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Silverman has taken a different tact in writing about the artists Van Gogh and Gauguin--who will linked together through eternity if for no other reason than the episode in Arles with Van Gogh's "earlobe" (not ear). Like many, I have wondered just why these two men behaved so antagonistically towards each other. I have heard about personality conflicts, differing life styles, and mental illness, but somehow these reasons have never resonated with me. The explanation for the Gauguin-Van Gogh conflict according to Silverman was owing to nothing less than their conflicting interpretations of the meaning of life.
Gauguin was raised Roman Catholic and attended a Catholic boys school where he was taught the theology of bearing one's cross and dying to the material world to attain the transcendent good--paradise. Van Gogh came from a humanistic Dutch Reformed background in an era when this church was focused on the need for a consolatary religion in the face of EVOLUTION. Their conflict seems to have been a feud of a particular kind as both men attempted to understand the eternal truths, grapple with the new reality of science, and abandon their relgious upbringings.
While Gauguin's paintings reflect the transcendent as "otherworldly" and point the way for later abstract symbolists such as Picasso, Van Gogh's works are tied to the sacred presence of the eternal in the natural world. In painting after painting, Gauguin flattens the canvas, uses paint sparingly and depicts scenes of misery and suffering, sin and redemption. On the other hand, Van Gogh focuses on the sacred nature of work and rural life--threshing, weaving, milking, and rocking the baby by the fireplace. Where Gauguin creates angels strugging with men and flying cows, Van Gogh paints wheat fields and grape vineyards filled with sowers, thrashers, and harvesters. Where Gauguin sees classical elements such as the three muses and a Greek temple and admires Delacroix, Van Gogh sees bridges, sailboats, looms, and walls, and adores Millet.
During their short time together in Arles, Gauguin sought to influence Van Gogh--to have him paint from memory, flatten surfaces, and introduce overt religious symbolism into his work. Van Gogh did partially adapt some of Gauguin's techniques such as cloisonism (black outlines separating flat patches of color), but while Gauguin continued to tackle the sinful ways of man (and apparently sin quite heavily when he wasn't working) Van Gogh adapted Zenlike techniques reminiscent of Hiroshege and other Japanese artists who saw no boundary between the divine and natural worlds.
Silverman writes beautifully (I read every word..this is a powerful book) and there are hundreds of drop-dead beautiful facsimilies of the works of Gauguin and Van Gogh. I think Silverman favors Van Gogh, and I do too so I was not disappointed (though she covers Gauguin quite well). She spends a great deal of time on style and technique, which I also liked very much. She is not merely pointing out technical differences, however, she is showing how their respective techniques were tied to their philosophical outlooks. Several "sets" of paintings by both men are discussed in detail--Van Gogh's Langlois bridge paintings (all nine are reproduced) and the Berceuse paintings (she who rocks the cradle); as well as Gauguin's repeated use elements such as the women of Brittany, cows, angels, and "the dead."
This is a wonderful book and if you love Van Gogh and want to better understand his painterly ways, you must have it. It will enrich your life.
Part One: Toward Collaboration [two "Self-Portraits"]
Part Two: Peasant Subjects and Sacred Forms [eg Van Gogh's "Sower" and Gauguin's "Vision After the Sermon"]
Part Three: Catholic Idealism and Dutch Reformed Realism
Part Four: Collaboration in Arles
Part Five: Theologies of Art After Arles
Part Six: Modernist Catechism and Sacred Realism
Silverman carefully identifies and then eloquently explores all manner of comparisons and contrasts between the lives and art of Van Gogh and Gauguin within an historical, theological, and anthropological context. Hers is a magnificent achievement.
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His Holiness the Dalai Lama recommends this arcane book on the back cover of the book itself.
This book can be easily misunderstood or not understood at all. What one needs is the keys of the path, the factors of the revolution of the consciousness. Otherwise, how can we listen to the "VOICE OF THE SILENCE". It is the Voice, the Verb, the LOGOS, the supra-Monad... We need the steps in order to do the "Will of the Father", here, as it is in heaven.
