2004, ISBN: 9788181281586

Gebundene Ausgabe

478 pp. Frontispiece of author after a portrait by himself. "John Singleton Copley (1738 - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and… Mehr…

478 pp. Frontispiece of author after a portrait by himself. "John Singleton Copley (1738 - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and Mary Singleton Copley, both Irish. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His paintings were innovative in their tendency to depict artifacts relating to these individuals' lives. Copley was fourteen or so and his step-father had recently died, when he made the earliest of his portraits now preserved, a likeness of his half-brother Charles Pelham, good in color and characterization though it has in its background accessories which are somewhat out of drawing. It is a remarkable work to have come from so young a hand. The artist was only fifteen when (it is believed) he painted the portrait of the Rev. William Welsteed, minister of the Brick Church in Long Lane, a work which, following Peter Pelham's practise, Copley personally engraved to get the benefit from the sale of prints. No other engraving has been attributed to Copley. A self-portrait, undated, depicting a boy of about seventeen in broken straw hat, and a painting of Mars, Venus and Vulcan, signed and dated 1754, disclose crudities of execution which do not obscure the decorative intent and documentary value of the works. Such painting would obviously advertise itself anywhere. Without going after business, for his letters do not indicate that he was ever aggressive or pushy, Copley was started as a professional portrait-painter long before he was of age. In October 1757, Capt. Thomas Ainslie, collector of the port of Quebec, acknowledged from Halifax the receipt of his portrait, which 'gives me great Satisfaction', and advised the artist to visit Nova Scotia 'where there are several people who would be glad to employ You.' This request to paint in Canada was later repeated from Quebec, Copley replying: 'I should receive a singular pleasure in excepting, if my Business was anyways slack, but it is so far otherwise that I have a large Room full of Pictures unfinished, which would ingage me these twelve months if I did not begin any others.' Besides painting portraits in oil, doubtless after a formula learned from Peter Pelham, Copley was a pioneer American pastellist. He wrote, on September 30, 1762, to the Swiss painter Jean-Étienne Liotard, asking him for 'a sett of the best Swiss Crayons for drawing of Portraits.' The young American anticipated Liotard's surprise 'that so remote a corner of the Globe as New England should have any demand for the necessary eutensils for practiceing the fine Arts' by assuring him that 'America which has been the seat of war and desolation, I would fain hope will one Day become the School of fine Arts.' The requested pastels were duly received and used by Copley in making many portraits in a medium suited to his talent. By this time he had begun to demonstrate his genius for rendering surface textures and capturing emotional immediacy. Copley's fame was established in England by the exhibition, in 1766, of The Boy with the Squirrel, which depicted his half-brother, Henry Pelham, seated at a table and playing with a pet squirrel. This picture, which made the young Boston painter a Fellow of the Society of Artists of Great Britain, by vote of September 3, 1766, had been painted the preceding year. Copley's letter of September 3, 1765, to Capt. R. G. Bruce, of the John and Sukey, reveals that it was taken to England as a personal favor in the luggage of Roger Hale, surveyor of the port of London. An anecdote relates that the painting, unaccompanied by name or letter of instructions, was delivered to Benjamin West (whom Mrs. Amory describes as then 'a member of the Royal Academy,' though the Academy was not yet in existence). West is said to have 'exclaimed with a warmth and enthusiasm of which those who knew him best could scarcely believe him capable, 'What delicious coloring worthy of Titian himself!'' The American squirrel, it is said, disclosed the colonial origin of the picture to the Pennsylvania-born Quaker artist. A letter from Copley was subsequently delivered to him. West got the canvas into the Exhibition of the year and wrote, on August 4, 1766, a letter to Copley in which he referred to Sir Joshua Reynolds's interest in the work and advised the artist to follow his example by making 'a viset to Europe for this porpase (of self-improvement) for three or four years.' West's subsequent letters were considerably responsible for making Copley discontented with his situation and prospects in a colonial town. Copley in his letters to West of October 13 and November 12, 1766 gleefully accepted the invitation to send other pictures to the Exhibition and mournfully referred to himself as 'peculiarly unlucky in Liveing in a place into which there has not been one portrait brought that is worthy to be call'd a Picture within my memory.' In a later letter to West, of June 17, 1768, he displayed a cautious person's reasons for not rashly giving up the good living which his art gave him. He wrote: 'I should be glad to go to Europe, but cannot think of it without a very good prospect of doing as well there as I can here. You are sensable that 300 Guineas