2020, ISBN: 9780810936768

Gebundene Ausgabe

Darmstadt, Germany: Stars and Stripes Fund, 1963. Paperback. 176p., wraps, 9x11 inches, profusely illus., wraps worn, old price sticker on front wrap, else very good condition in a price… Mehr…

Darmstadt, Germany: Stars and Stripes Fund, 1963. Paperback. 176p., wraps, 9x11 inches, profusely illus., wraps worn, old price sticker on front wrap, else very good condition in a price-clipped and edgeworn dj. Intended to "help make Americans in Europe feel more at home in the Old World." Editor Williams was an American poet and artist involved in the Fluxus movement. For many years he was an editor at Something Else Press., Stars and Stripes Fund, 1963, 0, NY: Pace Gallery, 2012. Hardcover. VG. Corrugated cardboard covers with black lettering. Accordion folded. 18 pp. 22 color plates. Catalogue of an exhibition from January 20 to March 10, 2012., Pace Gallery, 2012, 3, New York: Thames and Hudson, 1995. Hardbound. VG / VG. Blue cloth over boards; Color illustrated dj.; 208 pp.; 82 bw, 108 color plates and figures. Published in conjunction with the traveling exhibition of the same name. Works divided into three sections: "Paris 1622-1623: The Marino Drawings," "Rome 1624-1640," and "Paris 1640-1642, and the late years in Rome." An exhibition organized by the Royal Library at Windsor Castle in conjunction with the Museum of Fine Arts, Houston, held at Dulwich Picture Gallery, London, Feb. 16-April 30, 1995 and others./ Includes bibliographical references (pages 207-208)., Thames and Hudson, 1995, 3, Oxford, England: Ashmolean Museum / Museum De Lankenhal, 2019. Softcover. VG- (may have ex-museum 'withdrawn' to title pg. scuffs, scratches to wraps; rubbed edge-wear.). Glossy pictorial dj. 320 pp : illustrations. Young Rembrandt' concentrates on the first ten years of the career of Rembrandt van Rijn (1606-1669). Born in Leiden, he trained there with Isaac van Swanenburg and in Amsterdam with Pieter Lastman. After a short stay in Amsterdam he returned to Leiden and set up a studio where he began his extraordinary career, painting scenes from the Bible and classical mythology and history, as well as a handful of genre scenes and portraits. His progress is remarkable: from the earliest hesitant paintings of the Five Senses in about 1624 to the wonderfully assured Jeremiah of 1630 it is almost possible to trace his development and his increasing fluency and self-confidence from month to month and certainly from year to year.00Exhibition: Museum De Lakenhal, Leiden, The Netherlands (02.11.2019-09.02.2020) / Ahsmolean Museum, Oxford, UK (27.02.-07.06.2020). On title page: Museum De Lakenhal, Leiden, 2019; Ashmolean Museum, Oxford, 2020./ This publication accompanies the exhibition Jonge Rembrandt at the Museum De Lakenhal, Leiden, from 2 November 2019 to 9 February and Young Rembrandt at the Ashmolean Museum, Oxford, from 27 February to 7 June 2020./ Includes bibliographical references (pages 303-311) and index (pages 313-317)., Ashmolean Museum / Museum De Lankenhal, 2019, 3, New York: Abrams, 1994. Hardcover. As new in shrinkwrap. Orange cloth with color pictorial glossy dustjacket. 255 pp., 42 color and 178 bw plates. "For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artist Marcel Duchamp, the European contingent included such iconoclastic visitors as the playboy painter Francis Picabia, the composer Edgard Varese, the diplomat Henri-Pierre Roche (author of Jules et Jim and adviser to the extraordinary collector John Quinn), and painters Albert Gleizes and Jean Crotti. Among the Americans were the photographer/painter/constructor Man Ray, the Precisionist painter and Fortune photographer Charles Sheeler, the Futurist Joseph Stella, and the Pennsylvania artists Charles Demuth and Morton Schamberg." "New York Dada is the first comprehensive study devoted exclusively to the accomplishments of these vanguard artists in America in the period 1915-23 - among the most underappraised, though most influential periods in the history of American art. Within months after the word "Dada" was discovered by a group of refugee artists and writers living in Switzerland, news of the movement reached artists in New York, who, by then, had already made works of art and engaged in activities that were similar in spirit to those produced by their European counterparts." "For this groundbreaking book, Francis M. Naumann has interviewed virtually all the survivors and has amassed a wealth of rare photographs and newspaper clippings, including pictures of early installations of modern art in homes and exhibitions, to capture the spirit of New York Dada in a work that is both informative and captivating. In view of the current trend to investigate the potential of a conceptually oriented approach to art and to the art-making process, it is perhaps no coincidence that New York Dada is now finally recognized for the important role it played in the formative phases of a modernist aesthetic."--Jacket. Contents as follows: Preface and Acknowledgments; (starting p. 6) --; Introduction; (starting p. 8) --; 1; Proto-Dada; (starting p. 12) --; 2; The Arensbergs; (starting p. 22) --; 3; Marcel Duchamp; (starting p. 34) --; 4; Francis Picabia; (starting p. 56) --; 5; Man Ray; (starting p. 76) --; 6; The Arensberg Circle; (starting p. 94) --; Albert Gleizes and Juliette Roche; (starting p. 96) --; Jean and Yvonne Crotti; (starting p. 100) --; Edgard Varese; (starting p. 105) --; Henri-Pierre Roche; (starting p. 109) --; Beatrice Wood; (starting p. 112) --; Clara Tice; (starting p. 117) --; Charles Sheeler; (starting p. 121) --; Morton Schamberg; (starting p. 126) --; Charles Demuth; (starting p. 130) --; John Covert; (starting p. 134) --; Joseph Stella; (starting p. 142) --; The Stettheimer Sisters; (starting p. 148) --; Katherine Dreier; (starting p. 155) --; Arthur Cravan and Mina Loy; (starting p. 162) --; Baroness Elsa von Freytag-Loringhoven; (starting p. 168) --; 7; The Independents; (starting p. 176) --; 8; New York Dada; (starting p. 192) --; 9; Aftermath; (starting p. 212) --; Notes; (starting p. 224) --; Selected Bibliography; (starting p. 244) --; Index; (starting p. 250) --; Photograph Credits; (starting p. 255)., Abrams, 1994, 5<

