A young woman holds her newborn son
And looks at him lovingly.
"I'll love you forever
I'll like you for always
As long as I'm living
My baby you'll be."
So begins the story that has touched the hearts of millions worldwide. Since publication in l986, Love You Forever has sold more than 15 million copies in paperback and the regular hardcover edition (as well as hundreds of thousands of copies in Spanish and French).
Firefly Books is proud to offer this sentimental favorite in a variety of editions and sizes:
We offer a trade paper and laminated hardcover edition in a 8" x 8" size.
In gift editions we carry:
a slipcased edition (8 1/2" x 8 1/4"), with a laminated box and a cloth binding on the book
and a 10" x 10" laminated hardcover with jacket.
And a Big Book Edition, 16" x 16" with a trade paper binding.
Storm Chasers meets Stranger Things An action-packed coming-of-age story of both natural disaster and the bravery it takes to face it.
When a tornado watch is issued one Tuesday evening in June, twelve-year-old Dan Hatch and his best friend, Arthur, don't think much of it. After all, tornado warnings are a way of life during the summer in Grand Island, Nebraska.
But soon enough, the wind begins to howl, and the lights and telephone stop working. Then the emergency siren starts to wail. Dan, his baby brother, and Arthur have only seconds to get to the basement before the monstrous twister is on top of them.
Little do they know that even if they do survive the storm, their ordeal will have only just begun...
In this bestselling autobiography, completed shortly before his death in 1984, Ansel Adams looks back at his legendary six-decade career as a conservationist, teacher, musician, and, above all, photographer. Written with characteristic warmth, vigor, and wit, this fascinating account brings to life the infectious enthusiasms, fervent battles, and bountiful friendships of a truly American original.
Dust Jacket : Very Good
Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.
Life Drawing is not so much a unique system of drawing the human form as it is a new way of conceptualizing it. To draw the figure, the artist must "have an idea of what the figure to be drawn is doing" -- he must "sense the nature and condition of the action, or inaction." In this book, Mr. Bridgman, who for nearly 50 years lectured and taught at the Art Students League of New York, explains in non-technical terms and illustrations in hundreds of finely rendered anatomical drawings how best to find the vitalizing forces in human forms and how best to realize them in drawing.
Mr. Bridgman begins by examining movement. After abstracting the main masses of the body -- head, chest, and hips -- into their rough geometrical equivalents, he gives complete instructions for building a simple model which mounts these masses on wire. By manipulating this scale model, the student may observe how these masses move in space and into what relationships such movement brings them.
Once the student understands how the human form moves, the author tackles the actual problems of drawing the human figure in motion. He first covers simple drawing and building of the figure, then balance, rhythm, turning or twisting, wedging, passing and locking, and the more complex relationship of the masses -- distribution, light and shade, mouldings (concave and convex), proportion and how to measure it, and movable masses. From here instruction turns to specific areas of the anatomy; the head and features, including the neck; the torso, front and back views; the abdominal arch; the shoulder girdle; the upper limbs, hands, and fingers; and the lower limbs, thigh and leg, knee, and finally foot. Every point of instruction and principle is illustrated in one of nearly 500 of Mr. Bridgman's own "life" drawings.
There is no student nor serious artist, either amateur or professional, who cannot profit greatly from Bridgman's instruction. Like his famous anatomy course at the Art Students League, it is likely to vitalize your work with the human form.
A valuable introduction to the central issues in the sociology of the arts, this work draws on sociology, art history, feminism, and literary and media studies, to explain the social nature of the arts, their production, distribution, and reception. This second edition is the result of the author's chapter-by-chapter review and updating, taking into account not only her own re-thinking on these issues but also the work that has been done in cultural studies and the sociology of the arts since the first edition appeared in 1984. Wolff considers changes in sociology, literary studies, and cultural studies, and their implications for the project of the sociology of art: the relevance of post structuralist theory for an understanding of the author/artist; and the current, and perhaps unfounded, rejection of the concept of ideology. The author also assesses the question of cultural politics in relation to debates about postmodernism, as well as the matter of identity politics with regard to gender and ethnicity. Containing a wealth of information about both past and present thinking on the sociology of art, this book will be of particular interest both to students of the arts and students of sociology. Janet Wolff is Professor of Art History/Visual and Cultural Studies at the University of Rochester. She is the author of several books on the sociology of art, including Aesthetics and the sociology of Art and Feminine Sentences: Essays on Women and Culture.