1995, ISBN: 9780870997181

Gebundene Ausgabe

St. Paul, Minnesota: Control Data Arts. Good/Fair to Good. 1981. Hard Cover. Lge 4to Dust jacket large chunks missing to edges. Original cloth boards with bright gilt titling on spine an… Mehr…

St. Paul, Minnesota: Control Data Arts. Good/Fair to Good. 1981. Hard Cover. Lge 4to Dust jacket large chunks missing to edges. Original cloth boards with bright gilt titling on spine and upper cover, very slightly bowed. Text in French, English and German. 20 pages of text. 70 plates with details on facing pages. All the works catalogued and beautifully illustrated in colour. This volume brings together some of the finest of Munkacsy's paintings, the majority of which may be found in the Hungarian National Gallery in Budapest. Their subject matter-ranging from simple country scenes to glowing portraits, from brilliant tableaux vivants to shimmering still-lifesattest to the versatility and genius of this self-taught artist who is generally regarded as Hungary's greatest painter. Mihaly Munkacsy began his life as an orphan and ended it as one of Europe's premiere painters. His story is a true "rags-to-riches" tale; at first a carpenter's apprentice, he went on to win international acclaim as an artist, own mansions in Paris, marry a baroness, and hold grand parties that were reported in glowing detail in the press. Adopted by a family of intellectuals, Munkacsy was encouraged to pursue his artistic career. In many ways, it was a charmed one. He studied for a while with an unknown provincial painter, made brief forays into academies in Venice and Munich, decided that he preferred to teach himself, and set up a studio in Paris. There he hired as his assistant another young Hungarian artist named Jozsef Rippl-Ronai. By the age of z6, Munkacsy had won the medaille d'or from the Salon de Paris for his painting, The Condemned Cell, and was well on his way to fame and fortune. Although one can trace in Munkacsy's oeuvre the influences of such old masters as Rubens, Rembrandt, Velasquez, and Turner, he was in every sense of the word an original. Refusing even to acknowledge the Impressionists and scorning the avant-garde art which was just becoming popular, he chose instead to devote himself to realistic landscapes, romantic candlelit genre paintings, and sensitive religious works. Throughout the three decades of his career, he worked at a furious pace and completed over. boo paintings, including numerous large canvases. Forgotten for a time and unjustly dismissed as an "academic" painter, Munkacsy is once again receiving the attention he deserves. Today his paintings hang in galleries in New York and Boston, Detroit and Cologne, Philadelphia, Paris, and Budapest. It is believed that many more unrecorded pieces are held in small museums and private collections throughout the world, awaiting discovery. ., Control Data Arts, 1981, 2.25, Paperback / softback. New. This 1986 bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture held during the Second Empire, 1852-70. The catalogued essays and articles are of fundamental importance in establishing a picture of twentieth-century reactions to art in mid-eighteenth-century France., 6, New York: Metropolitan Museum of Art, Harry N. Abrams, 1994 xvi, 486 pages, illustrations (some colour); 32 cm. Published in conjunction with the exhibition held at the Galerie nationales du Grand Palais, April 19 to August 8, 1994, and the Metropolitan Museum of Art, New York, September 27, 1994 to January 8, 1995. Firm binding, clean inside copy. OVERSIZE! No priority/international, except by special arrangement. Richly illustrated with colour plates. "This handsome publication, which accompanies a major exhibition at The Metropolitan Museum of Art, is a lively and engaging account of the artistic scene in Paris in the 1860s, the years that witnessed the beginnings of Impressionism. For the first time the interactions and relationships among the group of painters who became known as the Impressionists are examined without the overworn art historical polarities commonly evoked: academic versus avant-garde, classicist versus romantic, realist versus impressionist. A host of strong personalities contributed to this history, and their style evolved into a new way of looking at the world. These artists wanted above all to give an impression of truth and to have an impact on or even to shock the public. And they wanted to measure up to or surpass their elders. This complex and rich environment is presented here - the grand old men and the young turks encounter each other, the Salon pontificates, and the new generation moves fitfully ahead, benignly but always with determination. Origins of Impressionism gives a day-by-day, year-by-year study of the genesis of an epoch-making style. Bibliographies and provenances are provided for each of the almost two hundred works in the exhibition, and there is an illustrated chronology. With more than two hundred superb colorplates, this informative survey is an essential work for both the general reader and the scholar." - Publisher. CONTENTS: Foreword, by Philippe de Montebello and Irene Bizot; Introduction, by Gary Tinterow and Henri Loyrette; I. The Salon of 1859, by Henri Loyrette; II. History Painting, by Henri Loyrette; III. The Realist Landscape, by Gary Tinterow; IV. The Nude, by Henri Loyrette; V. Figures in a Landscape, by Gary Tinterow; VI. Still Life, by Henri Loyrette; VII. Portraits and Figures, by Henri Loyrette; VIII. The Impressionist Landscape, by Gary Tinterow; IX. Modern Life, by Henri Loyrette; Chronology of Works in the Catalogue; Chronology 1859-70; Catalogue.. Paperback. Fine. 4to - over 9¾" - 12" tall., Metropolitan Museum of Art, Harry N. Abrams, 1994, 5<

