2007, ISBN: 9780847828999

edizione con copertina rigida

New York: Ecco Press; Writers on Art Ser., 1995. Half-cloth, x, 69 pages, [16] pages of plates, illustrations (some colour); 22 cm. Tight, clean copy. Dust jacket protected in a mylar boo… Altro …

New York: Ecco Press; Writers on Art Ser., 1995. Half-cloth, x, 69 pages, [16] pages of plates, illustrations (some colour); 22 cm. Tight, clean copy. Dust jacket protected in a mylar book cover. A fine copy of the first printing. The famous writer discusses the work of the Ashcan artist George Bellows. "Though he was the most famous and most highly regarded American artist of his era, George Bellows, the intense, prolific painter of the early twentieth century, has remained as much of an enigma to his successors as to his contemporaries. Best known for his gritty, impressionistic depictions of underground boxing and the lower east side of New York, Bellows was also influenced by cultural movements and theories of art as diverse as transcendentalism and surrealism. In George Bellows: American Artist, Joyce Carol Oates explores his life and work from the perspective of a writer and admirer. Examining Bellows' art within his historical and cultural contexts, Oates sheds new light on his technical versatility and voracious imagination." - Publisher.. 1st. Hardcover. Fine/Fine. 8vo. Collectible., Ecco Press; Writers on Art Ser., 1995, 5, London: National Gallery of Art, 2001. 64 pages, colour illustrations; 22 cm. Exhibition held at the National Gallery, London, November 7, 2001 to February 10, 2002. Firm binding, clean inside copy. "R. B. Kitaj created a series of seven major pictures inspired by Cezanne's 'Bathers' for an exhibition at the National Gallery, London. This volume reproduces the paintings, together with a series of black chalk drawings. The paintings are discussed in the context of earlier work by Kitaj." - Publisher. CONTENTS: R. B. Kitaj in Conversation with Colin Wiggins; The Jew etc., by Anthony Rudolf.. 1st. Paperback. Fine. 8vo., National Gallery of Art, 2001, 5, New York: Abbeville Press Publishers, 1989. Cloth, 131 pages, illustrations (some colour); 24 x 26 cm. Firm binding, clean inside copy. Stated First edition. Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by arrangement. Richly illustrated with colour plates. "They might seem like mundane necessities, down there shuffling around in the dust. But as virtually every woman and a great many men know, shoes have long inspired imaginative caprice and private longing on an extravagant scale. Some of the great designers of the twentieth century have found the form of the shoe a source of extraordinary inspiration. Ferragamo, Vivier, Yantourney, and Perugia; Charles Jourdan, Manolo Blahnik, and Maud Frizon -- all have devoted their rich creativity to shoe design, an enterprise Vivier describes as 'a sculptural problem in which the center is always void.' Elegant, fanciful, extravagant, and quirky, twentieth-century shoes put their best foot forward in Heavenly Soles. This book introduces us to some of the most startling and delightful shoes ever created, from the magnificent hand-crafted wonders Yantourney produced in the 1920s using antique laces and velvets, to the supremely comfortable yet elegant platforms from Ferragamo during the '40s, and a recent collection from Vivier embroidered with pearls, feathers, and crystal beads. But there's more to the story then design and glamor. Heavenly Soles also tell us about the changing position of women in the twentieth century -- the first era in which it has been fashionable for them to walk, freely and comfortably, and the first in which shoes have been perfected for fit and balance. In contrast, the wonderfully illustrated text shows the import of the sexy and crippling stiletto heel of the '50s while also providing fascinating information about the larger fashion context of the times. This beautifully designed survey concludes with an international compendium of the best of contemporary models, none of which belongs to Imelda." - Publisher.. 