2020, ISBN: 9780375412172

Hardcover

Sattar Bahlulzadeh (Sattar Bahlulzade) Art BookMinistry of Culture and Tourism of the Republic of Azerbaijan - Sattar Bahlulzade's home museum.text is in RussianPaperback6.7 x 8.5 inchesS… More...

Sattar Bahlulzadeh (Sattar Bahlulzade) Art BookMinistry of Culture and Tourism of the Republic of Azerbaijan - Sattar Bahlulzade's home museum.text is in RussianPaperback6.7 x 8.5 inchesSattar Bahlulzade (1909-1974)Sattar Bahlulzade was known for his unpredictability, but no one anticipated such a volatile reaction to criticism. The occasion was the opening of a new exhibition at the Baku Art Museum. Sattar had submitted one of his paintings-a view of the sea-but the work had been rejected. One of the organizing committee members told him that he had "misinterpreted" nature and that his painting needed more work."You people paint landscapes without even leaving your studios," Sattar shot back. "You just copy from postcards and photographs. I don't think you even know what nature looks like!" Suddenly, he kicked his painting, damaging it, and stomped off.This confrontation, which happened in the 1950s, illustrates Sattar's passion to create art on his own terms. As one of the first Azerbaijani artists to break away from the government-mandated style of Social Realism, he is known for developing his own unique style of painting landscapes. Though he passed away 25 years ago, his 90th Jubilee will be celebrated this year in Baku.Sattar began his professional education at the National Art Institute in Baku (1927-1931). Then he worked with Azim Azimzade at the newspaper called "Communist" for the following two years. In 1933, acting on Azimzade's advice, he went to Moscow to continue his education in the Drawing Department at the Moscow Fine Arts Institute. There he studied in the studio of V.A. Favorsky. During the summer workshops in Crimea, Russian painter Marc Chagall saw some of Sattar's sketches and suggested that he transfer to the Institute's Painting Department. So he did.In 1940, Sattar worked on "Babak's Revolt" as his final project. (Babak refers to the 7th-century figure who is considered a great hero in the region because he led a resistance against the Arabic invasion. Eventually he was captured and executed.) Even though Sattar exhibited this work, he didn't have a chance to defend his diploma because World War II broke out in 1941 and he had to remain in Baku. After the war was over, he received several invitations from Moscow to return to defend his diploma, but he never did. "Does an artist need a diploma to prove his worth?" he asked.Most of Sattar's life and creative activity were spent in Amirjan, a village about half an hour's drive east of Baku near the sea. Like the character of Majnun in the Eastern legend of "Leyli and Majnun," Sattar spent most of his time outdoors in nature, rarely going into the city or seeing his friends and family. Majnun wandered throughout nature because he was lovesick; Sattar was trying to grasp nature's beauty and capture it on canvas. He never married and didn't have much of a personal life, but those who close to him got used to his eccentricities.Though he experimented in various genres of art, his unique talent was landscape painting. At first, he used to paint nature realistically as he had been taught. But soon he developed his own style to express the emotional feeling it invoked in him. This new style was more surreal and cosmic-in fact, some of his paintings are reminiscent of photos of the earth taken from space. Using a combination of pastel colors and bold strokes, he made nature look more colorful and lively, and sometimes even more fantastic, than it did in reality.Sattar's ability to closely observe things enabled him to create subtle, sophisticated renderings of nature. He would gain delight from the bits of beauty that were expressed in stones, trees and flowers-a scene that might seem quite ordinary to other people. He would then transfer his delight onto canvas so that others could enjoy it as well.One such experience gave birth to his painting "The Tears of Kapaz." In 1962, Sattar was traveling with his artist friends Tahir Salahov and Togrul Narimanbeyov. They stopped in Ganja to see Goygol and Kapaz. (Kapaz is a nearby mountain. In the 12th century, a strong earthquake in the region created a cascade of lakes, including Goygol and Maralgol.)Kapaz was very misty the day that they happened to be there and Sattar was quite impatient to see the sun rise behind the mountain. The following morning, he witnessed the sun rising while the moon was still shining down from the other side of the mountain. The scene impressed him so much that after they returned to Baku, he tried to recreate his emotions by painting the scene.Another work, "The Wish of the Land," was inspired by a visit to Lake Jeyranbatan that same year. This lake supplied Baku with fresh water. Rumors were spreading that the lake was drying up, so Sattar decided to go there