Berger, Renate (Verfasser):Paula Modersohn-Becker : Paris - Leben wie im Rausch , Biografie / Renate Berger
- Erstausgabe 2010, ISBN: 9783404616572
Taschenbuch, Gebundene Ausgabe
New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 19 pages including black-and-white illustrations; very gently used, traces of rubbing to covers, very clean and unm… Mehr…
New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 19 pages including black-and-white illustrations; very gently used, traces of rubbing to covers, very clean and unmarked. See also our other titles in the Abrams Art Treasures of the World Series, including Seymour Slive's very scarce Form and Design.. Soft Cover. Very Good ++., Harry N. Abrams, 1953, 3, New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 23 pages including black-and-white illustrations; very gently used, traces of rubbing to covers, very clean and unmarked. See also our other titles in the Abrams Art Treasures of the World Series, including Seymour Slive's very scarce Form and Design.. Soft Cover. Very Good ++., Harry N. Abrams, 1953, 3, New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 19 pages including black-and-white illustrations; a hint of age toning, otherwise essentially as new. See also our other titles in the Abrams Art Treasures of the World Series, including Seymour Slive's very scarce Form and Design.. Soft Cover. Fine., Harry N. Abrams, 1953, 5, New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 19 pages including black-and-white illustrations; very gently used, traces of rubbing to covers, very clean and unmarked. See also our other titles in the Abrams Art Treasures of the World Series.. Soft Cover. Very Good ++., Harry N. Abrams, 1953, 3, New York: Harry N. Abrams, 1952. Oversized stapled softcover pamphlet, 19 pages including black-and-white illustrations; very gently used, three pale faded water drop stains inside front cover, otherwise very clean and unmarked. See also our other titles in the Abrams Art Treasures of the World Series, including Seymour Slive's very scarce Form and Design. . Soft Cover. Very Good -., Harry N. Abrams, 1952, 3, New York: Harry N. Abrams, 1953. Oversized stapled softcover pamphlet, 22 pages including black-and-white illustrations; a hint of age toning, otherwise essentially as new. See also our other titles in the Abrams Art Treasures of the World Series, including Seymour Slive's very scarce Form and Design.. Soft Cover. Fine., Harry N. Abrams, 1953, 5, University of Pennsylvania Press. Used - Good. . Sorry, CD missing.. All orders guaranteed and ship within 24 hours. Your purchase supports More Than Words, a nonprofit job training program for youth, empowering youth to take charge of their lives by taking charge of a business., University of Pennsylvania Press, 2.5, NY: Chanticleer Press. 95 reproductions including 50 in color. A nice book - but, there is an old price sticker on the frontisand a "HM53" ink mark at bottom of title page - not too offensive. Size: 4to - over 9¾" - 12" tall . VG+. Red Hardback. (NAP).. 1971., Chanticleer Press, 1971, 3, New York: Harry N. Abrams, 1952. Oversized stapled softcover with front cover flap, 24 pages including four black-and-white illustrations and nine tipped in full colour plates (plus the tenth on the front cover); gently used, light shelf wear to cover edges, four lines underlined in pencil, otherwise very clean and unmarked. See also our other Library of Great Painters Portfolio Edition titles (or our Pocket Library of Great Art titles by Harry N. Abrams Pocket Books), and "Ask Bookseller a Question" if you want all of them at a discount and with reduced Shipping & Handling, and this, just in, the exceptionally scarce Masterpieces of French Painting: Cézanne, Introduction by Maurice Raynal.. Soft Cover. Very Good., Harry N. Abrams, 1952, 3, Greenwich, CT, USA: New York Graphic Society, 1969. Oversized hardcover without DJ, viii + 360 pages, plus illustrations and reproductions in black-and-white and full colour; shelf wear to cover edges and corners, particularly along bottom, otherwise gently used, interior very clean and unmarked. See also our listing for the exceptionally scarce Masterpieces of French Painting: Cézanne, Introduction by Maurice Raynal.. First American Edition. Hard Cover. Very Good -., New York Graphic Society, 1969, 3, The National Gallery, Londonby Sir Philip Hendy (director)Published by Harry N. Abrams, New York (1960)Library of Congress#: 60-8400an Abrams Art Paperback5.8 x 8.2 inches, 320 pagesThe National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900.The Gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media and Sport. Its collection belongs to the government on behalf of the British public, and entry to the main collection is free of charge. It is among the most visited art museums in the world, after the Louvre, the British Museum, and the Metropolitan Museum of Art.Unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein in 1824. After that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which today account for two-thirds of the collection. The collection is small compared with many European national galleries, but encyclopaedic in scope; most major developments in Western painting "from Giotto to Cézanne" are represented with important works. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, but this is no longer the case.The present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins's building was often criticised for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897.The Sainsbury Wing, an extension to the west by Robert Venturi and Denise Scott Brown, is a notable example of Postmodernist architecture in Britain. The current Director of the National Gallery is Gabriele Finaldi.-----------------------Sir Philip Anstiss Hendy (27 September 1900 6 September 1980) was a British art curator who worked both in Britain and overseas, notably the United States. In 1923 he began his career in art administration as an Assistant Keeper and lecturer at the Wallace Collection in London, despite his having no formal training in art history. His entries for the Wallace Collection's new catalogue and articles for The Burlington Magazine so impressed the administration of the Isabella Stewart Gardner Museum in Boston, Massachusetts that the trustees of the museum agreed to fund Hendy's three-year stay in Italy, during which he compiled the Gardner catalogue.From the Gardner Museum Hendy went on to curate the Boston Museum of Fine Arts in 1930, where he spent his budget of $10,000 on works by modern European masters including Georges Braque, Gino Severini and Walter Sickert. In 1933 Hendy resigned from the Museum of Fine Arts after a quarrel with the trustees who disapproved of his purchase of Matisse's 1903 nude Carmelina. Returning to Britain, he was appointed director of the Leeds City Art Gallery in 1934.The threat posed to Leeds during the Second World War caused the gallery's works of art to be evacuated to a more rural setting in Temple Newsam House. The task of relocation, and the subsequent rehanging of the paintings in their new 18th-century surroundings, was undertaken by Hendy, whose work there caught the attention of the Director of the National Gallery, Kenneth Clark. Clark, who had similarly overseen the removal of the National Gallery pictures to safety in a North Wales quarry during the war years, appointed Hendy as his successor in 1946.Hendy's directorship of the National Gallery was marred by criticisms from the press in 1947, after a controversial exhibition of cleaned pictures when it was claimed that many paintings had been ruined by the Gallery's chief restorer Helmut Ruhemann, and in 1961, when the theft of Goya's portrait of the Duke of Wellington called the quality of security at the Gallery into question. Hendy retired from the National Gallery in 1967 and from 1968 until 1971 he was a supervisor at the Israel Museum in Jerusalem.He was Slade Professor of Fine Art at the University of Oxford in 1937 and 1942.-----------------------Abrams, formerly Harry N. Abrams, Inc. (HNA), is an American publisher of art and illustrated books, children's books, and stationery.The enterprise is a subsidiary of the French publisher La Martinière Groupe. Run by President and CEO Michael Jacobs, Abrams publishes and distributes approximately 250 titles annually and has more than 3,000 titles in print.Abrams also distributes publications for the Victoria and Albert Museum, Tate, Vendome Press (in North America), Booth Clibborn Editions, SelfMadeHero, MoMA Children's Books, and 5 Continents.Abrams publishes illustrated books on the subjects of art, photography, performing arts, fashion, interior design, and nature and science. Titles published by Abrams include The Art of Walt Disney, Earth from Above, Louis Vuitton: The Birth of Modern Luxury, The Diary of Frida Kahlo, Yoshitomo Nara: Nobody's Fool, The Wes Anderson Collection, The Selby Is in Your Place, Abrams Discoveries, and Vanity Fair 100 Years (about the two U.S. magazines: 1913-36 and from 1983)., Harry N. Abrams, 1960, 3, Used/ New Science This book is in Good Condition with some small and minor bends and/or marks due to age but otherwise clean cover and pages. In 1910, the surgeons Moreau and LePrince wrote about their successful operation on an eight-year-old boy who had been blind since birth because of cataracts. When the boy's eyes were healed they removed the bandages and, waving a hand in front of the child's physically perfect eyes, asked him what he saw. "I don't know," was his only reply. What he saw was only a varying brightness in front of him. However, when allowed to touch the hand as it began to move, he cried out in a voice of triumph, "It's moving!" He could feel it