Baldassari, Anne:Picasso and Photography: The Dark Mirror
- gebunden oder broschiert 2006, ISBN: 9782080136466
New York: W. W. Norton & Company, 2006. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. The format is approximately 9 inches by 10.25 inches. 276, [4] p… Mehr…
New York: W. W. Norton & Company, 2006. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. The format is approximately 9 inches by 10.25 inches. 276, [4] pages. DJ has slight wear and soiling. Illustrations (30 color, 200 black-and-white). Coda. Selected Buildings and Projects. Notes. Selected bibliography. Index. Contents include Introduction; The Shaping of an American Architect; Ecole des Beaux-Arts, Paris, 1907-11; Homecoming:" Buchman & Kahn, The Early Years, 1917-1921; Building Boom: Garment District Developers and Design, 1921-25; Toward an American Modernism, 1925-28; Skyward: The Major Works, 1928-31;; The 1930s: New Challenges and Opportunities'; Kahn and Jacobs, 1940-1950; and From Midtown to Wall Street, 1950-1965. One of the fabled "three Napoleons" of New York (with Raymond Hood and Ralph Walker) yet almost unknown today, Ely Jacques Kahn had a nearly half-century career and some three dozen of his buildings still grace the New York cityscape. Trained at the Ecole des Beaux-Arts, he was known for his modern polychrome decoration and setback skyscrapers. Jewel Stern and John A. Stuart were co-curators with Janet Parks of an exhibition on Kahn at the Wallach Art Gallery, Columbia University (2006). Jewel Stern is an artist, art historian, and independent curator. John Stuart is a tenured Distinguished University Professor in Florida International University's College of Architecture + The Arts and Executive Director of the FIU School of Architecture Miami Beach Urban Studios. Stuart's research interests are in all aspects of architectural design, history, preservation, infrastructure, economies, and production. Ely Jacques Kahn (June 1, 1884 - September 5, 1972) was an American commercial architect who designed numerous skyscrapers in New York City in the twentieth century. In addition to buildings intended for commercial use, Kahn's designs ranged throughout the possibilities of architectural programs, including facilities for the film industry. Many of the buildings he designed under the 1916 Zoning Resolution feature architectural setbacks to keep the building profitably close to its permitted "envelope"; these have been likened to the stepped form of the Tower of Babel. Kahn is also known for his guidance to author Ayn Rand. As research for The Fountainhead, author Ayn Rand worked in Kahn's office, where Kahn arranged for her to meet Frank Lloyd Wright. Kahn, who had taken full control of the practice of Kahn & Buchman in 1930, as Ely Jacques Kahn Architects, produced some commercial skyscrapers that combined traditional massing with a skin pared of all details, such as the 42-storey Continental Building (1931) at Broadway and West 41st Street. For the New York Stock Exchange Building annex into 20 Broad Street, Kahn & Jacobs created additional facilities in 1956 designed with their characteristic zig-zag of setbacks in the upper stories. Kahn's work just after World War II had direct relevance to Judaism. In 1946, he began a renovation of Manhattan's Central Synagogue. In 1947, he wrote on the subject of design principles for synagogues in an article entitled, "Creating a Modern Synagogue Style: No More Copying." In 1948, with sculptor Jo Davidson, Kahn made the first public plan for a Holocaust memorial in the United States. The chosen site for this project in Riverside Park later bore other projects for memorials by Percival Goodman, and Erich Mendelsohn. Although Kahn retired some years earlier, the firm of Kahn & Jacobs lasted until 1973, the year after Kahn's death., W. W. Norton & Company, 2006, 3, Paris and Houston: Flammarion; Museum of Fine Arts, 1997. Cloth, 263 pages, illustrations (some colour); 32 cm. Translated from the French by Deke Dusinberre. Catalogue of a traveling exhibition first held at the Museum of Fine Arts, Houston, November 16, 1997 to February 1, 1998; subsequently held at various European museums. Based on three exhibition catalogs written by the author: Picasso photographe, 1901-1916 (1994), "A plus grande vitesse que les images": Picasso et la photographie (1995), and Le miroir noir: Picasso, sources photographiques, 1900-1928 (1997). Near fine. Firm binding, clean inside copy. Age toning. Dust jacket, chipped at the crown/spine, protected in a mylar book cover. OVERSIZE! No priority/international, except by arrangement. Profusely illustrated. "The extent to which photography influenced the work of Pablo Picasso is now considered by scholars to be of great importance in the understanding of the artist's entire oeuvre. Linked to a major exhibition, this beautifully illustrated books present a unique view into Picasso's relationship with the photographic arts. The presence in his personal estate of several thousand photographic images, donated to the French government upon his death, prompted this study and bears powerful witness to the artist's versatility and imaginative depth. The collection featured here includes nineteenth-century portraits, postcards featuring colonial themes or ethnic groups in regional dress, as well as portraits, self-portraits and studio views taken by Picasso himself. Already at the turn of the century, they contributed to the artist's figurative expression as well as to his major cubist interpretations. The artist commanded a wealth of themes, styles, and media over his long and productive career, and he explored drawing, painting, and sculpture. His voracious appetite for experimentation led him to push the medium to unorthodox extremes, both stylistically and technically. The range of Picasso's photographic production comprises a variety of forms and techniques and resulted in independent works of art: superimposed photographs, cliche-verres, photo-based engravings, photograms and original drawings on photographs, slides, collages, and photographic cutouts. His collaborations with other artists such as Dora Maar, Brassai, Gjon Mili, and Andr?eVillers reveal a playful inventiveness, and demonstrate his ability to push photography in unexpected directions. The works featured in this study provide new insight into Picasso's creative world. An outstanding text by Anne Baldassari makes a major contribution to Picasso scholarship by examining what could be the last unknown area of the artist's work. / Anne Baldassari is curator of the photographic archives of the Musee Picasso, Paris, and the author of numerous works on Picasso and the photographic arts." - Publisher.. 1st. Hardcover. Very Good/Very Good. Folio., Flammarion; Museum of Fine Arts, 1997, 3<
