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Updated: July 24, 2025
The greatest Josef Israels we ever saw in the style is his Jew sitting in the doorway of a house, a most eloquent testimony to Israels' powers of seizing the "race" and the individual.
See the passages in Jeremias' Die Babylonisch-Assyrischen Vorstellungen vom Leben nach dem Tode, p. 62. Sargon Annals, I. 156. Kosmologie, pp. 222-224. Gunkel's Schöpfung und Chaos, p. 154, note 5. In the later portions of the Old Testament, the use of Sheol is also avoided. See the passages in Schwally, Das Leben nach dem Tode nach den Vorstellungen des Alten Israels, pp. 59, 60.
There is only my wife, daughter, son, lodger in house." "You are a receiver of stolen goods," answered Foyle, something, it must be confessed, at a venture. "Don't trouble to deny it, Mr. Israels. We're not after you this time not if you treat us fairly. What about this lodger of yours? Have you bought him a typewriter lately?" "Yes yes.
Without exaggeration it may indeed be said that this modern renascence of painting in Holland is not unworthy to be compared with that of the days of Rembrandt. The names of Joseph Israels, Hendrik Mesdag, Vincent van Gogh, Anton Maure, and, not least, of the three talented brothers Maris, have attained a wide and well-deserved reputation.
Israels was still there, very white and shaky, as the superintendent struck a match. "Where's that girl?" said the detective curtly. "The one who gave the alarm." "My daughter? She thought you were burglars. She didn't know." "Where is she?" Without waiting for a reply he entered the room whence she had emerged and, striking another match, applied it to a gas-bracket.
Max Liebermann was best seen in his Flax Spinners of Laren, an early work, Dutch in spirit and execution, and not without traces of the influence of his friend Josef Israels. But of the real Liebermann, his scope, originality, versatility, America, I think, has not yet had an adequate idea. Versatility is commonly regarded as an indication of superficiality. How, asks Mr.
I well recollect the enthusiasm with which he welcomed the first pictures Joseph Israels exhibited in England in 1862. Neither in the English nor in the Dutch department of the Exhibition could he ascertain whether these two pictures, "The Drowned Fisherman" and "Washing the Cradle," were for sale.
On the other hand, the removal of a man like Sir Lawrence Alma-Tadema from his native sphere of influence is quite enough to account for the unlooked-for flowering of blossoms like the brothers Maris, Bosboom, Israels, and Mauve in the Dutch garden, and if that is so, one need not grudge him his interment amongst Nelson, Wellington, and other heroes of our own.
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