Giovanni Boldini was known as the "Master of Swish" because of his flowing style of painting. His paintings and drawings showed his subject in soft-focus; elongated; in movement; alive; and sophisticated. He painted mostly portraits and also landscapes in the naturalistic style of his day; and worked on engravings; with pastels; watercolors and etchings. He became the most fashionable portrait painter in Paris in the late 19-th century; with a dashing style of painting which shows some Impressionist influence but which most closely resembles the work of his contemporaries John Singer Sargent and Paul Helleu. Only toward the end of his long life; did his style change; using mainly dark; rich colors.
#3729735 in eBooks 2016-02-21 2016-02-21File Name: B01C2DQZZG
Review
0 of 2 people found the following review helpful. Brilliant! Exciting and thought-provoking! Seminal and novelBy BleepThe tip of the iceberg. An exciting analysis and synthesis of musical styles and development; hopefully this work will become the progeny of many future works as it is rich in ideas.This work adds additional ways of seeing music that are not clearly apparent with standard notation.I was surprised that so many of the composers artists and works were ones that I had noted to be significant in there avant-garde expansion of musical boundaries.A joke punchline is achieved by misdirecting the audience to believe that the joke is taking them in one direction when it is actually taking them where they did not expect.likewise; many of the clusters of tones in jazz; Tristan; Shostakovich; Debussy; Chopin and others; create ambiguity about the intended direction and resolution and these clusters may contain many possible future paths; thus making anticipation difficult and surprise likely.8 of 8 people found the following review helpful. limited practicality for composition or even analysisBy AnonymousAn interesting academic read with little practical utility imo. While technically very accurate; tediously mapping voice leading onto multidimensional graphs isnt overly superior than just looking at the notation or other easier methods. And while geometry validates rules of thumb that are already common practice (no pun intended); those rules of thumb are still a lot easier than the analysis methods presented in this book. A lot of "lecturing birds on flying" im afraid. So yes as an academic work; pretty good. But for the "ideal composer" as the book was intended...meh. Theory with little practical application.5 of 14 people found the following review helpful. This book is brilliant.By Hastie StudioFor those of us that did not go to music college and who are self taught and study music daily; this book is an invaluable resource.It explains music theory in a unique way that I have yet to see from any other source (if there is another book out there that offers such an approach; I would like to know about it). Music is in many respects a mathematical language and basing the study of it around including its geometrical forces is a great way of finding a new understanding.Maybe many of his ideas arent (completely) new as some reviewers have asserted; but they are presented in a way that is accessible and understandable to those of us without a higher education (I would also think that many with music degrees would ALSO benefit from this book as well though).Having said that; the novice -should- study a traditional harmony book- such as Pistons Harmony -before- reading this book. Had I not done that; much of the terminology; ideas and principles would not have made sense to me.This book has made me want to re-tackle my old Piston Harmony book and others yet this time; with a fresh insight and a new perspective. I will be studying this book alongside the old standard curriculum such as Pistons for a very long time to come. It has already helped my learning and my teaching as well (I teach beginner and intermediate piano students).I have read some of the egg-headed reviews that cast aspersions on this book and I completely disagree with them; so much so that I chose to write this review; something that I do not normally do.My response to them would be that if you are that learned; that smart; that all-knowing; then why are you even bothering to read this book or any other book for that matter?Great book; get it; study it and it will give you a fresh view on many old ideas perhaps some that you have been already been studying for many years prior.I would like to add that this book is most helpful with regards to the study of harmony and chords in classical music though it is ALSO very insightful for the study of 20th century music and jazz as well. The last couple of chapters are about these more contemporary genres and it has sparked my interest in music that I dont generally care for or seek out.I would love to sit in on the Professors classes one day; though I live in Louisville; and I doubt that will ever happen! But; who knows; at least I have this book!
