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The Adolescent The Adolescent Новинка

The Adolescent

2128 руб.
This superb new translation-never before published-of one of Dostoevsky's major novels comes from the award-winning translators Richard Pevear and Larissa Volokhonsky. The Adolescent (originally published in English as A Raw Youth) is markedly different in tone from Dostoevsky's other masterpieces. It is told from the point of view of the nineteen-year-old narrator, whose immaturity, freshness, and naivete are unforgettably reflected in his narrative voice. The illegitimate son of a landowner, Arkady Dolgoruky was raised by foster parents and tutors, and has scarcely ever seen his father, Versilov, and his mother, Versilov's peasant common-law wife. Arkady goes to Petersburg to meet this accidental family and to confront the father who dominates his imagination and whom he both disdains and longs to impress. Having sewn into his coat a document that he believes gives him power over others, Arkady proceeds with an irrepressible youthful volatility that withstands blunders and humiliations at every turn. Dostoevsky masterfully depicts adolescence as a state of uncertainty, ignorance, and incompleteness, but also of richness and exuberance, in which everything is still possible. His tale of a youth finding his way in the disorder of Russian society in the 1870s is a high and serious comedy that borders on both farce and tragedy.
Origin Origin Новинка

Origin

813 руб.
But when the very fabric of the sky tears open, spilling living creatures to the ground and pulling others inside, including Reid's wife, Emma, his quest to uncover the unknown becomes personal. While desperately searching to discover what happened to the woman he loves, Reid embarks upon an adventure to the very fount of human development... on earth and beyond.
Hardy Karen Enterprise Risk Management Hardy Karen Enterprise Risk Management Новинка

Hardy Karen Enterprise Risk Management

4209.93 руб.
Don't squander your most valuable resource! Collectively, your workers are your company's most important and most valuable asset. To make the most of this asset, nothing beats quantitative performance and investment measurement. Learning and Development is an 80 billion-dollar industry, and every valuable employee represents a sizable investment on the part of your company. To keep your business moving forward, effective management of human capital is crucial. It generates plenty of data, and deep analysis of this data helps you provide feedback and make adjustments to capitalize on the combined knowledge, skills, and creativity of your workers. Developing Human Capital: Using Analytics to Plan and Optimize Your Learning and Development Investments provides a guidebook for collecting, organizing, and analyzing the data surrounding human capital so you can make the most of your employees' potential. Use predictive analysis to optimize human capital investments Learn effective study design and alignment Get the tools you need for measurement, surveys, and analysis Decide what to measure and how to measure it Outline your company's current and future analytics technology needs Map data sources, and overcome barriers to data collection Authors Gene Pease, Bonnie Beresford, and Lew Walker provide case studies in which major companies applied human capital analytics to guide people decisions, and expand upon the role of analytics in Learning and Development. Developing Human Capital: Using Analytics to Plan and Optimize Your Learning and Development Investments is an essential guide to 21st century human resources and management practices, and can keep you from squandering your company's most valuable resource.
An Essay Concerning Human Understanding An Essay Concerning Human Understanding Новинка

An Essay Concerning Human Understanding

753 руб.
Notes and Introduction by Mark G. Spencer, Brock University, Ontario John Locke (1632-1704) was perhaps the most influential English writer of his time. His Essay concerning Human Understanding (1690) and Two Treatises of Government (1690) weighed heavily on the history of ideas in the eighteenth century, and Locke's works are often ? rightly ? presented as foundations of the Age of Enlightenment. Both the Essay and the Second Treatise (by far the more influential of the Two Treatises) were widely read by Locke's contemporaries and near contemporaries. His eighteenth-century readers included philosophers, historians and political theorists, but also community and political leaders, engaged laypersons, and others eager to participate in the expanding print culture of the era. His epistemological message that the mind at birth was a blank slate, waiting to be filled, complemented his political message that human beings were free and equal and had the right to create and direct the governments under which they lived. Today, Locke continues to be an accessible author. He provides food for thought to university professors and their students, but has no less to offer the general reader who is eager to enjoy the classics of world literature.
Piero Della Francesca. Masters Of Italian Art Piero Della Francesca. Masters Of Italian Art Новинка

Piero Della Francesca. Masters Of Italian Art

1127 руб.
Piero della Francesca (1420-1492) was one of the great artists of the early Italian Renaissance. His paintings on religious subjects are marked by their simple serenity and clarity. He was also interested in geometry and mathematics and was known for his contributions in these fields. In this volume, numerous large-sized illustrations showcase the artist's oeuvre; authoritative texts illustrate the decisive stages in the artist's life and in the development of his work, explaining their significance in the context of his time and for the following generations of artists.
Our Man in Havana Our Man in Havana Новинка

Our Man in Havana

669 руб.
Wormold is a vacuum cleaner salesman in a city of power cuts. His adolescent daughter spends his money with a skill that amazes him, so when a mysterious Englishman offers him an extra income he's tempted. In return all he has to do is carry out a little espionage and file a few reports. But when his fake reports start coming true things suddenly get more complicated and Havana becomes a threatening place.
George Orwell. Diaries George Orwell. Diaries Новинка

