By Abraham Joshua Heschel

Abraham Joshua Heschel was once the most respected spiritual leaders of the twentieth century, and God looking for guy and its significant other quantity, guy isn't on my own, of his most vital books, are classics of contemporary Jewish theology. God looking for guy combines scholarship with lucidity, reverence, and compassion as Dr. Heschel discusses now not man's look for God yet God's for man--the inspiration of a selected humans, an concept which, he writes, "signifies now not a top quality inherent within the humans yet a courting among the folk and God." it's a unprecedented description of the character of Biblical concept, and the way that inspiration turns into religion.

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Finally, during this period of cultural and political change, the smiling portraits of the French king can be read as a means of 40 Jean Pestré, “Bonheur,” in Encyclopédie, eds. Diderot and d’Alembert, vol. 2, 322. 20 introduction representing the alleged happiness and well-being of the public. Taken together, these different representational formulae reveal the complexity of the concept of happiness as it was understood in eighteenth-century France. The following five chapters examine five different categories of portrait busts, which are each defined and analyzed as articulating a distinct set of shared themes and ideas.

As a visitor noted in 1785: I find the bust of him [Buffon] by Houdon to be the best likeness; but the sculptor could not render in stone those black eyebrows that shade black eyes, very active under beautiful white hair. The hair was dressed when I saw him, though he was ill; that is one of his obsessions. ] After getting his hair done in the morning, he very often had it done again for supper. 26 26 Marie-Jean Hérault de Séchelles, Voyage à Montbard (Paris, 1890), 5. 32 chapter 1 Houdon took great care in rendering his subject’s hair, which is made to appear all the more prominent due to the absence of accessories, using the same formula employed in his bust of Diderot.

4, discussed in detail in Chapter 1), for instance, operated simultaneously on several levels: on the most explicit level, it captured the likeness of the celebrated philosopher, whose facial expression alludes to his writings and ideas. Yet this bust, when displayed in a private domestic space, implicitly suggested its owner’s acquaintance with Voltaire’s views, thus affiliating him with the intellectual milieu of his time and bestowing upon him the same air of satisfaction represented by the philosopher’s smile.

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