1st. Hardcover. Fine/Very Good. Oblong., Abbeville Press Publishers, 1989, 4, San Francisco: Fine Arts Museums of San Francisco; DelMonico Books - Prestel, 1986. 509 pages, illustrations (some colour); 29 cm. Exhibition held at National Gallery of Art, 17 January to 6 April, 1986; Fine Arts Museums of San Francisco, M. H. De Young Memorial Museum, 19 April to 6 July, 1986. Near fine. Firm binding, clean inside copy. Age toning. OVERSIZE! No priority/air, except by special arrangement. This exhibition catalogue reproduces, in order, the exact works that were in the eight exhibitions of Impressionist art from 1874 to 1886. Includes many scholarly essays. CONTENTS: Directors' preface, by Ian McKibbin White, J. Carter Brown; Introduction, by Charles S. Moffett; The Impressionists and Edouard Manet, by Ste phane Mallarme ; The new painting, by Louis Emile Edmond Duranty; The intransigent artist or how the Impressionists got their name, by Stephen F. Eisenman; The end of Impressionism, by Richard Shiff; The first exhibition 1874: the first Impressionist exhibition in context, by Paul Tucker; The second exhibition 1876: a failed attempt, by Hollis Clayson; The third exhibition 1877: the "first" exhibition of Impressionist painters, by Richard R. Brettell; The fourth exhibition 1879: contemporary popularity and posthumous neglect, by Ronald Pickvance; The fifth exhibition 1880: disarray and disappointment, by Charles S. Moffett; The sixth exhibition 1881: Realists among the Impressionists, by Fronia E. Wissman; The seventh exhibition 1882: the painters called Impressionists, by Joel Isaacson; The eighth exhibition 1886: the rhetoric of independence and innovation, by Martha Ward; La nouvelle peinture, by Louis Emile Edmond Duranty.. Paperback. Very Good. 4to. .., Fine Arts Museums of San Francisco; DelMonico Books - Prestel, 1986, 3, New York: Rizzoli International Publications, Inc., 2006. 192 pages, colour illustrations, colour maps, colour portraits; 29 cm. Published in conjunction with the exhibition: "Monet in Normandy," held at the Fine Arts Museums of San Francisco, June 17 to September 17, 2006; North Carolina Museum of Art, October 15, 2006 to January 14, 2007; the Cleveland Museum of Art, February 18 to May 20, 2007. Near fine. Firm binding, clean inside copy. Light edgewear to wraps, age toning. OVERSIZE! No priority/international, except by special arrangement. Richly illustrated with colour plates. "An extraordinary new look at the world's most beloved Impressionist, this catalogue examines some of the artist's most important paintings, including the famed Giverny canvases, the iconic haystacks, and the Rouen cathedral series. Many rarely seen works are also featured and illustrate Monet's enduring ties to the Norman region. It was in Normandy that Monet began his painting career, and it was there that he met his first great mentor, Eug ne Boudin. Monet developed a deep affection for the region. He would return time after time to depict its dramatic coastline, picturesque villages, and seaside resorts. Normandy has been a source of inspiration for artists over the centuries, and the catalogue puts Monet's work in context with those who came before--Corot, Millet, Courbet, Whistler, and Boudin--and his fellow revolutionaries--Morisot, Pissarro, Renoir, Degas.Featuring more than sixty master works, Monet in Normandy marks one of the largest Impressionist exhibitions to be on view in the United States. Illuminating the essays are works by other great contemporaries such as Pissarro, Morisot, and Degas. / Richard Brettell is among the foremost authorities in the world on Impressionism and French painting of the period 1830 to 1930. Currently professor of aesthetic studies at the University of Texas at Dallas, he has taught at Northwestern University, the University of Chicago, Yale University, and Harvard University. Brettell is the author of monographs on Edgar Degas, Paul Gauguin, and Camille Pissarro." - Publisher.. Paperback. Very Good. 4to., Rizzoli International Publications, Inc., 2006, 3<

