking

PDF Ebook The Insider's Guide to Grantmaking

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Review

"Joel Orosz has given us a rare gift at a critical moment. His bookis a wise guide not only for the new program officer but also forthe experienced grantmaker." (Frances Hesselbein, chairman of theboard of governors, The Peter F. Drucker Foundation for NonprofitManagement) "A book on grantmaking with the name of Joel Orosz attached to ithas instant credibility in the foundation world. Joel is anenormously creative grantmaker, exemplified by his leadership ofone of the largest and most successful programs in the history ofthe Kellogg Foundation: the $63-million Michigan CommunityFoundations' Youth Project, which energized more than six thousandyoung people around the arts of fundraising and grantmaking. Everygrantmaker can learn from his example." (Dorothy S. Ridings,president and CEO, Council on Foundations) "Foundation program officers inhabit a mysterious world thatgrantseekers strain constantly to understand. Joel Orosz hasfinally given us a glimpse into a world that may not be as strangeand distant as we thought." (Robert K. Goodwin, president and CEO,Points of Light Foundation) "It is amazing that a book like this had not been written untilnow, for it has certainly been much needed. Grantmakers andgrantseekers will now have a valuable resource--written by aseasoned, effective grantmaker--that will make their work easierand may well contribute to the improvement of relations betweenthem." (Sara E. Melendez, president and CEO, INDEPENDENT SECTOR)

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From the Inside Flap

Unlike many formal professions, foundation grantmaking is a calling with no training programs and little definitive literature on the latest and best practices. Written for program officers and of considerable value to grantseekers, this volume is the first and only practical guide to making foundation grants and developing essential skills for effective and ethical grantmaking. Author Joel J. Orosz not only introduces readers to the history, structure, and function of foundations in society but also explores the complex role that program officers play in their day-to-day activities. He provides real-world advice on a myriad of tasks—from meeting with applicants and reviewing their proposals to assisting the funded project and managing foundation initiatives. He also asks critical questions about this growing and evolving profession, such as "What kind of person should become a grantmaker?" and "How does one avoid the seven temptations of philanthropy?" Throughout the book, Orosz informs his lively, thoughtful discussions with his own considerable experience in grantmaking. The Insider's Guide to Grantmaking allows readers to observe the world of foundations closely. It provides a useful overview for those new to the field, helps more experienced program officers to think more deeply about their work, and shares rich insights for the thousands of nonprofit leaders who pursue foundation grants.

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Product details

Hardcover: 288 pages

Publisher: Jossey-Bass; 1 edition (April 2000)

Language: English

ISBN-10: 0787952389

ISBN-13: 978-0787952389

Product Dimensions:

6.3 x 1 x 9.4 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

4.7 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#625,254 in Books (See Top 100 in Books)

I started working at a foundation 10 months ago. This book was very helpful in outlining the components of my job and handling difficult situations with grantees. It is thoughtful, comprehensive and right on target. It should have been handed out at my orientation!

I've been a grantmaker for approximately five years now. During the course of my on-the-job training, I've heard certain maxims over and over again until they've become ingrained in my mind and in my responses to applicants for grant funds -- now, after reading this book, I actually understand the philosophies behind them.Every grantseeker who bemoans the fact that foundations don't want to fund ongoing operating expenses should read this book simply for the explanation of the difference between charity and philanthropy and where foundations fit in.Likewise, the tips on meeting etiquette, attributes of a good grant proposal, and top four reasons proposals are denied will benefit professionals on both sides of the proposal.Had the opportunity to see the author speak -- if you get the same opportunity, don't pass it by.

This is a much needed look at life in foundation grant making. As a retired executive director of a corporate foundation,books such as The Corporate Contributions Handbook and Corporate Social Investing were extremely helpful to the corporate grant maker. This book is a well-thought out look at foundation reality. While it is not meant to help those seeking grants, it certainly gives the donor a window on the inside process. It will serve as a good reference for those who wish to enter this field and provides sage advice to those who have been there for some time. The historical research was a plus.

It's an art, it's a science, and it doesn't need to be a mystery -- since there's no academic training for a career in philanthropy (it's harder than you think!) Insider Orosz bridges the gap with this warm and rewarding User's Guide.Outsiders will read it for its clear-cut description of philanthropy worklife and practice; insiders will find themselves affirmed or inspired. Both will enjoy the author's mix of humor and scholarship. Sure to be a classic in its field.

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The Insider's Guide to Grantmaking PDF

The Insider's Guide to Grantmaking PDF

The Insider's Guide to Grantmaking PDF

The Insider's Guide to Grantmaking PDF

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