move, but he still needed laboriously to learn to see it move. Light and eyes were not enough to grant him sight. How, then, do we see? What's the difference between seeing and perception? What is light?From ancient times to the present, from philosophers to quantum physicists, nothing has so perplexed, so fascinated, so captivated the mind as the elusive definition of light. In Catching the Light, Arthur Zajonc takes us on an epic journey into history, tracing how humans have endeavored to understand the phenomenon of light. Blending mythology, religion, science, literature, and painting, Zajonc reveals in poetic detail the human struggle to identify the vital connection between the outer light of nature and the inner light of the human spirit. He explains the curiousness of the Greeks' blue and green "color blindness" Odysseus gazing longingly at the "wine-dark sea"; the use of chloros (green) as the color of honey in Homer's Odessey; and Euripides' use of the color green to describe the hue of tears and blood. He demonstrates the complexity of perception through the work of Paul Cnne--the artist standing on the bank of a river, painting the same scene over and over again, the motifs multiplying before his eyes. And Zajonc goes on to show how our quest for an understanding of light, as well as the conclusions we draw, reveals as much about the nature of our own psyche as it does about the nature of light itself. For the ancient Egyptians the nature of light was clear--it simply was the gaze of God. In the hands of the ancient Greeks, light had become the luminous inner fire whose ethereal effluence brought sight. In our contemporary world of modern quantum physics, science plays the greatest part in our theories of light's origin--from scientific perspectives such as Sir Isaac Newton's "corpuscular theory of light" and Michael Faraday's "lines of force" to such revolutionary ideas as Max Planck's "discrete motion of a pendulum" (the basis of quantum mechanics), Albert Einstein's "particles of light" and "theory of relativity," and Niels Bohr's "quantum jumps." Yet the metaphysical aspects of the scientific search, Zajonc shows, still loom large. For the physicist Richard Feynman, a quantum particle travels all paths, eventually distilling to one path whose action is least--the most beautiful path of all. Whatever light is, here is where we will find it.With rare clarity and unmatched lyricism, Zajonc illuminates the profound implications of the relationships between the multifaceted strands of human experience and scientific endeavor. A fascinating search into our deepest scientific mystery, Catching the Light is a brilliant synthesis that will both entertain and inform., Oxford University Press, 1995, 2.5, Paperback. Very Good., 3, Thames And Hudson Ltd, 2010. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9780500300374, Thames And Hudson Ltd, 2010, 0, New York: Platt & Munk. 1971. Hard cover. Fine in good dust jacket.. 119 p. : illus. (part col. ), ports.; 29 cm. Includes: Illustrations, Portraits. . "A Chanticleer Press edition." No previous owner's name. Clean, tight pages. No bent corners. dj has tears ., Platt & Munk, 1971, 5, Taschen, 1995. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:3822889067, Taschen, 1995, 0, Bergisch Gladbach : Bastei Lübbe. Hardcover. Gut. Ausgabe: Vollst. Taschenbuchausg., 1. Auflage Umfang/Format: 320, 16 Seiten : Illustrationen , 19 cm Einbandart und Originalverkaufspreis: kartoniert : EUR 9.95, sfr 18.60 (unverbindliche Preisempfehlung) Sachgebiet: Malerei Paula Modersohn-Becker (1876-1907) ist eine der bedeutendsten Malerinnen zu Beginn der Moderne. Und doch: Bis heute wurde vor allem der Aufbruch der Männer-Moderne wahrgenommen: Cezanne, Gauguin, van Gogh, Munch, Picasso, Rodin und andere. Doch ohne Paula Modersohn-Becker und einige andere Künstlerinnen sähe die Kunst des frühen zwanzigsten Jahrhunderts anders aus.Zum 100. Todestag der Künstlerin, am 20. November 2006, erscheint von der Kunsthistorikerin Renate Berger die Schilderung der prägendsten und aufregendsten Zeit der Künstlerin: die Pariser Jahre zwischen 1900 und 1907. Begleitet wird sie bei ihren zahlreichen Aufenthalten in der französischen Metropole von der Freundin und Malerin Clara Westhoff, der Ehefrau Rainer Maria Rilkes. Die Stadt an der Seine ist ein Abenteuer, eine Flucht aus der Enge der deutschen Provinz in eine Welt, in der die Sprache der Kunst neu erfunden wurde, und die Modersohn-Becker schließlich in Worpswede auf die ihr eigene Weise weiterentwickeln wird. Paris ist aber auch der Ort, an dem Paula Modersohn-Becker ganz zu sich findet und ihr Leben endgültig selbst in die Hand nimmt. So steht sie auch am Anfang einer sehr aktuellen, unaufgeregten und zugleich entschiedenen Selbstbefreiung der moderner Frauen. gutes Exemplar, ordentlich, Remissionsexemplar, Bergisch Gladbach : Bastei Lübbe, 2.5<
