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This stunning catalogue documents and accompanies an exhibition held at the Kimbell Art Museum that represents the first comprehensive survey of the history of private art collecting in Texas.

Forensic Biology, Third Edition, provides students with a general understanding of forensic biology, particularly in forensic serology and forensic DNA analysis, and addresses rapid advancements in the field over the past few years. The book is divided into 26 chapters that are designed to be covered in a single-semester course for students majoring in forensic science, with the aim of equipping students with the knowledge needed to understand and apply new real-world techniques and methods to prepare them for entry into the field. The third edition: Provides clear explanations of the principles involved in forensic identification and the analysis of biological evidence Explains the techniques used in forensic body fluid identification and DNA profiling, both in the field and in the laboratory Discusses the benefits and limitations of various forensic biology techniques Includes over four hundred color illustrations Includes over three thousand in-text citations This updated and comprehensive volume on forensic biology is suitable for use both in the classroom and as a reference for practicing professionals.

Cet ouvrage est une réédition numérique d’un livre paru au XXe siècle, désormais indisponible dans son format d’origine.

Examines the interaction of the economic, political and social change processes within Europe which are bringing about fundamental transformations in rural areas. The authors expand on this view of rural Europe, and place its significance within the broader field of rural studies.

The "point" of Impressionist art was to capture the fleeting moment, the transient effect of a certain place, person or time. Impressionist artists worked on site with speed and directness, hoping to distinguish their works with a new freshness, immediacy, and truthfulness. Yet the paintings they exhibited were in fact almost always completed in the studio later. This beautifully illustrated book investigates for the first time works that might truly be called Impressions--paintings that appear to be rapid transcriptions of shifting subjects but were nonetheless considered finished by their makers. Renowned Impressionist scholar Richard R. Brettell identifies and discusses Impressions by some of the best-known artists of the period, including Manet, Monet, Renoir, Sisley, Morisot, Degas, Pissarro, and Caillebotte. The book surveys the various practices of individual artists in the making, signing, exhibiting, and selling of Impressions. Brettell discusses the pictorial theories behind the paintings, the sales strategies for them, and the various forms they took, including works completed in one sitting, "apparent" Impressions, and repeated Impressions. In a concluding chapter, the author considers a small group of works by Vincent van Gogh, who painted with an almost fanatical rapidity and was the only major post-Impressionist painter to push the aesthetic of the Impression even further.

"Humble and colossal," as his friend Cezanne described him, Camille Pissarro is at once the most important and the least familiar of the leading Impressionist painters. As a mentor to that group, which he helped to convene, Pissarro was responsible for drafting the statutes of the artists' cooperative that launched the famous Impressionist exhibitions, which were the first to take art outside the academic confines of Paris' salon exhibitions; he was also the only painter to participate in all eight of those landmark shows, from 1874 to 1886, and was the first painter to develop and sustain the plein air practice for which the Impressionists are famed. This volume presents Pissarro as one of the great pioneers of modern art, appraising his career through five thematic and chronological chapters that offer a tour of his preferred landscapes and cities: "On the Road to Impressionism," "Louveciennes-London-Louveciennes 1869-72," "Pontoise Revisited 1872-82," "Eragny Landscapes 1884-1903" and "City Views." It includes essays by some of the most renowned Pissarro scholars: Richard R. Brettell, who writes on the artist's involvement with anarchism; Joachim Pissarro (one of the authors of the Pissarro catalogue raisonne) on Monet and Pissarro's relationship in the 1890s; and Guillermo Solana on the motif of the road in Pissarro. Born on the island of Saint Thomas in the Antilles into a wealthy family of Jewish origin, Camille Pissarro (1830-1903) studied painting in Paris and Venezuela. He met Claude Monet, Auguste Renoir and Alfred Sisley in 1859. Pissarro acted as "pater familias" not only to the Impressionist group, but also to the major Post-Impressionists, including Georges Seurat, Paul Cezanne, Vincent van Gogh and Paul Gauguin.

Now with SAGE Publishing! Cultural Anthropology integrates critical thinking, explores rich ethnographies, and prompts students to skillfully explore and study today’s world. Readers will better understand social structures by examining themselves, their own cultures, and cultures from across the globe. Serena Nanda and Richard L. Warms show how historical studies and anthropological techniques can help students think about the nature, structure, and meaning of human societies. With a practical emphasis on areas such as medicine, forensics, and advocacy, this book takes an applied approach to anthropology. The authors cover a broad range of historical and contemporary theories and apply them to real-world global issues. The Twelfth Edition includes a wealth of new examples, along with updated statistical information and ethnographies that help students see the range of human possibilities. This title is accompanied by a complete teaching and learning package.

Richard Stites explores the dramatic shift in the history of visual and performing arts that took place in the last decades of serfdom in Russia in the 1860s and revisualises the culture of that flamboyant era.