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Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design.The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design.The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.

For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving, radiating legend Mike Cooper in Lisbon, Portugal. Sharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable vernacular shades and musical forms from Portugal's antiquity.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

Originally planned as the town of Defiance, Glenwood Springs was renamed for its natural hot springs along the banks of the Colorado River and for Glenwood, Iowa, the hometown of Isaac Cooper. In the early 1880s, Cooper had the vision of a spa resort here but not the finances to turn his dream into a reality. He sold out to Walter Devereux and his investors, who saw the construction of the Hot Springs Pool, Hotel Colorado, and Vapor Caves completed. Once railroads arrived in 1887, Glenwood Springs became a playground for wealthy travelers who sought out the hot springs as well as other recreational opportunities, such as hunting, fishing, hiking, and horseback riding. With beautiful scenery, caves to explore, and community festivals, visitors today sustain Glenwood's economy. Located at the confluence of the Colorado and Roaring Fork Rivers, our community has also served as a retail hub for the surrounding area from the 1880s to the present.

Play is the most effective way for children to develop critical life skills such as creative thinking and social problem solving. In this book, Betty Jones, well-known for her work on play, is joined by her colleague Renatta Cooper to offer a radical vision of early schooling―an antidote for the current pressure of standardized education.Practicing what it preaches, Playing to Get Smart will be a playful reading experience for teachers and parents alike. With jokes, riddles, and stories sprinkled throughout, the authors show how important play is for children of all ethnic and socioeconomic groups, from birth to age 8. A provocative challenge to teachers and parents of young children, Playing to Get Smart: Explains why teachers need to provide opportunities for quality play and why parents need to understand the benefits of play for their children. Demonstrates how play offers opportunities for initiative, leadership, conflict resolution, and peacemaking. Addresses the negative effects of traditional schooling, particularly on poor children.

The New York Times bestselling Psychic Eye Mystery series continues with P.I. Abby Cooper facing the ultimate locked room murder...Professional psychic and FBI consultant Abby Cooper has used her inner visions to get her out of many a scrape—and solve many a crime—but she’s about to face a murder scene that will put all her powers to the test. Abby’s husband Dutch has a side business providing security and building panic rooms for wealthy clients. One morning, one of Dutch’s partners, Dave, goes missing on his way to meet a client. Abby’s intuition tells her something terrible has happened to him.Then two of Dutch’s clients are found brutally murdered...inside their brand new panic room, and most of the evidence points to Dave as the killer.  With the authorities racing to find and arrest him, Abby's got to use all her intuitive prowess to get to Dave first, discover the real killer, and save her husband's business. This is one case where Abby is positive there’s far more to this mystery than meets her inner eye...

Gloria in Excelsis Deo presents a series of 68 paintings and 139 drawings that explore Frank Mason's vision of the life of Christ. Also included is an introduction by James Cooper of the Newington-Cropsey Foundation. Mason takes his place in a long line of old masters who have interpreted the New Testament - Fra Angelico, Memling, Michelangelo, Raphael, and Rembrandt. Like them, Mason fused the dignity of his craft with the expression of his faith. This collection of paintings and drawings represents Mason's life-long labor. Each chapter is accompanied by the scriptural passage which inspired it, and is augmented with the artist's commentary. Mason's words give insight into his choice of subjects and interpretation, as well as intimate details about the painting process and how the work evolved both spiritually and artistically. Gloria in Excelsis Deo is destined to be one of the most important art books of the season.

Originally planned as the town of Defiance, Glenwood Springs was renamed for its natural hot springs along the banks of the Colorado River and for Glenwood, Iowa, the hometown of Isaac Cooper. In the early 1880s, Cooper had the vision of a spa resort here but not the finances to turn his dream into a reality. He sold out to Walter Devereux and his investors, who saw the construction of the Hot Springs Pool, Hotel Colorado, and Vapor Caves completed. Once railroads arrived in 1887, Glenwood Springs became a playground for wealthy travelers who sought out the hot springs as well as other recreational opportunities, such as hunting, fishing, hiking, and horseback riding. With beautiful scenery, caves to explore, and community festivals, visitors today sustain Glenwood's economy. Located at the confluence of the Colorado and Roaring Fork Rivers, our community has also served as a retail hub for the surrounding area from the 1880s to the present.