LITMIR.BIZ

Роль кальция в организме очень велика. Он формирует скелет, влияет на процессы свертывания крови и обмен воды, нормализует обмен углеводов и хлорида натрия. Регулирует мышечное сокращение и секрецию гормонов, снижает уровень проницаемости стенок сосудов, обладает противовоспалительным действием, способствует регулированию давления. Недостаток или избыток кальция нарушает кислотно-щелочной баланс в организме… Поступление кальция в организм человека должно происходить постоянно – с рождения и до глубокой старости. Особенно важен кальций для детей, ведь их косточки активно растут. Кальций относится к трудно усвояемым минеральным элементам, поэтому необходимо уделять большое значение продуктам питания, непосредственно с которыми кальций поступает в организм. Готовьте по рецептам, которые приведены в нашей книге, и будьте здоровы!

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Из книги вы кратко получите все необходимые для диабетика сведения: что такое диабет и каковы основные принципы его лечения; какие бывают диабетические осложнения и их профилактика; все о диете и разгрузочных днях. Но самое главное – получите рецепты вкусных и полезных блюд, ведь главная заповедь диабетика: «Есть, чтобы жить, а не жить, чтобы есть!» Книга незаменима и полезна для всех, кто страдает диабетом, а также для тех, чьи родные и близкие не понаслышке знакомы с этим заболеванием.

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Микроэлементы – это вещества, которые принимают активное участие в регулировании всех жизненно важных функций организма. Их переизбыток или недостаток вызывает изменения в работе органов и тканей, а это приводит к развитию заболеваний, ухудшению самочувствия и другим негативным явлениям. Кроме того, многие витамины и ферменты не могут функционировать без минералов. Таким образом, недостаток минеральных веществ может вызвать многие заболевания. Кроме этого, они находятся в организме в строго определенном соотношении. Дефицит одного из минералов может нарушить баланс других. Чтобы быть здоровым, человек должен получать нужные элементы и в правильном соотношении. Как это правильно сделать, научит наша книга.

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The smoothly metallic portraits, nudes and still lifes of Tamara de Lempicka encapsulate the spirit of Art Deco and the Jazz Age, and reflect the elegant and hedonistic life-style of a wealthy, glamorous and privileged elite in Paris between the two World Wars. Combining a formidable classical technique with elements borrowed from Cubism, Lempicka’s art represented the ultimate in fashionable modernity while looking back for inspiration to such master portraitists as Ingres and Bronzino. This book celebrates the sleek and streamlined beauty of her best work in the 1920s and 30s. It traces the extraordinary life story of this talented and glamorous woman from turn of the century Poland and Tsarist Russia, through to her glorious years in Paris and the long years of decline and neglect in America, until her triumphant rediscovery in the 1970s when her portraits gained iconic status and world-wide popularity.

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Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

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Жоффруа де Виллардуэн – крупный французский феодал, военачальник, один из руководителей Четвертого крестового похода. Он составил свой отчет очевидца о Четвертом походе и захвате Константинополя. Эта первая попытка прозаического сочинения на французском языке послужила образцовым началом длинного ряда выдающихся французских хроник и историй. Историю Виллардуэна нередко называли «героической поэмой в прозе».

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Although considered a minor genre for a long time, the art of landscape has risen above its forebears – religious and historic painting – to become a genre of its own. Giorgione in Italy, the Brueghels of the Flemish School, Claude Lorrain and Poussain of the French School, the Dutch landscape painters and Turner and Constable of England are just a few of the great landscapists who have left their indelible mark on the history of landscape and the art of painting as a whole. After serving for a long time as a backdrop for paintings and as a skill-practising exercise for artists, nature came to be observed for its own sake and was incorporated into works of art as an illustration of an enlightened and scientific study of the world. Through continual change, it has inspired the greatest painters and has allowed some others, like Turner, to transcend the relentless search for mere realism in pictorial representation. Through this study, Émile Michel offers an exceptional panorama, from the 15th century to the present, of art and the way artists portray the world in all its splendour.

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At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. “It all began… with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets – things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator.” Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves – flags, targets, numbers – each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns’s work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.

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«Кирпич ни с того ни с сего никому и никогда на голову не свалится» – так сказал известный персонаж из романа М. Булгакова «Мастер и Маргарита». К сожалению, герой романа «Серебряная пуля» Алексей Богданов или не читал великое произведение, или не придал значения глубокой мысли, заложенной в вышеуказанном изречении. Правда, ему на голову упал не кирпич, а застреленная из снайперской винтовки ворона… Тем не менее густо замешанные на мистике события, которые последовали за этим происшествием, переиначили судьбу парня, заставив балансировать на грани жизни и смерти.

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This book is not a panegyric of homosexuality. It is a scientific study led by Professor James Smalls who teaches art history in the prestigious University of Maryland, Baltimore. Abandoning all classical clichés and sociological approaches, the author highlights the sensibility particular to homosexuals. This book examines the process of creation and allows one to comprehend the contribution of homosexuality to the evolution of emotional perception. In a time when all barriers have been overcome, this analysis offers a new understanding of our civilisation’s masterpieces.

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