MREADZ.COM - много разных книг на любой вкус
Скачивание или чтение онлайн электронных книг.Никола Тесла. Наследие великого изобретателя
Знаете ли вы о загадке башни Ворденклиф? А что за таинственное лучевое оружие предлагал ведущим державам мира гений электротехники Никола Тесла? Эти и многие другие изобретения великого ученого овеяны мифами и легендами, и непрофессионалу зачастую сложно разобраться, где правда, а где вымысел. Автор рассматривает научное наследие Николы Теслы, рассказывает, как эволюционировали его идеи и чего стоит ожидать в будущем. Книга написана в форме научно-художественного расследования. Читая занимательные, иллюстрированные истории, вы узнаете о перспективах и рисках воздействия на ионосферу, климат, тектонику нашей планеты и попытках создания пучкового, радиологического и геофизического оружия.
Куклы из фарфора и папье-маше. Изготовление, коллекционирование, реставрация
Новая книга Лидии Мудрагель, известного художника-кукольника, коллекционера, учителя многих известных дизайнеров-кукольников, погружает читателя в настоящую сказку – она посвящена авторским и коллекционным куклам из фарфора и папье-маше. Автор рассказывает об истории кукольного искусства, о знаменитых брендах изготовителей, дает советы начинающим коллекционерам кукол, показывает прекрасные образцы кукольного искусства из самых знаменитых и обширных коллекций нашей страны. Вы научитесь создавать простейших кукол из фарфора и папье-маше, следуя авторским мастер-классам лучших мастеров-кукольников, в случае необходимости сможете самостоятельно отреставрировать антикварных и винтажных кукол, дать им новую жизнь, – а это настоящее волшебство!
Дизайн для души, бизнес для денег. Ответы на самые распространенные вопросы о запуске и ведении дизайнерского бизнеса
Эта книга, написанная Дэвидом Эйри – автором популярной книги «Логотип и фирменный стиль», отвечает на самые распространенные вопросы, которыми задаются все дизайнеры при запуске и ведении собственного бизнеса. С чего нужно начинать? Как рекламировать и позиционировать себя? Как найти новых клиентов? Во сколько оценить свои работы? Как вести переговоры? Как составить правильный договор? Когда необходимо сказать клиенту «нет»? Как работать с трудными заказчиками? Эти важные аспекты дизайнерского бизнеса, касающиеся любого специалиста, решившего начать работать на себя, освещаются на страницах книги.
Anthony van Dyck
Van Dyck was accustomed early to Rubens’ sumptuous lifestyle; and, when he visited Italy with letters of introduction from his master, lived in the palaces of his patrons, himself adopting such an elegant ostentation that he was spoken of as ‘the Cavalier Painter’. After his return to Antwerp his patrons belonged to the rich and noble class, and his own style of living was modelled on theirs; so that, when in 1632 he received the appointment of court painter to Charles I of England, he maintained an almost princely establishment, and his house at Blackfriars was a resort of fashion. The last two years of his life were spent travelling on the Continent with his young wife, the daughter of Lord Gowry. His health, however, had been broken by the excesses of work, and he returned to London to die. He was buried at St. Paul’s Cathedral. Van Dyck tried to amalgamate the influences of Italy (Titian, Veronese, Bellini) and Flanders and he succeeded in some paintings, which have a touching grace, notably in his Madonnas and Holy Families, his Crucifixions and Depositions from the Cross, and also in some of his mythological compositions. In his younger days he painted many altarpieces full of sensitive religious feeling and enthusiasm. However, his main glory was as a portraitist, the most elegant and aristocratic ever known. The great Portrait of Charles I in the Louvre is a work unique for its sovereign elegance. In his portraits, he invented a style of elegance and refinement which became a model for the artists of the seventeenth and eighteenth centuries, corresponding as it did to the genteel luxury of the court life of the period. He is also considered one of the greatest colourists in the history of art.
Разработка веб-сайтов для мобильных устройств
Разработка приложений для мобильных устройств – это новый прорыв в веб-разработке. Скоро пользоваться Интернетом будут чаще с помощью мобильных телефонов и планшетов, чем персональных компьютеров. Ваш бизнес нуждается в мобильной стратегии, но вы не знаете с чего начать? Из этой книги вы узнаете, как использовать уже знакомые веб-технологии для разработки приложений, сайтов, которые будут работать на любом устройстве. Используйте навыки HTML, JavaScript и CSS для создания и оптимизации сайтов для конкретных моделей мобильных устройств.
Egon Schiele
Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
ХлебСоль. Кулинарный журнал с Юлией Высоцкой. №7 (сентябрь) 2013
Мы знаем, что наши читательницы не стоят сутками у плиты. Поэтому не пропагандируем дорогие гастрономические редкости. Большинство рецептов журнала создано из тех ингредиентов, которые всегда под рукой и их запас легко пополнить в любом супермаркете. Мы думаем о таких же, как мы сами, молодых женщинах, которые активно работают, воспитывают детей, у которых масса увлечений, для которых еда – творческий процесс и настоящее удовольствие. Читайте в номере: Последняя капля Актер Федор Добронравов сравнивает себя со своими киногероями Корзина месяца Идем в сады и огороды за яблоками, капустой, кукурузой Школа завтрака Вкусные и полезные сэндвичи Один на троих Блюда с баклажаном в средиземноморском, восточном и азиатском стиле Детское меню Макарошки, смузи и йогуртовое мороженое от Дани и Вари Соль Обладатель титула «Лучший кондитер Испании» Ориоль Балагер о взрывном темпераменте десертов Перец Ужин с цикадами и многое другое
Harmensz van Rijn Rembrandt
Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence. It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public. From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or the Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.
Здоровье женщины
Несомненно, женщины о своем здоровье заботятся гораздо больше, чем мужчины. Поэтому данная книга непременно порадует прекрасную половину человечества, так как в ней собраны самые необходимые сведения и полезные советы, которые помогут современной женщине сохранить свое здоровье и красоту на долгие годы. Книга рассчитана на широкий круг читательниц.
Pablo Picasso
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the non-conformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the “final truth”; the transience of human life and the inevitability of death. His early works, ranged under the name of “Blue Period” (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called “Rose Period” characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of “woman”. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins. The Russian Symbolist Georgy Chulkov wrote: “Picasso’s death is tragic. Yet how blind and naïve are those who believe in imitating Picasso and learning from him. Learning what? For these forms have no corresponding emotions outside of Hell. But to be in Hell means to anticipate death. The Cubists are hardly privy to such unlimited knowledge”.