1994, ISBN: 9780810936768

New York: Abrams, 1994. Hardcover. As new in shrinkwrap. Orange cloth with color pictorial glossy dustjacket. 255 pp., 42 color and 178 bw plates. "For about ten years, beginning with t… Mehr…

New York: Abrams, 1994. Hardcover. As new in shrinkwrap. Orange cloth with color pictorial glossy dustjacket. 255 pp., 42 color and 178 bw plates. "For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artist Marcel Duchamp, the European contingent included such iconoclastic visitors as the playboy painter Francis Picabia, the composer Edgard Varese, the diplomat Henri-Pierre Roche (author of Jules et Jim and adviser to the extraordinary collector John Quinn), and painters Albert Gleizes and Jean Crotti. Among the Americans were the photographer/painter/constructor Man Ray, the Precisionist painter and Fortune photographer Charles Sheeler, the Futurist Joseph Stella, and the Pennsylvania artists Charles Demuth and Morton Schamberg." "New York Dada is the first comprehensive study devoted exclusively to the accomplishments of these vanguard artists in America in the period 1915-23 - among the most underappraised, though most influential periods in the history of American art. Within months after the word "Dada" was discovered by a group of refugee artists and writers living in Switzerland, news of the movement reached artists in New York, who, by then, had already made works of art and engaged in activities that were similar in spirit to those produced by their European counterparts." "For this groundbreaking book, Francis M. Naumann has interviewed virtually all the survivors and has amassed a wealth of rare photographs and newspaper clippings, including pictures of early installations of modern art in homes and exhibitions, to capture the spirit of New York Dada in a work that is both informative and captivating. In view of the current trend to investigate the potential of a conceptually oriented approach to art and to the art-making process, it is perhaps no coincidence that New York Dada is now finally recognized for the important role it played in the formative phases of a modernist aesthetic."--Jacket. Contents as follows: Preface and Acknowledgments; (starting p. 6) --; Introduction; (starting p. 8) --; 1; Proto-Dada; (starting p. 12) --; 2; The Arensbergs; (starting p. 22) --; 3; Marcel Duchamp; (starting p. 34) --; 4; Francis Picabia; (starting p. 56) --; 5; Man Ray; (starting p. 76) --; 6; The Arensberg Circle; (starting p. 94) --; Albert Gleizes and Juliette Roche; (starting p. 96) --; Jean and Yvonne Crotti; (starting p. 100) --; Edgard Varese; (starting p. 105) --; Henri-Pierre Roche; (starting p. 109) --; Beatrice Wood; (starting p. 112) --; Clara Tice; (starting p. 117) --; Charles Sheeler; (starting p. 121) --; Morton Schamberg; (starting p. 126) --; Charles Demuth; (starting p. 130) --; John Covert; (starting p. 134) --; Joseph Stella; (starting p. 142) --; The Stettheimer Sisters; (starting p. 148) --; Katherine Dreier; (starting p. 155) --; Arthur Cravan and Mina Loy; (starting p. 162) --; Baroness Elsa von Freytag-Loringhoven; (starting p. 168) --; 7; The Independents; (starting p. 176) --; 8; New York Dada; (starting p. 192) --; 9; Aftermath; (starting p. 212) --; Notes; (starting p. 224) --; Selected Bibliography; (starting p. 244) --; Index; (starting p. 250) --; Photograph Credits; (starting p. 255)., Abrams, 1994, 5<

1994, ISBN: 9780810936768

ABRAMS, September 1994. Oversized Clothbound . Very Good/Very Good. For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and q… Mehr…

ABRAMS, September 1994. Oversized Clothbound . Very Good/Very Good. For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artist Marcel Duchamp, the European contingent included such iconoclastic visitors as the playboy painter Francis Picabia, the composer Edgard Varese, the diplomat Henri-Pierre Roche (author of Jules et Jim and adviser to the extraordinary collector John Quinn), and painters Albert Gleizes and Jean Crotti. Among the Americans were the photographer/painter/constructor Man Ray, the Precisionist painter and Fortune photographer Charles Sheeler, the Futurist Joseph Stella, and the Pennsylvania artists Charles Demuth and Morton Schamberg. New York Dada is the first comprehensive study devoted exclusively to the accomplishments of these vanguard artists in America in the period 1915-23 - among the most underappraised, though most influential periods in the history of American art. Within months after the word 'Dada' was discovered by a group of refugee artists and writers living in Switzerland, news of the movement reached artists in New York, who, by then, had already made works of art and engaged in activities that were similar in spirit to those produced by their European counterparts. For this groundbreaking book, Francis M. Naumann has interviewed virtually all the survivors and has amassed a wealth of rare photographs and newspaper clippings, including pictures of early installations of modern art in homes and exhibitions, to capture the spirit of New York Dada in a work that is both informative and captivating. In view of the current trendto investigate the potential of a conceptually oriented approach to art and to the art-making process, it is perhaps no coincidence that New York Dada is now finally recognized for the important role it played in the formative phases of a modernist aesthetic. A 1.5 inch light scratch on the back board, else very good., ABRAMS, 3<