2013, ISBN: 9780847828999

edizione con copertina rigida

New York: Abbeville Press Publishers, 1989. Cloth, 131 pages, illustrations (some colour); 24 x 26 cm. Firm binding, clean inside copy. Stated First edition. Dust jacket, with light edgew… Altro …

New York: Abbeville Press Publishers, 1989. Cloth, 131 pages, illustrations (some colour); 24 x 26 cm. Firm binding, clean inside copy. Stated First edition. Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by arrangement. Richly illustrated with colour plates. "They might seem like mundane necessities, down there shuffling around in the dust. But as virtually every woman and a great many men know, shoes have long inspired imaginative caprice and private longing on an extravagant scale. Some of the great designers of the twentieth century have found the form of the shoe a source of extraordinary inspiration. Ferragamo, Vivier, Yantourney, and Perugia; Charles Jourdan, Manolo Blahnik, and Maud Frizon -- all have devoted their rich creativity to shoe design, an enterprise Vivier describes as 'a sculptural problem in which the center is always void.' Elegant, fanciful, extravagant, and quirky, twentieth-century shoes put their best foot forward in Heavenly Soles. This book introduces us to some of the most startling and delightful shoes ever created, from the magnificent hand-crafted wonders Yantourney produced in the 1920s using antique laces and velvets, to the supremely comfortable yet elegant platforms from Ferragamo during the '40s, and a recent collection from Vivier embroidered with pearls, feathers, and crystal beads. But there's more to the story then design and glamor. Heavenly Soles also tell us about the changing position of women in the twentieth century -- the first era in which it has been fashionable for them to walk, freely and comfortably, and the first in which shoes have been perfected for fit and balance. In contrast, the wonderfully illustrated text shows the import of the sexy and crippling stiletto heel of the '50s while also providing fascinating information about the larger fashion context of the times. This beautifully designed survey concludes with an international compendium of the best of contemporary models, none of which belongs to Imelda." - Publisher.. 1st. Hardcover. Fine/Very Good. Oblong., Abbeville Press Publishers, 1989, 4, Baltimore, MD and New Haven, CT: Walters Art Museum; Yale University Press, 2012. 143 pages, illustrations (chiefly colour), map; 26 cm. Published on the occasion of an exhibition "New Eyes on America: The Genius of Richard Caton Woodville," held at the Walters Art Museum from March 10, 2013, to June 2, 2013, and at the Mint Museum, Charlotte, North Carolina, from June 30, 2013, to November 3, 2013. Firm binding, clean inside copy. OVERSIZE! No priority/international, except by special arrangement. Profusely illustrated. "During a tragically short career, Richard Caton Woodville produced iconic works depicting mid-century America. Born in Baltimore and trained in Dusseldorf, Woodville painted 19th-century America in a new way. This book deals with the formation, historical and social context, and contemporary reception of this engaging painter." - Publisher. CONTENTS: New eyes on America, by Joy Peterson Heyrman; An artist of Baltimore, by Seth Rockman; Woodville and the Dusseldorf School, by Jochen Wierich; Woodville and the international art world, by Marie-Stephanie Delamaire; Woodville's technique, by Eric Gordon; Catalogue of paintings, by Joy Peterson Heyrman, Eric Gordon, and Gwen Manthey; Checklist of works on paper. Size: 4to - over 9¾" - 12" tall. 1st.. Paperback. Fine. .., Walters Art Museum; Yale University Press, 2012, 5, New York: Avon Books, 1982. x, 560 pages, 32 pages of plates, illustrations (some colour); 24 cm. Tight, clean copy. Spine slightly sunned. OVERSIZE! No priority/international, except by special arrangement. Encyclopaedic. "This volume is a general history of American women artists, suitable for use as a textbook, and threading the fine line between appealing to a broad readership while containing a large measure of scholarly depth. The author considers a diversified range of traditional and avant-garde styles, and many media, including fine and decorative arts, excepting only photography and architecture. Along with art, Rubinstein addresses the broader cultural context in which these artists worked, noting interactions, collaborations with other artists, to highlight the relation between women's art and their social and cultural circumstances. Numerous quotations from both the artists themselves and their contemporaries serve to create a vivid chronicle of how these women worked, the historical influences that shaped them, and how their careers progressed. The author states in the introduction that her aim was not simply to add women to the existing art histories, but to illustrate how 'Women have played an active, influential, and continuous role in the creation of every type of art in America.'" - Publisher. CONTENTS: Native Americans: the first American women artists; Colonial women artists and American women folk artists; The Golden age, 1800-1876; The Gilded age, 1876-1900; The Ash Can school and the Armory show, 1900-1929; The thirties: daughters of the Depression; The forties and fifties: women of the New York school; The sixties: pop art and hard edge; The feminist art movement.. Paperback. Very Good. 8vo - over 7¾" - 9¾" tall., Avon Books, 1982, 3, New York: Rizzoli International Publications, Inc., 2006. 192 pages, colour illustrations, colour maps, colour portraits; 29 cm. Published in conjunction with the exhibition: "Monet in Normandy," held at the Fine Arts Museums of San Francisco, June 17 to September 17, 2006; North Carolina Museum of Art, October 15, 2006 to January 14, 2007; the Cleveland Museum of Art, February 18 to May 20, 2007. Near fine. Firm binding, clean inside copy. Light edgewear to wraps, age toning. OVERSIZE! No priority/international, except by special arrangement. Richly illustrated with colour plates. "An extraordinary new look at the world's most beloved Impressionist, this catalogue examines some of the artist's most important paintings, including the famed Giverny canvases, the iconic haystacks, and the Rouen cathedral series. Many rarely seen works are also featured and illustrate Monet's enduring ties to the Norman region. It was in Normandy that Monet began his painting career, and it was there that he met his first great mentor, Eugène Boudin. Monet developed a deep affection for the region. He would return time after time to depict its dramatic coastline, picturesque villages, and seaside resorts. Normandy has been a source of inspiration for artists over the centuries, and the catalogue puts Monet's work in context with those who came before--Corot, Millet, Courbet, Whistler, and Boudin--and his fellow revolutionaries--Morisot, Pissarro, Renoir, Degas.Featuring more than sixty master works, Monet in Normandy marks one of the largest Impressionist exhibitions to be on view in the United States. Illuminating the essays are works by other great contemporaries such as Pissarro, Morisot, and Degas. / Richard Brettell is among the foremost authorities in the world on Impressionism and French painting of the period 1830 to 1930. Currently professor of aesthetic studies at the University of Texas at Dallas, he has taught at Northwestern University, the University of Chicago, Yale University, and Harvard University. Brettell is the author of monographs on Edgar Degas, Paul Gauguin, and Camille Pissarro." - Publisher. . Paperback. Very Good. 4to - over 9¾" - 12" tall., Rizzoli International Publications, Inc., 2006, 3<