George Orwell. Diaries

1149 руб.
George Orwell was an inveterate keeper of diaries. This book presents eleven of them, covering the period 1931-1949, and follows Orwell from his early years as a writer to his last literary notebook. An entry from 1931 tells of a communal shave in the Trafalgar Sguare fountains, while notes from his travels through industrial England show the development of the impassioned social commentator. This same acute power of observation is evident in his diaries from Morocco, as well as at home, where his domestic diaries chart the progress of his garden and animals with a keen eye. The wartime diaries, from descriptions of events overseas to the daily violence closer to home, describe astutely his perspective on the politics of both, and provide a new and entirely refreshing insight into Orwell's character and his great works.
The Merde Factor The Merde Factor Новинка

The Merde Factor

1156 руб.
Englishman Paul West is living the Parisian dream, and doing his best not to annoy the French. But recently things have been going tres wrong: He's stuck in an apartment so small that he has to cut his baguettes in two to fit them in the kitchen. His research into authentic French cuisine is about to cause a national strike - and it could be all his fault. His Parisian business partner is determined to close their tea-room. And thinks that sexually harrassing his female employees is a basic human right. And Paul's gorgeous ex-girlfriend seems to be stalking him. Threatened with eviction, unemployment and bankrupcy, Paul realises that his personal merde factor is about to hit the fan...
Human Stain Human Stain Новинка

Human Stain

530 руб.
It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town an ageing classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would astonish even his most virulent accuser. Coleman Silk has a secret, one which has been kept for fifty years from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman. It is Zuckerman who stumbles upon Silk's secret and sets out to reconstruct the unknown biography of this eminent, upright man, esteemed as an educator for nearly all his life, and to understand how this ingeniously contrived life came unravelled. And to understand also ho Silk's astonishing private history is, in the words of the Wall Street Journa "magnificently" interwoven with "the larger public history of modern America".
Depeche Mode: In Their Own Words - Interviews & Contributions Depeche Mode: In Their Own Words - Interviews & Contributions Новинка

Depeche Mode: In Their Own Words - Interviews & Contributions

1504 руб.
Once unfairly seen as New Romantic 'wannabees', Depeche Mode are actually the only band to have emerged from that, some might say unfortunate scene, to have continued developing in any serious way and not only maintained an enormous fan base but increased it to the point whereby filling 100,000 capacity stadia across the world is not unusual - and all this while most of their early 1980s contemporaries roll up on the oldies circuit playing to the chicken-in-a-basket-crowd. This DVD features numerous filmed interviews with the guys, both solo and as a group, during which they prove themselves to be articulate, intelligent, witty and charming - albeit with an easy going self deprecating humour throughout - and always clearly with a sharp eye on their further artistic and musical development. In completion this DVD will prove a thoroughly fascinating, brutally revealing and downright entertaining watch for all true Depeche fans everywhere.
Patrick Bade Munch Patrick Bade Munch Новинка

Patrick Bade Munch

66.5 руб.
Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.
Patrick Bade Munch Patrick Bade Munch Новинка

Patrick Bade Munch

66.5 руб.
Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.
Elizabeth Ingles Munch Elizabeth Ingles Munch Новинка

Elizabeth Ingles Munch

95 руб.
Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.
Elizabeth Ingles Munch Elizabeth Ingles Munch Новинка

Elizabeth Ingles Munch

95 руб.
Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.
Ajin, Volume 8 Ajin, Volume 8 Новинка

Ajin, Volume 8

1088 руб.
High school student Kei Nagai is killed in a traffic accident, but immediately revives to learn that he may not be human at all. Instead, he may be a Demi-Human, a mysterious almost immortal being blessed with amazing super-human abilities. Scared, he runs away, and is aided in his escape from society by his friend Kai. Unfortunately for Kei, the manhunt is on and he will soon be caught within a conflict between mankind and other Demi-Humans as they prepare to fight for global supremacy.
Dostoevsky F. The Crocodile Dostoevsky F. The Crocodile Новинка

Dostoevsky F. The Crocodile

818 руб.
The civil servant Ivan Matveich and his wife Yelena Ivanovna are spectators of an exhibition - in a shopping arcade - of a crocodile owned by a German, when Ivan is suddenly swallowed alive by the animal. Unsuccessful in his attempts to be freed from his prison, due to the German's concern for his crocodile and excessive desire for compensation, the civil servant gradually comes to appreciate his new environment, while his wife begins to enjoy her new-found freedom. Inspired by Gogol's surreal tales, Dostoevsky's hilarious story has been interpreted by some as a vitriolic piece of social criticism and a veiled attack on the revolutionary philosopher Nikolai Chernyshevsky.
AJIN, VOLUME 5 AJIN, VOLUME 5 Новинка

