John Richardson Bücher

Die Geschichte spielt im 18. Jahrhundert und verbindet historische Ereignisse mit fiktiven Elementen. Im Mittelpunkt steht der Konflikt zwischen britischen Kolonisten und den indigenen Völkern Nordamerikas. Der Protagonist, ein britischer Offizier, sieht sich nicht nur militärischen Herausforderungen gegenüber, sondern auch persönlichen Dramen und kulturellen Spannungen. Die Erzählung thematisiert Loyalität, Verrat und die Komplexität der Beziehungen zwischen den Kulturen, während sie die rauen Landschaften und die Herausforderungen der damaligen Zeit lebendig beschreibt.

Zusammenarbeit mit Marylin McCully, Übersetzung von Linda Gränz, zahlreiche Abbildungen, 528 Seiten im Schuber.

John Richardson, ein durchschnittlicher Hobbygolfer, setzt sich das Ziel, innerhalb eines Jahres Handicap 0 zu erreichen, ohne Beruf und Familie zu vernachlässigen. Mit humorvollen Erzählungen beschreibt er sein Training und die Vorstellung, dass der berühmte Golfer Severiano Ballesteros ihn begleitet, bis er schließlich seine beste Golfrunde spielt.

"My work is like a diary," Picasso once told John Richardson. "To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius. Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work. Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon. This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement. Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

Hugh Martin... leads us to a fuller and richer understanding of the person, ministry and sacrifice of Jesus - and with that a deeper faith and a more fervent love for him. This, then, is a work to treasure, one that repays reading and re-reading. Sinclair B. Ferguson