2007, ISBN: 9780847828999

edizione con copertina rigida

Paris: Herscher, 1997. Hardcover. VG (except sticker residue on spine, paper clip mark on first few pages). Color pictorial glossy boards. No dust jacket (as issued?). 64 pp. 27 color p… Altro …

Paris: Herscher, 1997. Hardcover. VG (except sticker residue on spine, paper clip mark on first few pages). Color pictorial glossy boards. No dust jacket (as issued?). 64 pp. 27 color plates and additional color and bw illustrations., Herscher, 1997, 3, Rizzoli, 2006. Softbound. As New. Color illustrated wraps.192 pp. Profusely illustrated with 62 color plates, 69 b&w and color figures. Published to accompany an exhibition that traveled America from 2006-2007. Beautifully illustrated. "A new look at the world's most beloved Impressionist, Monet in Normandy examines some of the artist's most important paintings - including the famed Giverny canvases as well as the iconic haystacks and Rouen Cathedral series. This catalogue, which accompanies a major traveling exhibition, explores for the first time Monet's enduring ties to the region of Normandy. It was here that Monet began his painting career, and it was here that he met his first great mentor, Eugene Boudin. Monet developed a deep affection for the area, which was becoming the first international tourist destination of the modern age. He would return time after time to depict its dramatic coastline, picturesque villages, and seaside resorts." "Featuring more than sixty masterworks, Monet in Normandy marks one of the largest Impressionist exhibitions to travel the country. Included are many paintings from major museums and private collections across the United States, Europe, and Japan. Richard Brettell contributes three essays that track Monet's roots in this area and place him within the context of his contemporaries. Commentaries accompanying each painting in the catalogue are provided by the organizing curators Lynn Federle Orr, Heather Lemonedes, and David Steel."--Jacket., Rizzoli, 2006, 5<