An Introduction to Oil Painting (DK Art School) by Ray Campbell Smith

By Ray Campbell Smith

No matter if you may have taken paintings sessions or by no means held a broom ahead of, An creation to grease portray will express you every little thing you must find out about operating during this demanding -- yet lucrative -- medium. Easy-to-follow tasks, proven as they have been created, educate the necessities whereas inspiring the scholar to take on more and more advanced options. every one quantity of The DK artwork tuition sequence makes a speciality of a particular artwork medium and topic, so that you can select accurately what you need to research. while entire, the sequence will supply the widest number of particular topics -- from acrylic determine to grease portrait, and from pastel nonetheless existence to watercolor panorama. construct your individual inner most paintings college at your residence library.

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For detailed discussion of this symbolism, see Susan Niditch, ‘Eroticism and Death in the Tale of Jael’, in Gender and Difference in Ancient Israel (ed. Peggy L. Day; Minneapolis: Fortress Press, 1989), pp. 43-57; Bal, Murder and Difference, pp. 100-134; Robert Alter, The Art of Biblical Poetry (New York: Basic Books, 1985), pp. 43-49; Fewell and Gunn, ‘Controlling Perspectives’, pp. 392-94. Some go so far as to suggest that Jael and Sisera had sexual intercourse (Pamela Tamarkin Reis, ‘Uncovering Jael and Sisera: A New Reading’, SJOT 19 [2005], pp.

106-21. ), Reasoning with the Foxes, pp. 37-67. ), A Feminist Companion to Judges, pp. 231-35. — The Israelite Woman: Social Role and Literary Type in Biblical Narrative (Sheffield: JSOT Press, 1985). ), A Feminist Companion to Judges (Sheffield: Sheffield Academic Press, 1993). Bronner, Leila Leah, ‘Valorized or Vilified? ), A Feminist Companion to Judges, pp. 72-95. , The Book of Judges (New York: Ktav, 1970 [1903]). ’, CBQ 43 (1981), pp. 14-29. Coogan, Michael David, ‘A Structural and Literary Analysis of the Song of Deborah’, CBQ 40 (1978), pp.

Do the fine clothes worn by Jael—the elegant billowy white dress, with full sleeves and décolleté, the flowery sash around her waist and the elaborate headdress—convey to the viewer something about her? Does her ornate attire defy the connection between the woman and the bloody deed? She wears white, which typically symbolizes purity. Is she, as God’s instrument, above moral reproach, a femme forte ‘most blessed of women’? Or is this part of the femme fatale’s guile? Is she not what she seems, which is precisely what the unsuspecting Sisera discovers about her?

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