This engaging, accessible companion volume to a long-awaited exhibition guides readers through the highlights of the collection as if they were wandering the historic rooms themselves. A lavish plate section features 35 works, each accompanied by texts that explore its historical provenance and individual significance. Curatorial essays describe the building's founder, Count Johan Maurits, and his experience as a Dutch colonist in the New World; the formation of the collection; and also recent discoveries about the materials and techniques employed by these great artists. Fans of Vermeer's iconic masterpiece will delight in discovering that it is one of many beautiful artworks in the Mauritshuis's elegant rooms.

    So was the priceless cultural heritage of thousands of years.In the midst of the conflict, the Allied Forces appointed the monuments officers—a motley group of art historians, curators, architects, and artists—to ensure that the great masterworks of European art and architecture were not looted or bombed into oblivion. The journalist Ilaria Dagnini Brey focuses her spellbinding account on the monuments officers of Italy, quickly dubbed “the Venus Fixers” by bemused troops.Working on the front lines in conditions of great deprivation and danger, these unlikely soldiers stripped the great galleries of their incomparable holdings and sent them into safety by any means they could; when trucks could not be requisitioned or “borrowed,” a Tiepolo altarpiece might make its midnight journey across the countryside balanced in the front basket of a bicycle. They blocked a Nazi convoy of two hundred stolen paintings—including Danae, Titian’s voluptuous masterpiece, an intended birthday present for Hermann Göring.They worked with skeptical army strategists to make sure air raids didn’t take out the heart of an ancient city, and patched up Renaissance palazzi and ancient churches whose lead roofs were sometimes melted away by the savagery of the attacks, exposing their frescoed interiors to the harsh Tuscan winters and blistering summers. Sometimes they failed. But to an astonishing degree, they succeeded, and anyone who marvels at Italy’s artistic riches today is witnessing their handiwork.In the course of her research, Brey gained unprecedented access to private archives and primary sources, and the result is a book at once thorough and grandly entertaining—a revelatory take on a little-known chapter of World War II history. The Venus Fixers is an adventure story with the gorgeous tints of a Botticelli landscape as its backdrop.

    The sub-title says 'Eternal Doctrines that Change Relationships.' That says it all. You will love putting these principles into motion in your own marriage or see them work in the marriages and relationships of those closest to you. Dr. Goddard writes: 'In striking the marriage bargain, we are unknowingly giving up the egocentrisms of childhood in favor of the charity of Godhood. We make a covenantal step toward unselfishness. As we progress in marriage we gain ennobles character as well as eternal companionship.'Scot and Maurine Proctor write: 'Being around Wally Goddard makes us want to be better people--better spouses to each other--a better son and a better daughter of God. Wally simply knows how to put eternal principles in a layman's, working language--translating them into daily living. Our lives have truly been effected for good reading this amazing and powerful book. Every marriage, new or old, needs to have this book. Really.'

    The renewal of interest in India is all the greater because of what’s happening in neighboring China. For over thirty years, China was the growth engine for many Western multinational companies, but the combination of a slowing economy, rising wages, and increasing political risk has most companies looking for the next China. No other country is better positioned to play that role than India. In the short term, though, India will remain a challenging market, with a well-deserved reputation for corruption, uncertainty, and stultifying bureaucracy. Those hurdles are unlikely to go away soon. Yet India may be on the verge of unprecedented growth. Can you afford to wait or should you plunge into this complex market today? What does it really take to win there? How do executives deal with India’s volatility, uncertainty, and intense competition—and even prosper from it? Ravi Venkatesan, the former Chairman of Microsoft India and Cummins India, offers expert advice on how your company can overcome the unique challenges of the Indian market. He argues that India is in fact an archetype for most developing nations, many of which present similar challenges. Succeeding in India is important not just because it is a big market but also because it is a litmus test for your corporation’s ability to succeed in other emerging markets. If you can win in India, you should be able to win anywhere. Hard as these frontier markets are, Venkatesan argues, the bigger hurdle may well be the internal culture and mind-set at a multinational’s headquarters. The unwillingness to make a long-term commitment or to adequately trust local leadership, combined with the propensity to rigidly replicate the products, business models, and operating systems that have worked at home, drives many companies into a “midway trap.” That often results in India remaining an irrelevantly small contributor to the company’s global growth and profits. Combining personal experience and in-depth interviews with CEOs and senior leaders at dozens of companies—including Microsoft, GE, JCB, Dell, Honeywell, Volvo, Bosch, Deere, Unilever, and Nestlé—Venkatesan shows you how to tackle political changes, policy uncertainty, and corruption and thrive in India. He proves that you can break through, but it takes a very different type of leadership, both locally and at corporate headquarters. If you want to succeed in the twenty-first century, you must succeed in emerging markets. This practical book, written by one of India’s most respected CEOs, gives you the keys to win in India, other emerging markets, and, indeed, globally.

