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Undeterred by the hostile critical response to The Painted Word, and perhaps even encouraged by the stir the book made, Wolfe set about writing a critique of modern architecture. From Bauhaus to Our House was published in full in two issues of Harper's Magazine, then issued in book form by Wolfe's long-time publisher Farrar, Straus & Giroux in ...
The Great Gatsby received generally favorable reviews from literary critics of the day. [142] Edwin Clark of The New York Times felt the novel was a mystical and glamorous tale of the Jazz Age. [143] Similarly, Lillian C. Ford of the Los Angeles Times hailed the novel as a revelatory work of art that "leaves the reader in a mood of chastened ...
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In his 1981 book about modern architecture, From Bauhaus to Our House, Tom Wolfe called the Barcelona chair as "the Platonic ideal of the chair", and wrote that, despite its high price, owning one had become a necessity for young architects: "When you saw the holy object on the sisal rug, you knew you were in a household where a fledgling ...
The Great Gatsby. Smith first read The Great Gatsby as a high school student, but he did not fully understand it at the time. [2] In 2014, after living in Europe, Smith reread the novel for the first time in several years. [5] He came to identify with its narrator Nick Carraway and was drawn to Carraway's sense of detachment. [2]
Hermann Muthesius with his wife Anna at The Priory, Hammersmith, in 1900. Adam Gottlieb Hermann Muthesius (20 April 1861 – 29 October 1927), known as Hermann Muthesius, was a German architect, author and diplomat, perhaps best known for promoting many of the ideas of the English Arts and Crafts movement within Germany and for his subsequent influence on early pioneers of German architectural ...
Nick Carraway is a fictional character and narrator in F. Scott Fitzgerald's 1925 novel The Great Gatsby.The character is a Yale University alumnus from the American Midwest, a World War I veteran, and a newly arrived resident of West Egg on Long Island, near New York City.
Lucia Moholy struggled to receive recognition for her work. Her images were widely used for marketing and in the Bauhaus school’s sales catalogs, as well as Bauhaus-published books that she edited. [17] [15] An interest in the Bauhaus started to grow in the late 1930s, and she saw numerous catalogs of the Bauhaus printed with her lost images ...