1,354,457 research outputs found
Inness Photo Service, 1986 and 1989
No full textView of Inness Photo Service, 160 Ocean Street, South Portland, with business owner Edwin Inness. Inness Photo provided commercial photo-finishing services (developing and printing), also retailing photo supplies and cameras. The business operated from 1934-1999, after which the shop relocated to Scarborough under different ownership until 2016.
Top image: Ed Inness, standing in front of the building at 160 Ocean Street, South Portland. Photo published in the Portland Press Herald, on 13 June 1986.
Bottom image: Ed Inness inside the store. His right hand is on a Speed Graphic 4x5 camera. Photo published in the Portland Press Herald, on 21 March 1989.https://digitalcommons.portlandlibrary.com/pphnegs_images_business/1603/thumbnail.jp
Book review: Privacy, Intimacy, and Isolation. By Julie C. Inness.
No full textBook review: Privacy, Intimacy, and Isolation. By Julie C. Inness. New York: Oxford University Press. 1992. Pp. ix,
157. Reviewed by: Daniel A. Farber.Farber, Daniel A.. (1993). Book review: Privacy, Intimacy, and Isolation. By Julie C. Inness.. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/166931
Mc Inness, M C, 28782
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/402422Surname: MC INNESS. Given Name(s) or Initials: M C. Military Service Number or Last Known Location: 28782. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-3907.222068
Item: [2016.0049.34715] "Mc Inness, M C, 28782
Twenty Third Psalm, Triptych, Painted by George Inness Jr., A
No full textA view of the painting The Twenty-Third Psalm, The Triptych by George Inness, Jr. at the Universalist Church in Tarpon Springs, Florida.https://digitalcommons.usf.edu/dunn_postcards/4585/thumbnail.jp
How Teaching At-Risk Students Affects Faculty Engagement
No full textThe purpose of this dissertation in practice study was to describe the engagement levels and challenges of faculty teaching at-risk students to better understand support strategies that may enhance the classroom experience for students and instructors. The aim of this study was to create a set of guidelines for community colleges to foster engagement among faculty who teach at-risk students. Institutions could use the guidelines in an effort to increase retention by supporting faculty teaching at-risk students to reach their graduation goal. Phenomenological qualitative research methodologies were used in this study, which included 17 interviews with faculty that teach at-risk college students. The participants also completed the Utrecht Work Engagement Scale, and scores ranged from 27 to 54. Six themes were identified: the term at-risk student needs to be expanded; teaching at-risk students is difficult; the lack of college preparedness of at-risk students is staggering; faculty expectations of at-risk students are based on their personal experiences in education; faculty need support; and empathy is critical for success in the classroom. The themes lead to four guidelines that can assist faculty in promoting increased student retention: faculty need support in a variety of ways, educator training opportunities should focus on teaching practices, and administrators should recognize faculty strengths and limitations in helping at-risk students. Open lines of communication are also needed to foster collaboration between faculty and support staff.|Keywords: At-risk students, engagement, faculty, community collegesProQuest Traditional Publishing Optio
On the Farm, Milton, New York; Oil on Canvas [160]
No full textFor more information about this work, contact [email protected] a label on the back of the painting: A rarely intimate picture painted by the artist on the estate of Mrs. Asia Hallock at Milton, N.Y., where writers, among them Harriet Beecher Stowe, and artists gathered during the summers of the 1880s. Illustrated in the printed catalog of the "Collection of the Artist's Daughter, Mrs. Jonathan Scott Hartley" issued by the American Art Association, Inc., by whom the collection was sold for her. Purchased by Albert M. Todd, 1927. This picture, painted by George Inness in 1882, shows the farmhouse of Mrs. Asia Hallock in the right middle distance behind a stone wall, with a clump of tall poplars and other trees. The meadowland extends away in the sunshine to the horizon. Mrs. Hallock in white blouse and cap may be seen not far from the stone wall, scattering grain for the chickens which are wandering about. Waving to her from a perambulator shaded by a red parasol and pushed by a nursemaid is a chubby baby, now Mrs. Jonathan Scott Hartley, the wife of the well-known sculptor.Signed at lower left, "G. Inness" and dated "1882."This is a professional digital photograph of the George Inness painting "On the Farm, Milton" (1882) taken by Keith Mumma, December 2003.This is a professional digital photograph of the George Inness painting "On the Farm, Milton" (1882) which is in the collection of Kalamazoo College. The painting is an oil on canvas, measuring 17 3/8" x 24.25" (unframed)
George Inness and Neal Deets Show Blood Sealing Machine
No full textGeorge Inness and Neal Deets shows blood sealing machine during a blood drive in Vernal
Twenty Third Psalm, Triptych, Painted by George Inness Jr., C
No full textA reproduction of the painting The Twenty Third Psalm, The Triptych, Painted by George Inness Jr. in 1922.https://digitalcommons.usf.edu/dunn_postcards/4788/thumbnail.jp
Twenty Third Psalm, Triptych, Painted by George Inness Jr., B
No full textA reproduction of the painting The Twenty Third Psalm, The Triptych, Painted by George Inness Jr. in 1922.https://digitalcommons.usf.edu/dunn_postcards/4787/thumbnail.jp
The development of spiritual unity in the paintings of George Inness
No full textIn an analysis of the oeuvre of the nineteenth-century American landscape painter, George Inness, one notices a sense of continuity among all the pictorial elements. Evident in his earliest works, this quality intensifies throughout his career, culminating in works in which the particularity of shapes and colors has been completely supplanted by amorphous, suggestive compositions. With an appreciation of the intense spiritual nature of the artist, one realizes this progression was the reflection of his own religious and philosophical maturation. The purpose of this paper is to demonstrate that this spiritual unity, manifest in the paintings of Inness, was the result of an intricate synthesis of various artistic and literary influences. A chronological analysis of these influences will provide insight into the complexity of Inness as artist and as individual
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