AJIN, VOLUME 5

859 руб.
High school student Kei Nagai is killed in a traffic accident, but immediately revives to learn that he may not be human at all. Instead, he may be a Demi-Human, a mysterious almost immortal being blessed with amazing super-human abilities. Scared, he runs away, and is aided in his escape from society by his friend Kai. Unfortunately for Kei, the manhunt is on and he will soon be caught within a conflict between mankind and other Demi-Humans as they prepare to fight for global supremacy.
Wisher Vol. 3: Glee Wisher Vol. 3: Glee Новинка

Wisher Vol. 3: Glee

822 руб.
Nigel is the last of the Genies, and the Faeriehood's final hope. To get his powers back, he'll have to reconcile his two halves - the Human who wants nothing but a carefree life, and the genie, all fire and violence. A balance must be reached, fragile and dangerous, before he can so much as recover the memories of his past lives. But Bound and the MI-10 haven't abandoned the hunt, and have managed to place an agent inside the sanctuary.
Alice Cooper: Super Duper Alice Cooper. Welcome To His Nightmare (Blu-ray) Alice Cooper: Super Duper Alice Cooper. Welcome To His Nightmare (Blu-ray) Новинка

Alice Cooper: Super Duper Alice Cooper. Welcome To His Nightmare (Blu-ray)

1680 руб.
From Banger Films, the creators of Iron Maiden: Flight 666 and Rush: Beyond The Lighted Stage, comes Super Duper Alice Cooper the story of Vincent Furnier, the preacher's son who struck fear into the hearts of parents everywhere as Alice Cooper, the most outrageous rock star of his generation. This unique "doc opera," a dizzying blend of documentary archive footage, animation and rock opera, goes from the early days of Alice as the frontman for a cutting edge rock band in the sixties through the hazy decadence of global celebrity in the seventies and on to his winking comeback as the glam metal godfather in the eighties. This is the tale of Alice and Vincent battling for each other's souls.Super Duper Alice Cooper combines audio interviews with a wealth of archive Alice Cooper footage covering concerts, TV appearances, movie cameos, dramatic headlines and magazine spreads. All the highlights of his career are covered aided by contributions from some of the biggest music icons of all time including Iggy Pop, Elton John, John Lydon, Dee Snider and of course Alice Cooper himself.Super Duper Alice Cooper is the definitive, extraordinary story of the man and the myth that is uniquely Alice Cooper.
MOT 4.5 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) MOT 4.5 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) Новинка

MOT 4.5 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V)

956.2 руб.
Color custom10000 Brand MOT Model MOT28 Quantity 1 Piece Material PCB English Manual / Spec Yes Other Features Voltage range: 3.3V~5V; The open-source Arduino environment makes it easy to write code and upload it to the i/o board. It runs on Windows Mac OS X and Linux. The environment is written in Java and based on Processing avr-gcc and other open source software. Interface information is as follows: 1-VSS 2-VCC power supply 3-V0 contrast adjustment The 4-RS instruction / data control 5-RW read / write control 6-E enable 7~14 D0~D7 data 15-A LED backlight 16-K backlight cathode Packing List 1 x 4.5" LCD Blue Screen LCD
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

189 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
GDW 4.9 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) GDW 4.9 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) Новинка

GDW 4.9 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V)

2305.44 руб.
Color custom10000 Brand GDW Model LY240128A Quantity 1 Piece Material PCB English Manual / Spec Yes Other Features Voltage range: 3.3V~5V; The open-source Arduino environment makes it easy to write code and upload it to the i/o board. It runs on Windows Mac OS X and Linux. The environment is written in Java and based on Processing avr-gcc and other open source software. Interface information is as follows: 1-VSS 2-VCC power supply 3-V0 contrast adjustment The 4-RS instruction / data control 5-RW read / write control 6-E enable 7~14 D0~D7 data 15-A LED backlight 16-K backlight cathode Packing List 1 x 4.9" LCD Blue Screen LCD
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

170 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

170 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

66.5 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

189 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
MOT 2.2 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) MOT 2.2 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V) Новинка

MOT 2.2 Microcontroller Development LED Backlit Blue LCD for Raspberry Pie / Arduino - (3.5~5V)

822.23 руб.
Brand MOT Model 12864A Quantity 1 Piece Color Green Material PCB English Manual / Spec Yes Other Features Voltage range: 3.3V~5V; The open-source Arduino environment makes it easy to write code and upload it to the i/o board. It runs on Windows Mac OS X and Linux. The environment is written in Java and based on Processing avr-gcc and other open source software. Interface information is as follows: 1-VSS 2-VCC power supply 3-V0 contrast adjustment The 4-RS instruction / data control 5-RW read / write control 6-E enable 7~14 D0~D7 data 15-A LED backlight 16-K backlight cathode Certification QC Packing List 1 x 2.2" LCD Blue Screen LCD
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

95 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Eugène Müntz Michelangelo Eugène Müntz Michelangelo Новинка

Eugène Müntz Michelangelo

95 руб.
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

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Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
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