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By Susan Sontag

Sontag's incisive intelligence, expressive brilliance, and deep interest approximately artwork, politics, and the writer's accountability to undergo witness have secured her position as probably the most very important thinkers and writers of the 20 th century.

At an analogous Time gathers 16 essays and speeches written within the final years of Sontag's existence, while her paintings was once being commemorated at the foreign degree. She writes of the liberty of literature, approximately braveness and resistance, and fearlessly addresses the dilemmas of post-9/11 the USA, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib.

David Rieff describes his mother's ardour in his foreword: "She desired to adventure every little thing, style every little thing, pass far and wide, do every thing. certainly, if I had just one be aware with which to rouse her, it'd be avidity. . . . i believe that, for her, the enjoyment of residing and the enjoyment of realizing rather have been one and the same."

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At the Same Time: Essays and Speeches

Sontag's incisive intelligence, expressive brilliance, and deep interest approximately artwork, politics, and the writer's accountability to undergo witness have secured her position as some of the most vital thinkers and writers of the 20 th century.

At an analogous Time gathers 16 essays and speeches written within the final years of Sontag's lifestyles, while her paintings was once being venerated at the overseas level. She writes of the liberty of literature, approximately braveness and resistance, and fearlessly addresses the dilemmas of post-9/11 the USA, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib.

David Rieff describes his mother's ardour in his foreword: "She desired to adventure every little thing, flavor every thing, pass in every single place, do every thing. certainly, if I had just one be aware with which to rouse her, it'd be avidity. . . . i believe that, for her, the enjoyment of dwelling and the enjoyment of figuring out relatively have been one and an analogous. "

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His closest imitators include Romeijn, Abraham Begeyn, Dirck van den Bergen early and Johannes van der Bent (1650-90); Berchem's influence was considerable and lasted long after his death. Italianates in general lar held and Berchem in particu- an exalted position in the 17th and 18th centuries and in the early 19th, losing ground only in the late 19th century and first half of the 20th. Collectors in the 18th century, especially French ones, preferred a view of Italy by Ruisdael, for instance.

Thus abandon the Dujardin, Hughtenburgh van the central group and the landscape. His style is pupils and that Karel Jan to a scene of the distinguished by fine tonal meshes or masses of many Houbraken noted that Pieter de Hooch and Jacob Ochtervelt, both from Rotterdam, trained under Berchem, probably between 1646 by southern light and strong contrasts between stipples. Later etchings Abraham by Blooteling and Jan de Visscher. followers. worked Berchem's (La Sainte Bible, 1669; Story of Venus and Adonis (Bremen, Ksthalle), (Rijksuniv, of Johannes Berchem collaborated with Nicolaes Visscher in 1658 on an impressive map of the world, for which he designed allegorical scenes of the Elements for the corners.

593 6i9 Hofstede de Groot: Hollandischen A/a/er 1907-28). C. 1 I. von trip to Luke in Haarlem, uncertain. According to is life led them return to Haarlem, where Gerrit became member of the Guild of St a Luke on 27 July 1660. Haarlem the Berckheyde brothers shared In a house and perhaps a studio as well. The idea that ix. was Job pp. his older made Germany along the Rhine, visiting Cologne. Bonn, Mannheim and finally Heidelberg. Whether this occurred before or after 1654. when Job became a master of the Guild of an extended to (London, 1829-42), Job brother Job.

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