a Year, which is my present income, is a pretty living in America... And what ever my ambition may be to excel in our noble Art, I cannot think of doing it at the expence of not only my own happyness, but that of a tender Mother and a Young Brother whose dependance is intirely upon me'. West replied on September 20, 1768, saying that he had talked over Copley's prospects with other artists of London 'and find that by their Candid approbation you have nothing to Hazard in Comeing to this Place.' The income which Copley earned by painting in the 1760s was extraordinary for his town and time. It had promoted the son of a needy tobacconist into the local aristocracy. The foremost personages of New England came to his painting-room as sitters. He married, on November 16, 1769, Sussannah Farnum Clarke, daughter of Richard and Elizabeth (Winslow) Clarke, the former being the very wealthy agent of the Honourable East India Company in Boston; the latter, a New England woman of Mayflower ancestry. The union was a happy one, and socially notable. Mrs. Copley was a beautiful woman of poise and serenity whose features are familiar through several of her husband's paintings. Copley had already bought land on the west side of Beacon Hill extending down to the Charles River. The newly-married Copleys, who would have six children, moved into 'a solitary house in Boston, on Beacon Hill, chosen with his keen perception of picturesque beauty'. It was on the approximately site of the present Boston Women's City Club. Here were painted the portraits of dignitaries of state and church, graceful women and charming children, in the mode of faithful and painstaking verisimilitude which Copley had made his own. The family's style of living at this period was that of people of wealth. John Trumbull told Dunlap that in 1771, being then a student at Harvard College, he called on Copley, who 'was dressed on the occasion in a suit of crimson velvet with gold buttons, and the elegance displayed by Copley in his style of living, added to his high repute as an artist, made a permanent impression on Trumbull in favor of the life of a painter.' In town and church affairs Copley took almost no part. He referred to himself as 'desireous of avoideing every imputation of party spirit. Political contests being neighther pleasing to an artist or advantageous to the Art itself.' His name appeared on January 29, 1771, on a petition of freeholders and inhabitants to have the powder house removed from the town whose existence it imperiled. Records of the Church in Brattle Square disclose that in 1772 Copley was asked to submit plans for a rebuilt meeting-house, and that he proposed an ambitious plan and elevation 'which was much admired for its Elegance and Grandure,' but which on account of probable expensiveness was not accepted by the society. Copley's sympathy with the politicians who were working toward American independence appears to have been genuine but not so vigorous as to lead him to participate in any of their plans. It was known to earlier biographers that Copley at one time painted portraits in New York City. The circumstances of this visit, which was supplemented by a few days in Philadelphia, were first disclosed through Prof. Guernsey Jones's discovery of many previously unpublished Copley and Pelham documents in the Public Record Office, London. From these letters and papers, published by the Massachusetts Historical Society in 1914, it appears that in 1768 Copley painted in Boston a portrait of Myles Cooper, president of King's College, who then urged his visiting New York. Accepting the invitation later, Copley, between June 1771 and January 1772, painted thirty-seven portraits in New York, setting up his easel 'in Broadway, on the west side, in a house which was burned in the great conflagration on the night the British army entered the city as enemies.' Copley's letters to Henry Pelham, whom he left in charge of his affairs in Boston, describe minutely the journey across New England, his first impressions of New York, which 'has more Grand Buildings than Boston, the streets much cleaner and some much broader,' and the successful search for suitable lodgings and a painting-room; thereafter they give detailed accounts of sitters and social happenings. The correspondence also contains Copley's careful instructions to Pelham concerning the features of a new house then being built on his Beacon Hill 'farm,' giving elevations and specifications of the addition of 'peazas' which the artist saw for the first time in New York. Copley at the time had a lawsuit respecting title to some of his lands. His letters reveal a man who allowed such disputes to worry him considerably. In September 1771, Mr. and Mrs. Copley visited Philadelphia, where, at the home of Chief Justice William Allen, they 'saw a fine Coppy of the Titian Venus and Holy Family at whole length as large as life from Coregio'. On their return journey they viewed at New Brunswick, New Jersey several pictures attributed to van Dyck. 'The date is 1628 on one of them,' wrote Copley; 'it is without dout I think Vandyck did them before he came to England.' Back in New York Copley wrote, on October 17, requesting that a certain black dress of Mrs. Copley's be sent over at once. 