    One of a manager's toughest--and most important--responsibilities is to evaluate an employee's performance, providing honest feedback and clarifying what they've done well and where they need to improve. In How to Be Good at Performance Appraisals, Dick Grote provides a concise, hands-on guide to succeeding at every step of the performance appraisal process--no matter what performance management system your organization uses. Through step-by-step instructions, examples, do-and-don't bullet lists, sample dialogues, and suggested scripts, he shows you how to handle every appraisal activity from setting goals and defining job responsibilities to evaluating performance quality and discussing the performance evaluation face-to-face. Based on decades of experience guiding managers through their biggest challenges, Grote helps answer the questions he hears most often: -How do I set goals effectively? How many goals should someone set?-How do I evaluate a person's behaviors? Which counts more, behaviors or results? -How do I determine the right performance appraisal rating? How do I explain my rating to a skeptical employee?-How do I tell someone she's not meeting my expectations? How do I deliver bad news? Grote also explains how to tackle other thorny performance management tasks, including determining compensation and terminating poor performers. In accessible and useful language, How to Be Good at Performance Appraisals will help you handle performance appraisals confidently and successfully, no matter the size or culture of your organization. It's the one book you need to excel at this daunting yet critical task.

    This new edition includes all updated statistic showing how much in debt we really are and the solution to your own retirement. A must read for those who wants to salvage his/her retirement. This book will show you how to grow your money with zero market risk, access your retirement dollars tax-free and leave an income-tax free inheritance to your heirs.

    Its aftermath lives on to this day.Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences.When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II.In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.

    But she was gone and he was old. Nearly seventy. Only cool paint met his fingers. “Ma très chère . . .” Darkness started to fall, dimming the paintings. He felt the crumpled letter in his pocket. “I loved you so,” he said. “I never would have had it turn out as it did. You were with all of us when we began, you gave us courage. These gardens at Giverny are for you but I’m old and you’re forever young and will never see them. . . .”  In the mid-nineteenth century, a young man named Claude Monet decided that he would rather endure a difficult life painting landscapes than take over his father’s nautical supplies business in a French seaside town. Against his father’s will, and with nothing but a dream and an insatiable urge to create a new style of art that repudiated the Classical Realism of the time, he set off for Paris. But once there he is confronted with obstacles: an art world that refused to validate his style, extreme poverty, and a war that led him away from his home and friends. But there were bright spots as well: his deep, enduring friendships with men named Renoir, Cézanne, Pissarro, Manet – a group that together would come to be known as the Impressionists, and that supported each other through the difficult years. But even more illuminating was his lifelong love, Camille Doncieux, a beautiful, upper-class Parisian girl who threw away her privileged life to be by the side of the defiant painter and embrace the lively Bohemian life of their time.  His muse, his best friend, his passionate lover, and the mother to his two children, Camille stayed with Monet—and believed in his work—even as they lived in wretched rooms, were sometimes kicked out of those, and often suffered the indignities of destitution. She comforted him during his frequent emotional torments, even when he would leave her for long periods to go off on his own to paint in the countryside. But Camille had her own demons – secrets that  Monet could never penetrate, including one that when eventually revealed would pain him so deeply that he would never fully recover from its impact. For though Camille never once stopped loving the painter with her entire being, she was not immune to the loneliness that often came with being his partner.  A vividly-rendered portrait of both the rise of Impressionism and of the artist at the center of the movement, Claude and Camille is above all a love story of the highest romantic order.

    With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart. When the album debuted on the now-SoundScan-driven charts, Fugazi had never been more in the public eye.Few knew how difficult it had been to make this popular breakthrough. Disappointed with the sound of the self-produced Steady Diet, the band recorded with legendary engineer Steve Albini, only to scrap the sessions and record at home in D.C. with Ted Niceley, their brilliant, under-known producer. Inadvertently, Fugazi chose an unsure moment to make In on the Kill Taker: as Nirvana and Sonic Youth were yanking the American rock underground into the media glare, and "breaking" punk in every possible meaning of the word. Despite all of this, Kill Taker became an alt-rock classic in spite of itself, even as its defiant, muscular sound stood in stark contrast to everything represented by the mainstreaming of a culture and worldview they held dear.This book features new interviews with all four members of Fugazi and members of their creative community.