and have a look for himself. While walking around, he noticed a tiny flower growing out of the dry parched land. He sensed how much the flower was longing for that deserted land to become a flowery meadow. Back in his studio, he painted "The Wish of the Land." The work seems to say, "Where there is water, there must be beauty."As the founder of contemporary Azerbaijani landscape painting, Sattar loved to travel around the country exploring its beauty. Once he remarked, "I don't need to go to Tahiti like Gauguin. Others don't need to either. My inspiration comes from my own country and people."Many of his works depict specific areas of Azerbaijan. For instance, "Bazarduzu Outskirts" features Bazarduzu, the highest point of the Grand Caucasus Mountains. Other examples include "Old Shamakhi" and "Autumn in Nakhchivan." Each one tries to show the tension that exists between humanity and nature. But of all Azerbaijan, Sattar loved his native village Amirjan the most and had no desire to leave it. When he was allocated a two-room apartment in the "House of Painters" in Baku, he gave the apartment to his friend Tahir Salahov.Sattar was known for having several unique traits; one of them was his very long hair. It is said that he cut it only twice during his lifetime. The second time was in 1973, during a serious illness. The first time took place when Azerbaijani sculptor Fuad Abdurrahmanov decided to make a statue of Sattar. The artist suspected that Fuad was more infatuated with his long hair than with his personality, so he showed up in Fuad's studio having cut off his hair. Needless to say, Fuad was quite surprised. Today the white marble statue commemorating Sattar depicts him with short hair. The statue is on display at the National Art Museum.Sattar was also known for his generosity. He often gave his paintings away to people who admired them. Foreigners who came to Azerbaijan who were interested in art would usually visit Sattar's studio. (Though the officials disliked this, they couldn't go against the guests' wishes.) Once an Italian wanted to buy one of his works. Sattar decided to give the work to him instead. The Italian hesitated, "I can't accept such a valuable work without giving anything in return." Sattar answered, "I never give cheap presents." That put an end to the discussion.An exhibition of Sattar's works was held at the Prague National Gallery in 1964. After the exhibition, five of the works were selected for inclusion in the museum's permanent collection. Sattar refused to accept an honorarium for the works, offering them as presents to the Gallery. These stories of his generosity correspond to his simple lifestyle. He was known for not caring about material things like money, clothes or anything but the cheapest of cigarettes.Sattar won many prizes for his art. He received the title of Honored Art Worker of the Republic in 1960 and was named People's Artist in 1963. When he won the State Prize in 1972, however, he refused to accept it. When the prize money arrived at his home in Amirjan, he sent it back.He was upset because his efforts to meet with the Secretary of the Communist Party in Azerbaijan, Heydar Aliyev, had been unsuccessful. Sattar had wanted to tell him about the general problems of artists in Azerbaijan. Only when he threatened to move to Georgia did his friend Tahir Salahov manage to set up the desired meeting. (It would have been considered a scandal if an artist of Sattar's stature had left Azerbaijan.)When Tahir and Sattar arrived at the meeting, the Secretary for Cultural Affairs was there as well. He extended his hand to Sattar, who coldly refused it-a gesture of extraordinary disdain at the time. (The Secretary had been the one who prevented Sattar from being able to meet with Aliyev.) After a productive meeting with Aliyev, Sattar agreed to accept the State Prize money and again exhibit his works in Azerbaijan.In the 1970s, an important exhibition, "The Achievements of Soviet Azerbaijan," was to be held in Baku. One of the Full Members of the Politburo Fyodr Kulakov was to come from Moscow to attend the event. Well-known Azerbaijani artists were commissioned to decorate the hall.The government was supposed to supply the artists with materials to make the banners and coats of arms. Instead of natural silk, the artists were given artificial silk. It was impossible to paint because the colors wouldn't soak into the material. So the decorations looked awful.The day before the opening ceremony, the government officials arrived at the exhibition to give their official approval. Seeing the inferior quality of the decorations, they started blaming the artists, who remained silent for fear of losing their government commissions.Sattar was there among the artists even though he had not been invited to participate. He burst into anger and accused them for keeping silent. He told them that Stalin had killed Husein Javid [an outstanding poet], but Javid was not dead-he still lived in his poems. Sattar