Ben Shahn (1898–1969)
Autor/a de The Shape of Content
Sobre l'autor
Crèdit de la imatge: Ben Shahn (1898-1969)
Photograph dated Dec. 12, 1938
(Library of Congress Prints and Photographs Division. Reproduction Number: LC-USZ62-120969)
Obres de Ben Shahn
Ben Shahn : a retrospective, 1898-1969, the Jewish Museum, New York, October 20, 1976 through January 2, 1977 10 exemplars
Paintings 9 exemplars
The collected prints of Ben Shahn 8 exemplars
Paragraphs on Art 2 exemplars
Ben Shahn; [the Exhibition of Ben Shahn, 19th September--4th, October 1970, Hiroshima Prefectural Museum of Art] (1970) 2 exemplars
The Alphabet of Creation - SIGNED by artist 2 exemplars
MOMA Bulletin 1 exemplars
Ben Shahn in Ohio: The Summer of 1938 1 exemplars
For the Sake of Single Verse 1 exemplars
Ben Shahn: paintings 1 exemplars
Ben Shahn : his graphic art. 1 exemplars
Twelve Days of Christmas 1 exemplars
Love & Joy 1 exemplars
Exhibition of New Paintings and Drawings 1 exemplars
Graphic work 1 exemplars
Poster 1 exemplars
Tevye's Daughters 1 exemplars
Ballet Review Martha Graham Fall 1991 1 exemplars
Obres associades
November twenty-six, nineteen hundred sixty-three : poem (1963) — Il·lustrador, algunes edicions; Il·lustrador — 65 exemplars
Etiquetat
Coneixement comú
- Nom normalitzat
- Ben Shahn
- Data de naixement
- 1898-09-12
- Data de defunció
- 1969-03-14
- Gènere
- male
- Nacionalitat
- Lithuania
USA - Lloc de naixement
- Kaunas, Lithuania, Russian Empire
- Lloc de defunció
- New York, New York, USA
- Llocs de residència
- Vilkomir, Lithuania
Brooklyn, New York, USA - Educació
- New York University
City College of New York
National Academy of Design - Professions
- artist
- Relacions
- Bryson, Bernarda (wife)
- Organitzacions
- American Academy of Arts and Letters (Art, 1956)
Membres
Ressenyes
Ben Shahn (Kaunas, 12 september 1898 - New York City, 14 maart 1969) was een in Litouwen geboren Amerikaanse artiest, muurschilder, sociale activist, fotograaf en leraar. Hij is bekend geworden door zijn werken van sociaal-realisme, zijn linkse politieke overzichten en zijn serie van lezingen gepubliceerd als De Vorm van Inhoud.
Haggadah of Passover: for Members of the Armed Forces of United States, 5704-1944.
OK, 22 letters is kind of long to hold the interest of little kids (and, maybe, adults). But it's a good "first shall be last"/ "raising up the lowly" story. More importantly, it suggests the importance of language, words, letters in creating the world/reality, or at least our understanding of it. The calligraphy is interesting; no color is needed.
There is a note about the book at the end. The text is a loose adaptation of a translation by Maurice Samuel and other sources.
There is a note about the book at the end. The text is a loose adaptation of a translation by Maurice Samuel and other sources.
Llistes
Premis
Potser també t'agrada
Autors associats
Estadístiques
- Obres
- 42
- També de
- 13
- Membres
- 889
- Popularitat
- #28,824
- Valoració
- 3.9
- Ressenyes
- 9
- ISBN
- 20
- Preferit
- 1
As someone interested in picture books created from Christmas carols and songs, I was pleased to discover Sweet Was the Song, as it is the only such presentation of this song, with which I am familiar. The song itself was originally recorded in a collection of music known as William Ballet's Lute Book, believed to have been published in 1600, and held by the library at Trinity College Dublin. It was reworked in 1901, in the Rev. G.R. Woodward's The Cowley Carol Book For Christmas, Easter, and Ascensiontide, and has since been performed, although not as frequently as more popular holiday songs. I listened to a recording of it available on Youtube (see this video), while reading through Shahn's book.
On the whole, I found this one more interesting than enjoyable. The song isn't a personal favorite—although it's interesting to note that William Ballet's Lute Book is an early source for Greensleeves, which is a personal favorite—and the lyrics don't make for a strong story, being that this is really a lullaby, sung by the Virgin Mary to the infant Jesus. The accompanying artwork, done in black ink, with a limited number of color washes, was (again) interesting, but not really to my taste. I suspect that if I loved the song more, or was more attracted to the artwork, this would have been a more rewarding read. Still, I am glad to have encountered it, in order to add it to my "carols" shelf, and will doubtlessly seek out Partridge in a Pear Tree, Shahn's picture book presentation of The Twelve Days of Christmas.… (més)