By Kathryn Greenthal
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In Alfred Hitchcock’s To seize a Thief , a beach lodge was once the environment for thievery and intrigue. Fred Astaire and Ginger Rogers tap-danced their option to repute at a Brighton lodge in The homosexual Divorcee . The beach lodge has consistently held a unique fascination, a spot of containment and rest that has a different shape within the actual panorama: towering resorts, shop-lined boardwalks, and sprawling shorelines.
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This booklet has its foundation in a path on 'Virtues' given through Yves R. Simon within the Committee on Social notion on the college of Chicago within the fall zone of 1957.
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The stylistic traits of Miera y Pacheco’s work include the following: 35 1. Most panels and carvings are painted in oil paints. 2. The gesso base is smooth. 3. Bultos are well carved, in a more baroque style than later santeros; the fingers and hands are well articulated. The necks of the figures are short and somewhat truncated. 4. The use of gilding, or estofado, is prominent on bultos. 5. Both carvings and retablos are generally on a large scale. 6. Images are usually carved from one piece of wood, and the torsos are of stocky proportions.
Adams, “The Chapel and Cofradia of Our Lady of Light in Santa Fe,” New Mexico Historical Review 22 (1947): 327–41. 30. Thomas J. : Ancient City Press, 1994), 30. 25. Pal Kelemen, Vanishing Art of the Americas (New York: Walker, 1977). 32. 8. 28. Kelemen, Vanishing Art. 29. Adams and Chavez, Missions. 31. William Wroth, in Hispanic Arts and Ethnohistory in the Southwest, eds. : Ancient City Press, 1983), 286. Chapter Three The Early Santero and His Role in the Churches FRAY ANDRES GARCIA (1760–1799) Fray Andres Garcia, a Franciscan friar who served at a number of New Mexican churches in the late eighteenth century, was born in 1720 at Puebla de los Angeles in Mexico.
1954), 54. 12. The late Dr. Myra Ellen Jenkins was also struck by the lack of documentary information about any specific role played by women. Her essay documented the lives of four women who were involved in real estate transactions in the eighteenth century and the social economic condition of New Mexico. “Some 18th Century Women of Property,” in Hispanic Arts and Ethnohistory in the Southwest, eds. : Ancient City Press, 1982), 335–45. 13. : Taylor Museum, 1979), 55. 18. : Academy of American Franciscan History, 1957), 7.