knew that even though the people in power still carried out Stalin's aims, they didn't have the power to kill like Stalin had had. Sattar urged the artists to stand up and explain what the real problem was.In 1973, Sattar fell extremely ill with a case of blood poisoning. Even though he received treatment at a hospital in Sabunchu [a district in Baku], he didn't recover. The head doctor of the hospital said that the only other option was for him to be treated in Moscow. But the officials didn't want to cover the financial expenses of such a trip, so Sattar's friends made arrangements to organize the trip for him. Gulmurad, who ran a local teahouse, took him to Moscow where he underwent the operation successfully.When Sattar passed away in 1974, he was not buried in the Avenue of the Honored Ones as might have been expected. Instead, according to his will, he was laid to rest in his native village of Amirjan, next to his mother's grave. The monument on his grave-a statue of Sattar standing and holding two empty picture frames-was made by Omar Eldarov. Today, a bronze bust of Sattar stands in front of the Amirjan Cultural House and a street in Baku takes his name as well.Sattar's legacy includes countless works that have been exhibited all over the world, including personal exhibitions in the U.S., England, Turkey and Russia. He also created around 30 sketch diaries that contain his reflections on life and art.----------------------------------Sattar Bahlulzade (15 December 1909 14 October 1974) was the founder of contemporary Azerbaijani landscape painting.He began his professional education at the National Art Institute in Baku (19271931). In 1933, he went to Moscow to continue his education in the Drawing Department at the Moscow Fine Arts Institute. There he studied in the studio of Vladimir Favorsky. During the summer workshops in Crimea, Russian painter Grigory Shegal saw some of Sattar's sketches and suggested that he transfer to the Institute's Painting Department. So he did.Though he experimented in various genres of art, his unique talent was landscape painting. At first, he used to paint nature realistically as he had been taught. But soon he developed his own style to express the emotional feeling it invoked in him. This new style was more surreal and cosmic. In fact, some of his paintings are reminiscent of photos of the earth taken from space. Using a combination of pastel colors and bold strokes, he made nature look more colorful and lively, and sometimes even more fantastic, than it did in reality.Sattar loved to travel around his country Azerbaijan exploring its beauty. Once he remarked, "I don't need to go to Tahiti like Gauguin. My inspiration comes from my own country and people."Many of his works depict specific areas of Azerbaijan. For instance, "Bazarduzu Outskirts" features Bazarduzu, the highest point of the Grand Caucasus Mountains. Other examples include "Old Shamakhi" and "Autumn in Nakhchivan."Bahlulzade won many prizes for his art. He received the title of Honored Art Worker of the Republic of Azerbaijan in 1960 and was named People's Artist in 1963.In 1973, Sattar fell extremely ill with a case of blood poisoning. When Sattar died in 1974, he was not buried in the Avenue of the Honored Ones as might have been expected. Instead, according to his will, he was laid to rest in his native village of Amirjan (Azerbaijan), next to his mother's grave.Sattar's legacy includes countless works that have been exhibited all over the world, including personal exhibitions in the U.S., England, Turkey and Russia. He also created around 30 sketch diaries that contain his reflections on life and art.Most of his works are exhibited in museums all over Azerbaijan, particularly in the cities like Baku, Ganja and Nakhchivan. Some of his most brilliant works are: Gudialchay valley (1953), Evening above Caspian Sea (1959), Spring of my Native Land (1967)., 2.5, Revell, 2020. Paperback. New. A clean crisp well preserved 2020 Revell Books softcover in a fine tight binding. Little to no shelf wear. Text is bright and free of marks or underlining. Fast shipping in a secure book box mailer with tracking. We live in a time of unprecedented change when it comes to women's lives. All around the world, women are demanding the safety, respect, and opportunities they have always deserved but seldom grasped. Have you ever stopped to wonder, "Where do I fit into this story?" Ronne Rock is a good person to ask. In this stirring book, she takes you on a global adventure to discover your divine design as a woman of influence and impact. Through powerful and personal stories of women in Africa, Asia, the Americas, and the Caribbean, you'll learn what it means to lead in a world where leadership isn't easy, how to serve with grace in cultures that aren't always graceful, and how to embrace your God-given physical, emotional, and spiritual DNA. As you discover the lives of real women who are influencing their communities with grace and gumption--even in countries where oppression weighs most heavily--you'll feel inspired to reclaim your God-designed influence and impact right where you are., Revell, 2020, 6, New York, U.S.A.: Dell Pub Co, 1993. Book. Near New. Soft cover. First Printing. A Dell Historical romance paperback 1st printing, printed February 1993. Condition is very good plus. Has creases on spine, light edge wear,. ..