SKU: 39416584821

spionerende vogels vlakbij een slapende hond henriette ronner knip

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spionerende vogels vlakbij een slapende hond henriette ronner knipOntdek de fijnzinnigheid en gevoeligheid van het werk "Kat die vogels bespiedt bij een slapende hond" van de getalenteerde Henriette Ronner Knip, een gerenommeerde kunstenares bekend om haar levendige en emotionele dierportretten. Dit schilderij, met zijn nieuwsgierige kat en vredig slapende hond, roept een moment van rust en zachte observatie op, waarbij elk detail zorgvuldig is uitgewerkt. De warme tinten en het lichtspel verfraaien deze intieme

Ontdek de fijnzinnigheid en gevoeligheid van het werk "Kat die vogels bespiedt bij een slapende hond" van de getalenteerde Henriette Ronner-Knip, een gerenommeerde kunstenares bekend om haar levendige en emotionele dierportretten. Dit schilderij, met zijn nieuwsgierige kat en vredig slapende hond, roept een moment van rust en zachte observatie op, waarbij elk detail zorgvuldig is uitgewerkt. De warme tinten en het lichtspel verfraaien deze intieme scène en eren de virtuositeit van Ronner-Knip, die de essentie van haar onderwerpen wist vast te leggen.

Henriette Ronner-Knip, geboren in 1821 in Amsterdam, is een iconische figuur in de dierenschilderkunst van de 19e eeuw. Geïnspireerd door het realisme, wist ze zich te onderscheiden door haar vermogen om ziel in haar werken te blazen. Haar bloeiende carrière in Parijs werd gekenmerkt door schilderijen die technische precisie en charme combineren, vooral in de weergave van katten en honden. Haar werken, zoals de kat die speelt of slapende kat, getuigen van haar passie voor het huiselijke leven en de interacties tussen dieren.

Een kunstdruk van "Kat die vogels bespiedt bij een slapende hond" aanschaffen betekent niet alleen uw interieur verrijken met een scène vol zachtheid en sereniteit, maar ook hulde brengen aan een kunstenares die de kunstgeschiedenis heeft beïnvloed met haar unieke gevoeligheid. Dit werk is ideaal voor alle liefhebbers van dierkunst en voor wie een vleugje elegantie en warmte aan hun leefruimte wil toevoegen. Ontdek ook alle werken van Henriette Ronner-Knip om haar artistieke universum verder te verkennen, of laat u verleiden door de tederheid van pride of mother, een ander van haar iconische creaties.

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SKU: 39416584821

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4.2 ★★★★★
Based on 17 reviews
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D
Verified Purchase
David R. Papke
Draper, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Port Orchard, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Verified Purchase
Matt M.
Lowell, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
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J. Christian
Fort Morgan, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
C
Verified Purchase
Classics professor
Whiting, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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