How artists work, how they ritualize their days with the comforting (mundane) details of their lives: their daily routines, fears, dreams, naps, eating habits, and other prescribed, finely calibrated "subtle maneuvers" that help them use time, summon up willpower, exercise self-discipline and keep themselves afloat with optimism.
Artists considering how they work--in letters, diaries, interviews, beguilingly compiled and edited by Mason Currey. Portraits that inspire, amuse, and delight and that reveal the profound fusion of discipline and dissipation through which the artistic temperament is allowed to evolve, recharge, emerge.
From Beethoven and Kafka to George Sand, Picasso,
Artists considering how they work--in letters, diaries, interviews, beguilingly compiled and edited by Mason Currey. Portraits that inspire, amuse, and delight and that reveal the profound fusion of discipline and dissipation through which the artistic temperament is allowed to evolve, recharge, emerge.
From Beethoven and Kafka to George Sand, Picasso,
Daily Rituals: How Artists Work
ΠΡΠΎΡ ΡΠΎΠ²Π°Ρ Π·Π°ΠΊΠΎΠ½ΡΠΈΠ»ΡΡ
ΠΠΏΠΈΡΠ°Π½ΠΈΠ΅ ΠΈ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ
Artists considering how they work--in letters, diaries, interviews, beguilingly compiled and edited by Mason Currey. Portraits that inspire, amuse, and delight and that reveal the profound fusion of discipline and dissipation through which the artistic temperament is allowed to evolve, recharge, emerge.
From Beethoven and Kafka to George Sand, Picasso, Woody Allen and Agatha Christie; from Leo Tolstoy and Henry James to Charles Dickens and John Updike, here are writers, composers, painters, choreographers, playwrights, philosophers, caricaturists, comedians, poets, sculptors, and scientists on how they create (and avoid creating) their creations.
- Π’ΠΈΠΏ ΠΎΠ±Π»ΠΎΠΆΠΊΠΈ ΠΡΠ³ΠΊΠΈΠΉ ΠΏΠ΅ΡΠ΅ΠΏΠ»ΡΡ
- ΠΠΎΠ»ΠΈΡΠ΅ΡΡΠ²ΠΎ ΡΡΡΠ°Π½ΠΈΡ 304
- ΠΠ΅Ρ, Π³ 216
- Π Π°Π·ΠΌΠ΅Ρ 2x13x19.5
- ΠΠΎΠ΄ ΠΈΠ·Π΄Π°Π½ΠΈΡ 2020
- ISBN 978-1-52-905996-0, 978-1-5290-5996-0
- ID ΡΠΎΠ²Π°ΡΠ° 2871499
ΠΡΠ·ΡΠ²Ρ
ΠΠ½ΠΈΠ³Π° Π΄Π»Ρ ΡΠ΅Ρ
, ΠΊΠΎΠΌΡ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½Π° Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΡ Π²Π΅Π»ΠΈΠΊΠΈΡ
Π»ΡΠ΄Π΅ΠΉ
ΠΠ½ΡΠ΅ΡΠ΅ΡΠ½Π°Ρ ΠΊΠ½ΠΈΠ³Π°, ΠΊΠΎΡΠΎΡΠ°Ρ ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ Π² ΡΠ΅Π±Π΅ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ Π³Π»Π°Π² ΠΎ ΡΠ°Π·Π»ΠΈΡΠ½ΡΡ
ΠΏΠΈΡΠ°ΡΠ΅Π»ΡΡ
, Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°Ρ
, ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°Ρ
ΠΈ Π΄ΡΡΠ³ΠΈΡ
Π²ΡΠ΄Π°ΡΡΠΈΡ
ΡΡ Π»ΠΈΡΠ½ΠΎΡΡΠ΅ΠΉ. ΠΠ°ΠΆΠ΄Π°Ρ Π³Π»Π°Π²Π° ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΡΠ°Π·Π½ΡΠΌ Π»ΡΠ΄ΡΠΌ ΠΈ ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΎ ΠΎΠΏΠΈΡΡΠ²Π°Π΅Ρ ΠΈΡ
ΠΏΡΠΈΠ²ΡΡΠΊΠΈ, ΠΈΠ½ΡΠ΅ΡΠ΅ΡΡ, ΡΡΠ»ΠΎΠ²ΠΈΡ, Π² ΠΊΠΎΡΠΎΡΡΡ
ΠΎΠ½ΠΈ ΡΠΎΠ·Π΄Π°Π²Π°Π»ΠΈ ΡΠ²ΠΎΠΈ ΡΠ΅Π΄Π΅Π²ΡΡ. ΠΠ½ΠΈΠ³Ρ Π»Π΅Π³ΠΊΠΎ ΠΈ ΡΠ΄ΠΎΠ±Π½ΠΎ ΡΠΈΡΠ°ΡΡ, ΠΎΠ½Π° Π²Π΅ΡΡΠΌΠ° ΠΊΠΎΠΌΠΏΠ°ΠΊΡΠ½Π°Ρ. Π’Π°ΠΊΠΆΠ΅ Π² ΠΊΠ½ΠΈΠ³Π΅ ΡΠΎΠ΄Π΅ΡΠΆΠ°ΡΡΡ ΠΈΠ»Π»ΡΡΡΡΠ°ΡΠΈΠΈ ΠΈ ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΡ
Π»ΡΠ΄Π΅ΠΉ ΠΈ ΠΈΡ
Π΄ΠΎΠΌΠΎΠ², ΡΡΡΠ΄ΠΈΠΉ, ΠΈ Ρ.Π΄.