**We have other titles by this author in stock and give discounts in shipping on additional books, please contact us for more information**.......*We have other titles in this genre in stock and give discounts in shipping on additional books sent in the same package, please contact us for more info.**.......WRAPPED IN PLASTIC BAG TO PROTECT CONDITION OF BOOK....Summary - .SPIRITS FORGED OF STEEL...Despite her disguise as Silver Jones, tavern maid, Lady Selena Hardwick-Jones was captured by bounty hunters combing the Georgia coast for the runaway with hair pale as spun silver and eyes like soft brown velvet. Forced onto a ship headed for her home in the West Indies, Silver vowed to make her break for freedom. But in the vessel's brash owner she found a will to match her own. Major Morgan Trask was determined to deliver his lovely human cargo safely to the aristocrat he had long admired.... HEARTS AFRAID TO FEEL...Was the ship's dashing captain Silver's stern captor--or her gallant protector? Tormented by doubts, tantalized by desire, Silver's emotions were in turmoil. For a secret shame kept her from telling Morgan Trask the real reason for her flight, all the while fearing--and yearning--to trust him. SOULS LONGING TO LOVE...As they sailed into treacherous waters, their very lives in peril, Silver and Morgan could no longer deny their hunger for each other... as they surrendered to a passion that burned hotter than the...., Dell Pub Co, 1993, 6, New York, NY: Scholastic Book Services, 1993. Paperback. Fine. First Edition. 4to - over 9¾" - 12" tall. Reading level: Ages 4 - 8 years old. PreSchool - Grade 2. Sheila is not afraid of anything. She walks backwards with her eyes closed, steps on every crack, growls at stray dogs, and bares her teeth at stray cats. But when Sheila becomes lost on the way home from school, it is her "scaredy cat" sister, Louise, who shows her a thing or two about bravery and sibling love. Fearless mouse Sheila is not afraid of anything, and she flaunts her confidence by confronting real and imagined terrors daily (her imagined ones are particularly creative and funny). Finally Sheila decides on a new challenge: she will go home from school a new way. When she gets hopelessly lost, her courage falters, but scaredy-cat little sister Louise has been surreptitiously following Sheila, and proves her own bravery by leading her sister safely home. - School Library Journal. 28 pages.., New York, NY: Scholastic Book Services, 1993, 0, New York. 2003. April 2003. Knopf. 1st American Edition. Very Good in Dustjacket. 0375412174. 421 pages. hardcover. Jacket design by Gabriele Wilson. keywords: Literature America. FROM THE PUBLISHER - Jane Smiley brings her extraordinary gifts-comic timing, empathy, emotional wisdom, an ability to deliver slyly on big themes and capture the American spirit - to the seductive, wishful, wistful world of real estate, in which the sport of choice is the mind game. Her funny and moving new novel is about What happens when the American Dream morphs into a seven-figure American Fantasy. Joe Stratford is someone you like at once. He makes an honest living helping nice people buy and sell nice houses. His not-very - amicable divorce is finally settled, and he's ready to begin again. It's 1982. He is pretty happy, pretty satisfied. But a different era has dawned; Joe's new friend, Marcus Burns from New York, seems to be suggesting that the old rules are ready to be repealed, that now is the time you can get rich quick. Really rich. And Marcus not only knows that everyone is going to get rich, he knows how. Because Marcus just quit a job with the IRS. But is Joe ready for the kind of success Marcus promises he can deliver? And what's the real scoop on Salt Key Farm? Is this really the development opportunity of a lifetime? And then there's Felicity Ornquist, the lovely, feisty, winning (and married) daughter of Joe's mentor and business partner. She has finally owned up to her feelings for Joe: she's just been waiting for him to be available. The question Joe asks himself over and over, is, Does he have the gumption? Does he have the smarts and the imagination and the staying power to pay attention - to Marcus and to Felicity - and reap the rewards? GOOD FAITH captures the seductions and illusions that can seize America during our periodic golden ages (every Main Street an El Dorado). To follow Joe as he does deals and is dealt with in this newly liberated world of anything goes is a roller-coaster ride though the fun park of the 1980s. It is Jane Smiley in top form. inventory #19197 ISBN: 0375412174., 0<