3,474 research outputs found
Self-Portrait
No full textA student at the Portland Art Museum School, Amanda Snyder was influenced by C.S. Price and Charles Heaney but developed a distinctive approach of her own that included abstract animal studies as well as totally nonrepresentational paintings. Her self-portrait, painted when she was about 54 and well-established as a major regional artist in her own right, is a frank self-assessment of her appearance and perhaps her state of mind in her middle age. It was exhibited in 1964 at the Portland Art Museum in the exhibition 'Amanda Snyder, Paintings and and Collages'.Gift of Eugene Snyde
His Dear Old Paint Cans
No full textAfter the death of C.S. Price in May 1950, his brother Maurice gave his easel, painting table, and paint cans to Price's friend Amanda Snyder. She painted at least two works depicting these tools of his creative life. Snyder's painting of Price's easel is in the collection of the Portland Art Museum. She gave her depiction of Price's paint cans to Maurice Price, who bequeathed it to his and C.S. Price's niece, Francis Price Cook. Painting in a manner of Price's style, Snyder renders the cans as sculptural forms, solemnly commemorative of the friend she always referred to as "Mr. Price".Gift of Frances Price Coo
The Farm (Three Houses)
No full textAmanda Snyder is well known for her paintings of birds, dolls, clowns, and still life, but her renderings of architectural structures are less frequently seen even though they comprise a significant category of her work. She said that beginning in the 1930s "I built my little city of cardboard houses. They were my models. That is what Price used to do. But I did it even before I knew Price." Whether or not she worked from models in this painting, the block-like shapes and close clustering of the houses suggest the possibility. Clayton Sumner Price, generally recognized as Oregon's first great modernist painter, settled in Portland in 1929, and Snyder met him that year. Price, Snyder, and their mutual friend Charles Heaney, who also painted from architectural models, became artistic soul mates beginning in the 1930s.Maribeth Collins Art Acquisition Fun
Enhancement and validation of the GAENE--Generalized Acceptance of EvolutioN Evaluation scale
No full textPresentation given by Georgia Southern faculty member Amanda L. Glaze with Scott Snyder, Mike U. Smith, and Robert Devereaux at National Association of Biology Teachers
Snyder paintings enhance Reed collection. By Jennifer Herstine '84
No full texthttps://rdc.reed.edu/v1/resources/243dceb0-b79f-49a0-baeb-5e1f47d17881/thumb/128.jpgArticle about the donation by Eugene Snyder '41 of two collages by his mother, Amanda Snyder, which join two paintings by her already owned by Reed
Censorship and claims making regarding problem framing in 5 published RCT's on social anxiety (as identified by the author and Amanda Reiman, PhD).
No full text<p>Censorship and claims making regarding problem framing in 5 published
RCT's on social anxiety (as identified by the author and Amanda
Reiman, PhD).</p
Unveiling Melodies in Shadows: An Analysis of Swedish Female Composer Amanda Maier’s Sonata for Violin and Piano in B Minor
No full textAmanda Maier (1853−1894), a pioneering Swedish violinist and composer of the late nineteenth century, holds a unique place in music history as the first-ever female music director in Sweden. Despite her significant achievements, her compositions have remained relatively unknown. Therefore, the document aims to illuminate Amanda Maier's violin works, focusing on investigating her violin sonata in terms of violin performance and pedagogy. Specifically, the study offers insights into the performance techniques employed and provides other pertinent pedagogical suggestions for each movement. The document features an introductory chapter and a review of the historical context of Maier's life and the violin sonata. Subsequent chapters shift the focus to performance practice and pedagogical suggestions with theoretical analysis. One distinctive feature of the study is the inclusion of practice exercises composed originally by the author, tailored specifically to the techniques found in the sonata. These exercises aid practitioners in incorporating Maier's violin sonata into their program. The study assists violinists in diversifying their performance and teaching literature. It seeks to inspire renewed appreciation for Amanda Maier's artistic legacy because it is important to recognize the remarkable contributions of women in the classical music industry, and Amanda Maier, an underrepresented composer, exemplifies this. The document not only contributes to music research but also enhances pedagogical practices, fostering a more inclusive and equitable environment for female composers in the classical music world
The Pretty Trap [program]
No full textHoffman, Jon; Snyder, Jenna; Milet, Jeffrey; Osborne, Rebecca; Dutt, Cassandra; Grossjung, Amanda; Clayton, Russell; Moschella, Mat
Belonging: natural histories of place, identity and home
No full textCanongate's synopsis:
"Reflecting on family, identity and nature, Belonging is a personal memoir about what it is to have and make a home. It is a love letter to nature, especially the northern landscapes of Scotland and the Scots pinewoods of Abernethy – home to standing dead trees known as snags, which support the overall health of the forest.
Belonging is a book about how we are held in thrall to elements of our past. It speaks to the importance of attention and reflection, and will encourage us all to look and observe and ask questions of ourselves.
Beautifully written and featuring Amanda Thomson’s artwork and photography throughout, it explores how place, language and family shape us and make us who we are."
Longlisted for the Highland Book Prize, 2023
Some of the reviews...
Outstanding - ROBERT MACFARLANE
Amanda Thomson’s new book manages to carve out a distinctive niche for itself . . . This is a passionate book and infused with a sense of rootedness - STUART KELLY, The Scotsman
In recent years rural landscapes have turned into battlegrounds, and nature writing has become increasingly polemical. Belonging is a quiet book of questions in a genre full of answers, but it is all the more powerful and beautiful for this - PATRICK GALBRAITH, TLS
One of the best things I have read in ages . . . Quiet and beautiful and powerful - ALYS FOWLER
Thomson writes of the natural in a way I have yet to encounter before. There is no real hoo-haa, no flowery description of which to speak yet somehow, I came away with that ache inside me — that renewed obsession with the world that is only borne of a very particular kind of writing — poetic, loving, raw . . . Like no other - KERRI Ní DOCHARTAIGH, Caught by the River
In strikingly original takes on Scottish history, environmentalism, Black feminist theory, artmaking, list-making, memory, and memoir, Thomson crafts a cadence that is as wise as it is vitally alive. - MARGOT DOUAIHY, author of Scorched Grac
Interview with Amanda Huron, author, Carving Out the Commons: Tenant Organizing and Housing Cooperatives in Washington, D.C.
No full textIs modern capitalism too far advanced in the U.S. to create common property regimes? Are there models for what an Urban Commons might look like? Join us as we speak with Amanda Huron, author of Carving Out the Commons: Tenant Organizing and Housing Cooperatives in Washington, D.C. (University of Minnesota Press, 2018). She’ll help us understand the theory and practice of Limited Equity Housing Cooperatives and the affordability, control, stability, and community they can provide to low-income communities and the people who live in them
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