'As we are much in company,' he said, 'we think it necessary Sukey [his wife] should have it, as her other Cloaths are mostly improper for her to wear'. On December 15 Copley informed Pelham that 'this Week finishes all my Business, no less than 37 Busts; so the weather permitting by Christmas we hope to be on the road.' Thus ended Copley's only American tour away from Boston. Accounts of his having painted in the South are without foundation. Most of the Southern portraits that have been popularly attributed to him were made by Henry Benbridge. His correspondents in England continued to urge Copley to undertake European studies. He saved an undated and unsigned letter from some one who wrote: 'Our people here are enrapture'd with him, he is compared to Vandyck, Reubens and all the great painters of Old.' His brother-in-law Jonathan Clarke, already in London, advised his 'comeing this way.' West wrote, on January 6, 1773: 'My Advice is, Mrs. Copley to remain in Boston till you have made this Tour [to Italy], After which, if you fix your place of reasidanc in London, Mrs. Copley to come over.' Political and economic conditions in Boston were increasingly turbulent. Copley's father-in-law, Mr. Clarke, was the merchant to whom was consigned the tea that provoked the Boston Tea Party. Copley's family connections were all Loyalists. He defended his wife's relatives at a meeting described in his letter of December 1, 1773. He wrote on April 26, 1774, of an unpleasant experience when a mob visited his house demanding the person of Col. George Watson, a Loyalist mandamus counselor who had gone elsewhere. The patriots having threatened to have his blood if he 'entertained any such Villain for the future,' Copley exclaimed: 'What a spirit! What if Mr. Watson had stayed (as I pressed him to) to spend the night. I must either have given up a friend to the insult of a Mob or had my house pulled down and perhaps my family murthered.' With many letters of introduction, all of which are published in the Copley-Pelham correspondence, Copley sailed from Boston in June 1774, leaving his mother, wife, and children in Henry Pelham's charge. He wrote on July 11 from London 'after a most easy and safe passage.' An early call was upon West, to 'find in him those amiable qualitys that makes his friendship boath desireable as an artist and as a Gentleman.' The American was duly introduced to Sir Joshua Reynolds and was taken to 'the Royal Academy where the Students had a naked model from which they were Drawing.' In London Copley took no sitters at this time though urged to do so. Shortly before leaving for Italy he 'dined with Gov'r Hutchinson, and I think there was 12 of us altogether, and all Bostonians, and we had Choice Salt Fish for Dinner.' On September 2, 1774, Copley chronicled his arrival at Paris (the beginning of a nine-month European tour), where he saw and painstakingly described many paintings and sculptures. His journey toward Rome was made in company of an artist named Carter, described as 'a captious, cross-grained and self conceited person who kept a regular journal of his tour in which he set down the smallest trifle that could bear a construction unfavorable to the American's character.' Carter was undoubtedly an uncongenial companion. Copley, however, may at times have been both depressing and bumptious. He found fault, according to Carter, with the French firewood because it gave out less heat than American wood, and he bragged of the art which America would produce when 'they shall have an independent government.' Copley's personal appearance was thus described by his uncharitable comrade: 'Very thin, a little pock-marked [presumably a souvenir of the Boston smallpox epidemic described by Copley in a letter of January 24, 1764], prominent eyebrows, small eyes, which after fatigue seemed a day's march in his head.' Copley afterward wrote of Carter: 'He was a sort of snail which crawled over a man in his sleep and left its slime, and no more.' Mrs. Amory relates that 'both parties were undoubtedly glad to separate on their arrival at their destination.' October 8, 1774 found Copley at Genoa, where he wrote to his wife describing, among other things, the cheapness of the silks: 'The velvet and satin for which I gave seven guineas would have cost fourteen in London.' He reached Rome on, Kennedy Galleries, Inc. / Da Capo Press, 1969, Hard Bound . New. Contents: Part I: The Strategy of Mass Customization: On the Economics of Mass Customization, A Procedure for Building Product Models, Mass Customization Facing Logistics Challengs, From Mass Production to Mass Customization: Impact on Integrated Supply Chains, Key Value Attributes in Mass Customization; Part 2: Preparation and Implementation: Web Tools for Supporting Mass Customization, Manufacturing Planning and Control Content management in Virual Enterprises Pursuing Mass Customization, Customer Interaction and Digitizability- A Structure Approach to Mass Customization, Intermediaries for the Provision of Mass Customized Digital Good sin Electronic Commerce Experience of Applying Sysematic Modularization Methods in Light Assembly Industry. Part 3: A Value Chain: Mass Customization and Beyond: Evolution of Customer Centricity in Financial Services; Modularity Three Dimensions: A Study of Mass Customization in the Dutch House Building Industry, Customization of Capital Goods Implications for After Sales. 262 Year of Publication 2004 8181281586<

