12,225 research outputs found
Barbara Read, film actress
No full textBarbara Read, film actress. From the back: "Barbara Read, who steps from teh frivolities of the triple leading role of Universal's 'Three Smart Girls' to the dramatic feminine lead of the same company's 'The Road Back,' sequel to 'All Quiet on the Western Front.'"To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Barbara Ehrenreich: Blood Rites: A New Evolutionary Perspective on Violence
No full textBarbara Ehrenreich, author, social critic and political essayist, discusses the emotional and social aspects of warfare and violence.
Barbara Ehrenreich is an American author and political activist who describes herself as a myth buster by trade” and has been called a veteran muckraker by The New Yorker.During the 1980s and early 1990s she was a prominent figure in the Democratic Socialists of America. She is a widely read and award-winning columnist and essayist, and author of 21 books. Ehrenreich is perhaps best known for her 2001 book Nickel and Dimed: On (Not) Getting By in America
Barbara Read, film actress
No full textBarbara Read, film actress. From the back: "'America's Daughter' Active - Barbara Read, one of the 'Three Smart Girls,' picked by Vina Delmar, the famous novelist, as 'America's Daughter,' is shown in a read life athletic role. She has been selected to play the part of a daughter in the Beulah bondi-Victor Moore picture, 'The Years Are So Long,' because of her 'typical' qualities. Miss Delmar wrote the pictures' screen play, a comedy drama of American life, produced and directed by Leo McCarey, director of Charles Laughton in 'Ruggles of Red Gap.'"To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Barbara James
No full textDate:1943Barbara was born in Holdredge, Nebraska in the United States of America in 1943. In 1960 she arrived in Darwin working in a variety of occupations such as a journalist, historian, author, activist, advocate and editor. Barbara wrote 13 books including "No Man's Land" which explored the contributions of women in the Northern Territory. She also received a number of awards including 2001 NT Heritage Award, the 2000 NT Literary Essay Awards and the Chief Minister's Women's Achievement Award in 1999.JournalistHistorianAuthorActivistEditorAmerica
Patrick Heron. Interviewed by John Read
No full textCaption: "This interview took place in Patrick Heron’s studio in St. Ives, Cornwall, in September 1984. The main subject was the work of Ben Nicholson and parts are included in the Arts Council Film ‘Ben’, directed by John Read on the life of Ben Nicholson." Patrick Heron talks about his connection with St. Ives to which his family first moved in 1925; gives some of his family background; about some drawings from the early period, one similar to those painted later by Alfred Wallis who first came to St. Ives in 1928. About Ben Nicholson first meeting Wallis, the influence of Wallis’s work on him; descriptions of Wallis’s use of colour, typical of the British avant-garde movement. Heron talks about "education" for painting, best done by painters looking at other people’s paintings. Influences on Nicholson: his father, Winifred Nicholson, Barbara Hepworth. The arbitrary distinctions between figurative and non-figurative painting. Heron on Nicholson’s "white reliefs", intended to eliminate figuration; "with time, certain associations accrue to these images"; images are "read back into reality"; facts are relative in their significance and mean different things at different times. The influence on the design world of Nicholson’s organisation of pure circles with pure rectangles. Heron on Nicholson’s "line", comparing him favourably with Mondrian. Nicholson’s landscapes from Yorkshire and West Cornwall, both places from Heron’s past. On Nicholson’s need for privacy. Heron on Nicholson after he left St. Ives; his work in the 1940s; the influence of Georges Braque. On Nicholson’s still life work; how Cornwall, uniquely among British landscapes, has had an influence on the twentieth century British avant-garde; influence of Picasso and Braque. Nicholson’s "English-ness"; his delicacy (sometimes overdone), his speed. Elements of Cubism and Constructivism. "The greatest English painter since Turner." On Turner and Constable. Heron denies any mystical side to Nicholson. On symbols as opposed to images. On Mark Rothko talking about "grace". Nicholson being very down to earth if sometimes over-complex. On "draftsmanship"; execution and conception go together. He says that Nicholson thought that the meaning of a thing springs from its physical reality. Heron on Nicholson’s studio: neat and tidy, and rather "domesticated". He says he unconsciously organises objects in his own studio on a rectilinear grid. Heron can’t identify only a single paramount quality in Nicholson’s work. Talks about seeing a seven-foot late Picasso alongside a similarly-dimensioned Nicholson he hadn’t seen before, which he thought "slightly overwhelmed the Picasso". On Nicholson’s Swiss period, returning to reliefs and mixing different periods. He believes that the two last exhibitions were full of new and "fantastically inventive" work, breaking new ground. Heron on his comparison between Nicholson and Joan Miró. Talks about Nicholson being very depressed because of the way he was more or less ignored by the Press, and couldn’t sell his work; that he only started to sell in Switzerland. On Nicholson’s "official recognition" through an award of the Order of Merit. Heron on Nicholson’s "immensely strong" work ethic. Support for Nicholson and other artists through the writings of Herbert Read. Credits
Barbara Ras - Sowell Conference 2017
No full textBarbara Ras, San Antonio, Poet, author of "Bite Every Sorrow" and "The Last Skin
Campus Read 2006 flier (Nickel and Dimed)
No full textCampus Read involves students, faculty, and staff to read the same book. Nickel and Dimed: On (not) Getting by in America by Barbara Ehrenreich, is an undercover account of the indignities of being a low-wage worker in the United States, is considered a classic in social justice literature
Exclusive interview with author Barbara Kingsolver
No full textExclusive interview with author Barbara Kingsolver for her 2018 novel *Unsheltered
Dataset for publication: Post‐war architecture and urban planning as means of reinventing Opole’s past and identity
No full textThe collection includes files related to the publication: Barbara Szczepańska, Post‐War Architecture and Urban Planning as Means of Reinventing Opole’s Past and Identity, „Urban Planning”, Vol 8, No 1 (2023): Bombed Cities: Legacies of Post-War Planning on the Contemporary Urban and Social Fabric, pp. 266-278, https://doi.org/10.17645/up.v8i1.6079. The collection includes figures used in the publication:Opole_plan A plan of Opole, with areas of Ostrówek (left), Market Square (center) and Central Square (right) highlighted in red. Originally published in: "Guidebook to the city of Opole" ("Przewodnik po mieście Opolu", Opole: Księgarnia Opolska, 1948, https://polona.pl/preview/2f383a4a-5e9e-444d-9e94-366b8ac8610d). Author: Z. Streer. Licence: CC0Opole_Monument to the Opole Silesian Fighters for Freedom A photograph depicting Monument to the Opole Silesian Fighters for Freedom (Pomnik Bojownikom o Wolność Śląska Opolskiego) in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_monument of Kazimierz I Opolczyk A photograph depicting the monument of Kazimierz I Opolczyk in the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage A photograph depicting eastern frontage of the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage_before 1945 A photograph depicting eastern frontage of the Market Square in Opole before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Market_Square_in_Opole,_eastern_frontage.jpg. Author: unknown. Licence: CC0Opole_monument of Frederick the Great A photograph depicting monument of Frederick the Great in Opole, before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Opole_Oppeln_Denkmal_Friedrich_der_Große.jpg. Author: unknown. Licence: CC0</ul
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