Guide children toward a lifelong, intimate relationship with God by teaching them what it means to truly worship. Includes 52 unique ideas for powerful worship moments.

In Expressionism and Poster Design in Germany 1905–1925, Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a “modern” image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.

This is catalogue that accompanies an exhibition of the same name. Survival of the Fittest features forty-five masterworks created by an influential group of painters known today as the Big Four. Working during the late 1800s and early 1900s, these artists presented a vision of wildlife and wilderness that remains with us to this day. Their careers also influenced generations of artists interested in painting wildlife in the twentieth century. Members of the Big Four include American Carl Rungius (born Germany, 1869-1959), Germans Richard Friese (1854-1918) and Wilhelm Kuhnert (1865-1926), as well as Swede Bruno Liljefors (1860-1939). The catalogue, edited by Adam Harris, includes essays by Adam Harris, Kathleen Chapman, Jessica Landau, Tammi Hanawalt, and Vance Martin. With a Forward by Harvey Locke and acknowledgements by Steve Seamons and Adam Harris.

In 'Expressionism and Poster Design in Germany 1905-1925', Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a "modern" image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.