2005, ISBN: 9788181281586

Discovery Publishing House Pvt. Ltd., 2005. Hardcover. New. It is widely recognised that Water is going to be one of he major issues confronting humanity at the turn of the century and … Mehr…

Discovery Publishing House Pvt. Ltd., 2005. Hardcover. New. It is widely recognised that Water is going to be one of he major issues confronting humanity at the turn of the century and beyond. We are facing a crisis as regards the quantity and quality of water supply, but we have yet to experience the full social and Political impact of that crisis. The escalation in the Population and the quest for continued development is leading to conflicting pressures on water resources. Such resources are the ultimate recipient of Pollution from various socio-economic activities associated with urbanisation, agriculture, Mining and clearing of native vegetation. Pollution originating from human waste, especially where appropriate sanitation facilities are not available, or are located too close to water Supply sources affects both surface water and ground water. This makes water supply and Health perhaps the most important issue for the larger proportion of the global population. Paradoxically, the demands for "sustainable management" and increasing global population require more potable water from a declining available potable water base. It is universally accepted that proper water administration is a critical component of sustainable development-that is, development that meets the needs of both present and future generations. Indeed, water is an essential Factor in a larger number of productive activities, of which one of the most . important is the production of food by irrigation. This " activity, accounts for two thirds of the water resources used by humanity. A supply of drinking water and sanitation in Urban centers are crucial for preserving human health. Contents, 1. Water : An Educational and Informative Approach 2. The Coming Water Crisis 3. Solutions for A Water-Short World 4. Fresh Water and The Environment 5. A Rare and Precious Resource 6. Population Growth and Fresh Water 7. Solving Conflicts Over Water Uses 8. Water Problem in South India 9. South Asia Quarrels Over Water 10. Water: Will be there Enough? 11. Strategies for Improved Water Management 12. A Breakthrough in the Evolution of Large Dams? 13. Big-Dam Construction is on the Rise 14. Tapping the Market : Can Private Enterprise Supply Water to the Poor? 15. Tourism and The Environment 16. Sustainable Tourism and The Environment 17. Sustainable Tourism-Illusion or Realistic Alternative? 18. Pro-Poor Tourism: Opportunities for Sustainable Local Development 19. Sustainable Tourism Development 20. The Biggest Industry the World has ever Seen : The Future of World Tourism 21. Ecotourism or Ecocide? 22. The Tourism Juggernaut 23. Cheap Transport for India`s Millions 24. Aid Effectiveness as a Multi-level Process 25. Pollution for Export 26. The Pollution Challenge 27. Consuming the Future Printed Pages: 144., Discovery Publishing House Pvt. Ltd., 2005, Hard Bound . New. Contents: Part I: The Strategy of Mass Customization: On the Economics of Mass Customization, A Procedure for Building Product Models, Mass Customization Facing Logistics Challengs, From Mass Production to Mass Customization: Impact on Integrated Supply Chains, Key Value Attributes in Mass Customization; Part 2: Preparation and Implementation: Web Tools for Supporting Mass Customization, Manufacturing Planning and Control Content management in Virual Enterprises Pursuing Mass Customization, Customer Interaction and Digitizability- A Structure Approach to Mass Customization, Intermediaries for the Provision of Mass Customized Digital Good sin Electronic Commerce Experience of Applying Sysematic Modularization Methods in Light Assembly Industry. Part 3: A Value Chain: Mass Customization and Beyond: Evolution of Customer Centricity in Financial Services; Modularity Three Dimensions: A Study of Mass Customization in the Dutch House Building Industry, Customization of Capital Goods Implications for After Sales. 262 Yr. of Pub.2004 8181281586<

2004, ISBN: 9788181281586

SPRINGER INDIA EX, 2004. New. New New Good Books, SPRINGER INDIA EX, 2004

ISBN: 9788181281586

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ISBN: 9788181281586

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