Tableaux Modernes
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Release | : 1980 |
Genre | : Art |
ISBN | : |
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Release | : 1980 |
Genre | : Art |
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Release | : 1998 |
Genre | : Art |
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Total Pages | : 0 |
Release | : 1992 |
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Publisher | : Macmillan Reference USA |
Total Pages | : 632 |
Release | : 1987 |
Genre | : Antiques & Collectibles |
ISBN | : |
Author | : Arie Wallert |
Publisher | : Getty Publications |
Total Pages | : 241 |
Release | : 1995-08-24 |
Genre | : Art |
ISBN | : 0892363223 |
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Author | : Walter Benjamin |
Publisher | : Harvard University Press |
Total Pages | : 1100 |
Release | : 1999 |
Genre | : History |
ISBN | : 9780674043268 |
Focusing on the arcades of 19th-century Paris--glass-roofed rows of shops that were early centers of consumerism--Benjamin presents a montage of quotations from, and reflections on, hundreds of published sources. 46 illustrations.
Author | : George R. Goldner |
Publisher | : Getty Publications |
Total Pages | : 374 |
Release | : 1992-10-08 |
Genre | : Drawing |
ISBN | : 0892362197 |
The Getty Museum's collection of drawings was begun in 1981 with the purchase of a Rembrandt nude and has since become an important repository of European works from the fifteenth through the nineteenth century. As in the first volume devoted to the collection (published in 1988 in English and Italian editions), the text is here organized first by national school, then alphabetically by artist, with individual works arranged chronologically. For each drawing, the authors provide a discussion of the work's style, dating, iconography, and relationship to other works, as well as provenance and a complete bibliography.
Author | : Julie A. Steiner |
Publisher | : Abrams |
Total Pages | : 160 |
Release | : 1997 |
Genre | : Architecture |
ISBN | : |
This catalogue and its companion volume of essays are published in conjunction with the exhibition "The Private Collection of Edgar Degas," held at The Metropolitan Museum of Art, New York, from October 1, 1997, to January 11, 1998.
Author | : Eloisa Dodero |
Publisher | : BRILL |
Total Pages | : 654 |
Release | : 2019-09-16 |
Genre | : Art |
ISBN | : 9004399100 |
In Ancient Marbles in Naples in the Eighteenth Century Eloisa Dodero aims at documenting the history of numerous private collections formed in Naples during the 18th century, with particular concern for the “Neapolitan marbles” and the circumstances of their dispersal.
Author | : Christine Poggi |
Publisher | : Yale University Press |
Total Pages | : 318 |
Release | : 1992-01-01 |
Genre | : Art |
ISBN | : 9780300051094 |
The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.