We must read and re-read and meditate on this book. It is profound, exact and terribly magical!
gnosticinstitute.org
"Now, inspeaking of the teaching that we have in the Theosophical Society there is one book, by Helena Petrovna Blavatsky, ................. " Why? Because she knew that it was only the few in the hurry and the press of the everyday life, it was only the few who would really stand aside from the stream of life and try to give some thought and some time to the soul within. She translated this book from one of those priceless treasures then in the possession of the Eastern teachers of Theosophy. It is called The Book of Golden Precepts, and from it she has gathered some few of the precepts which those who really desire to develop their spiritual life will take up and study. Dedicated as it is to the few, it is only the few who really find benefit in it. It is called The Voice of the Silence. The name is in itself paradoxical, but the name in itself is a volume of teaching. It is the Voice of the Silence because it is only when the Silence and the hush come over the material part of man's life that the real Voice of the Silence can speak. It is only when man will take a little time to still his worldly life, to still his worldly thoughts, that the true small Voice which really lives in the heart of every man may make itself heard. And therefore Helena Petrovna Blavatsky gave us this book, leaving it to the few who would listen in the Silence to the Voice that would speak, and she gave it to us as the guide, the prayer book, and the very basis of our daily life." [From Report of Proceedings and Documents of the 1893 Parliament of Religions, pages 174 to 176]..........................
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I like the 'random # table' and 'combat results table' Dever uses in this book (and other RPG books of his). The book is just like a video game with all the options that you can do (Which makes those "Choose Your Own Adventure Books" I played as a kid a big joke) and many options in the battles (fight, cast a spell from your staff, flee, use item, etc.). The story is gets a little complex as your character uses his newfound powers of the moonstone to defeat an evil wizard in book 4.
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"Wigfield" concerns a broken-down town on the way to being an underwater park, thanks to the impending destruction of a nearby dam. This is simply the framework on which the authors hang their over-the-top caricatures, however.
If you enjoy deadpan delivery of the outrageous (think "Spinal Tap" or "Best In Show"), you'll dig "Wigfield."
If you were a fan of the "Strangers with Candy" you will love this book. If you hated the show, you probably weren't that smart anyway, so you might want to pick up something else. Or maybe have your servant read this to you, while you relax counting your millions, sipping Martinis in your fancy bath robe. Jerk.
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Having said that, I thought some of the main lessons, like good sportsmanship, a focus on customers and good customer relationships, are quite obvious, even though the author does present vivid cases of these being true. I would recommend reading it for the story, rather than the takeaways.
Bobby's translation of what it takes to move from leading a race into the winner's circle to leading in business is an analogy well made in this book, particularly for all racing fans who find themselves wanting to gain a winning edge in life.
Paul Pease parlays Bobby Unser's winning focus in driving to be first for the checkered flag into a shared vision for his readers of what it takes to succeed in business. Bobby's lessons learned on the track and in between race days made him a part of one of America's most winning race families in a sport that has literally killed many who took on its challenges.
Bobby's experience in the business of racing and in the business of business in his twenty years of retirement, make him an excellent teacher of valuable lessons for the lay reader. The examples of lessons learned from his years of racing provide an entertaining and enlightening background for the reader to gain perspective on each message Bobby has to offer.
Bobby is clearly a monumental character both on the track and off. Being a willing teacher of what it takes to make a difference in business as in life makes this book very satisfying to the finish.
Heffernan's novel falls short only by failing to fully exploit the oppotunities the cultish criminal enterprise offers. As he draws near the end of his tale, the focus becomes concentrated on one member of Opus Dei, rather than the order itself.
While this enables him to wrap up his novel, the reader wants more. In a sense Grisham had the same problem and reached for the same quick solution in The Firm with the "mail fraud" prosecution. But this book is, if anything, more artfully presented than Grisham's classic, and such a facile solution is a bigger loss to the reader.