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Solution Manual For Calculus 1st Edition by Briggs and Cochran
Solution Manual For Calculus 1st Edition by Briggs and Cochran
Solution Manual For Calculus 1st Edition by Briggs and Cochran
a calculus text that carries the teacher’s voice beyond the classroom. That voice–evident in the
narrative, the figures, and the questions interspersed in the narrative–is a master teacher leading
readers to deeper levels of understanding. The authors appeal to readers’ geometric intuition to
introduce fundamental concepts and lay the foundation for the more rigorous development that
follows. Comprehensive exercise sets have received praise for their creativity, quality, and scope.
William Briggs has been on the mathematics faculty at the University of Colorado at Denver for
twenty-three years. He received his BA in mathematics from the University of Colorado and his
MS and PhD in applied mathematics from Harvard University. He teaches undergraduate and
graduate courses throughout the mathematics curriculum with a special interest in mathematical
modeling and differential equations as it applies to problems in the biosciences. He has written a
problem solving book, Ants, Bikes, and Clocks; and two tutorial monographs, The Multigrid
Tutorial and The DFT: An Owner’s Manual for the Discrete Fourier Transform. He is the Society
for Industrial and Applied Mathematics (SIAM) Vice President for Education, a University of
Colorado President’s Teaching Scholar, a recipient of the Outstanding Teacher Award of the
Rocky Mountain Section of the Mathematical Association of America (MAA), and the recipient
holds BS degrees in mathematics and mathematics education from Oregon State University and a
MS and PhD in mathematics from Washington State University. He has taught a wide variety of
and, since 1995, at Whitworth University. His expertise is in mathematical analysis, and he has a
special interest in the integration of technology and mathematics education. He has written
technology materials for leading calculus and linear algebra textbooks including the Instructor’s
Mathematica Manual for Linear Algebra and Its Applications by David C. Lay and
the Mathematica Technology Resource Manual for Thomas’ Calculus. He is a member of the
MAA and a former chair of the Department of Mathematics and Computer Science at Whitworth
University.
Product details
Language : English
ISBN-10 : 0321664140
ISBN-13 : 978-0321664143
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A couple of pages reproduced actual size from Martin Stainforth’s note-
book. He makes detailed notes of outstanding features and carefully
preserves the general character of the horse.
At his studio he makes a memory sketch of the horse as it impressed him.
On a second visit he corrects various parts and paints these separately
until the character is secured.
With his note-book, his rough sketch and careful studies of various parts,
the artist proceeds to paint the finished picture, using the rough sketch as
his main guide.
By this method the artist obtains freshness, virility and truth that could
not be secured if a complete painting were attempted from an animal in
training.
“Ready,” a sketch by Martin Stainforth in the National Art Gallery of
N.S.W. In the original of this sketch Martin Stainforth has displayed
excellent technique, and shows his facility for painting animals in a
lifelike manner.
In his paintings of dogs the same extreme care is shown to preserve the
character of the animal. Pal, the bull dog sketched above, is owned by
Mrs. Herbert Marks.
In this picture Martin Stainforth has successfully overcome the problem
of painting an eight-year-old setter as it would have appeared at the age
of three. The dog, Mallwyd Albert, is owned by Dr. Herbert Marks.
There have been a few men in Australia who could both draw
and paint the horse. One of them was Douglas Fry. I knew him well,
and had every opportunity of examining his work. As a draughtsman
he was fine. His pencil studies of horses showed expert facility, yet
when he employed colour as his medium, though he produced an
artistic study, the animal often lacked that lifelike quality so essential
to a successful portrait. Stainforth may not be able to do with the
pencil what Fry could, and I am sure he doesn’t know the horse as
Fry did, yet he far out-distances his late rival, not only in his facility
for technical expression and in his gift for infusing life, but because
he has the power to delicately handle his subject without robbing it
of its strength and character.
Aylyng Arnold, who from 1906 to 1910 was a special
correspondent for the “London Sporting Life,” happened to be
visiting Australia in 1915 and saw some of our artist’s work in
Melbourne. He did not know Stainforth, but he went back to his
hotel and wrote him a letter in which the following words occur: “I
can confidently say I have seen as many portraits of horses as falls to
the lot of any one man, but never have I seen anything approaching
yours.”
It is surprising to find how few notable Australian horse-owners
have a sufficient affection for their animals to desire their portraiture
in paint.
I once asked Stainforth to give me some idea of his methods. He
replied that he first examines the horse carefully, making small
pencil sketches with remarks on characteristic features, and then,
with the impressions fresh in his mind, makes a small sketch in
colour from 8 to 12 inches in size, giving as far as possible the pose,
proportions and colour, without any attempt at fine detail. This study
is then compared with the horse, and any alterations that are
necessary are made, and further notes are made all round the study.
In some cases he makes several sketches, each one getting nearer the
perfect representation. The head is the part that requires the greatest
care, and many studies of this alone may have to be made before he
is satisfied with the results. Having decided the size of the canvas, he
next decides on the pose which will best suggest the character of the
subject and the direction from which the light will fall to show to best
advantage such salient features as the head, shoulders or quarters.
An appropriate background has also to be chosen.
When we come to sum up the merits of Martin Stainforth as a
painter of horses, the first point which must be conceded in his
favour is his power for conveying a faithful delineation of the
particular animal that he is dealing with. He possesses a gift for
detecting a horse’s chief characteristics and is thus enabled to
interpret anything in the animal’s conformation that is vital in
helping to make the completed work an accurate portrait, in addition
to its being an agreeable work of art. As regards his medium, he is
equally at home in either water-colour or oils, but he tells me that
oils give him much more scope for his large pictures, while water-
colour is more suitable for his small studies. His technique has
reached such a pitch that he can paint a horse’s coat with such fine
detail and beauty of texture that it resembles the work of a painter of
miniatures.
Stainforth’s love for the horse helps him to strike the ideal pose
for each particular animal, and this is most happily shown in his
studies of the brilliant Woorak, who was noted for his exuberant
spirits and playful, contented nature. Perhaps there is nothing more
difficult to achieve in painting a horse than the successful suggestion
of his muscular body by means of delicate light and shade. The
ordinary painter of the horse generally represents exaggerated
muscles, but in Stainforth’s horses, though we do not actually see
muscles brought into relief, we are nevertheless made aware of their
presence under the glossy skin with its vivid sheen.
The reproductions of Stainforth’s pictures included in this
volume will serve in a great measure to prove to the public generally
his calibre as a painter of the horse. Those of us, however, who have
had the pleasure of studying his work in the originals, have every
confidence in allowing posterity to judge of his merits. Certain it is,
that at no distant date his pictures will be acclaimed and much
sought after as classic examples of equine portraiture.
THE SECRET OF STAYING POWER
By KEN AUSTIN
“(Sgd.) S. C. BURT.”
R. JONES,
S. C. BROWN,
CHAS. MARTYN,
ROWLAND HASSALL,