1995, ISBN: 9780870997181

New York: Metropolitan Museum of Art, Harry N. Abrams, 1994 xvi, 486 pages, illustrations (some colour); 32 cm. Published in conjunction with the exhibition held at the Galerie nationales… Mehr…

New York: Metropolitan Museum of Art, Harry N. Abrams, 1994 xvi, 486 pages, illustrations (some colour); 32 cm. Published in conjunction with the exhibition held at the Galerie nationales du Grand Palais, April 19 to August 8, 1994, and the Metropolitan Museum of Art, New York, September 27, 1994 to January 8, 1995. Firm binding, clean inside copy. OVERSIZE! No priority/international, except by special arrangement. Richly illustrated with colour plates. "This handsome publication, which accompanies a major exhibition at The Metropolitan Museum of Art, is a lively and engaging account of the artistic scene in Paris in the 1860s, the years that witnessed the beginnings of Impressionism. For the first time the interactions and relationships among the group of painters who became known as the Impressionists are examined without the overworn art historical polarities commonly evoked: academic versus avant-garde, classicist versus romantic, realist versus impressionist. A host of strong personalities contributed to this history, and their style evolved into a new way of looking at the world. These artists wanted above all to give an impression of truth and to have an impact on or even to shock the public. And they wanted to measure up to or surpass their elders. This complex and rich environment is presented here - the grand old men and the young turks encounter each other, the Salon pontificates, and the new generation moves fitfully ahead, benignly but always with determination. Origins of Impressionism gives a day-by-day, year-by-year study of the genesis of an epoch-making style. Bibliographies and provenances are provided for each of the almost two hundred works in the exhibition, and there is an illustrated chronology. With more than two hundred superb colorplates, this informative survey is an essential work for both the general reader and the scholar." - Publisher. CONTENTS: Foreword, by Philippe de Montebello and Irene Bizot; Introduction, by Gary Tinterow and Henri Loyrette; I. The Salon of 1859, by Henri Loyrette; II. History Painting, by Henri Loyrette; III. The Realist Landscape, by Gary Tinterow; IV. The Nude, by Henri Loyrette; V. Figures in a Landscape, by Gary Tinterow; VI. Still Life, by Henri Loyrette; VII. Portraits and Figures, by Henri Loyrette; VIII. The Impressionist Landscape, by Gary Tinterow; IX. Modern Life, by Henri Loyrette; Chronology of Works in the Catalogue; Chronology 1859-70; Catalogue.. Paperback. Fine. 4to - over 9¾" - 12" tall., Metropolitan Museum of Art, Harry N. Abrams, 1994, 5<

1994, ISBN: 0870997181

[EAN: 9780870997181], Gebraucht, sehr guter Zustand, [PU: Metropolitan Museum of Art], Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creas… Mehr…

[EAN: 9780870997181], Gebraucht, sehr guter Zustand, [PU: Metropolitan Museum of Art], Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included. NOT AVAILABLE FOR SHIPMENT OUTSIDE OF THE UNITED STATES., Books<

1994, ISBN: 0870997181

[EAN: 9780870997181], Gebraucht, guter Zustand, [PU: Metropolitan Museum of Art], Good, Books