‎Heller, Peter‎
‎The Painter‎

‎ABELLO, juan; painter; la vie et oeuvre. ***** With inscrible of the painter and a drawing in color. ‎

‎, Spain, Reunidas, 1974, Bound, with dusjacket, 327pp.‎

‎With inscrible of the painter and a drawing in color. and three original photo's of the painter also signed.‎

‎N.I. Novikov The Painter 1772-1773. In 2 Parts. 1864./N.I.Novikov Zhivopisets 1‎

‎"N.I. Novikov The Painter 1772-1773. In 2 Parts. 1864./N.I.Novikov Zhivopisets 1772-1773. V 2-kh chastyakh. 1864 god. This satirical magazine was published by Novikov at the best of times; the Painter was a great success, withstanding six editions, and in 1864 Efremov published the seventh edition of the magazine. The magazine contained denunciations of landlords and enemies of enlightenment, criticism of representatives of the government administration and the judiciary, mockery of noble mores, and depictions of peasant misery and grief. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-ab18c79198b8c6e0."‎

‎Life of Picasso: 1907-1917: The Painter of Modern Life Part II‎

‎, Random House, 1996 Hardcover, 500 pages, ENG, 260 x 215 x 40 mm, dustjacket, book is in very good condition, illustrated in b/w. ISBN 9780394559186.‎

‎In the second volume of his definitive biography of Pablo Picasso, John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research and personal experience that made a bestseller out of the first volume and vividly re-creates the artist's life and work during the crucial decade of 1907-1917--a period during which Picasso and Georges Braque invented cubism and to that extent engendered modernism. Thanks to his friendship with Picasso and his family, mistresses, friends, dealers and other associates, Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing fresh light to bear on the artist's too often sensationalized private life, he has succeeded in coming up with a totally new view of this paradoxical man and of his paradoxical work. Never before has Picasso's prodigious technique, his incisive vision and, not least, his sardonic humor been analyzed with such clarity. Richardson reveals that the young Picasso saw himself in the Baudelairean role of "the painter of modern life"--a role that stipulated the brothel as the noblest subject for a modern artist. Hence his great innovative painting Les Demoiselles d'Avignon, with which this book opens. As well as portraying Picasso as a revolutionary, the author analyzes the more compassionate side of his genius. The misogynist of posthumous legend turns out to have been surprisingly vulnerable--more often sinned against than sinning. Heartbroken at the death of his mistress Eva, the artist tried desperately to find a wife. Richardson recounts the untold story of how his two great loves of 1915-1917 successively turned him down; and how these disappointments, as well as his horror at the outbreak of World War I and the wounds it inflicted on his closest friends, Braque and Apollinaire, shadowed his painting and drove him off to Rome--back to the ancient world. For Picasso, art would always have a magic function. As Richardson reveals, the artist saw himself as a shaman who could use his art to cast spells, both good and bad, and play all manner of ingenious and sardonic games. This greatest of modern artists knew better than anyone how to outrage us, also how to fascinate, puzzle and disturb us. Above all, he makes us perceive reality afresh by re-energizing our minds as well as our eyes.‎

‎Notion of the Painter-Architect in Italy and the Southern Low Countries‎

‎BE, Brepols - Harvey Miller, 2014 softcover, XXIV+311 pages ., 258 b/w ill., 220 x 280 mm. fine! ISBN 9782503548500.‎

‎Since the time of Vitruvius, architects have been expected to have a broad knowledge of the arts and sciences. The need for good skills in sketching and working up drawings even led, from the sixteenth century onwards, to fierce debates on the meaning and status of ?disegno?. While Italy saw the emergence of famous painters who excelled as architects, also in the Southern Netherlands the notion that an architect must also have a mastery of the painter?s art became widespread, owing in part to the dissemination of publications by Sebastiano Serlio and Pieter Coecke van Aelst. In the seventeenth century, Peter Paul Rubens was able to make his own contribution to this discussion as a consequence of his sojourns in Italy (1601?1608). Bringing together distinguished art and architecture historians from Europe and North America, this interdisciplinary approach will shed light on the interrelationship of architecture and painting in the Southern Netherlands. Piet Lombaerde is professor in theory and history of architecture and urbanism at the University of Antwerp, faculty of design sciences. His research interests cover the history of fortifications (1500-1900), urban history and the history of hydraulics. He is co-editor with Krista De Jonge (KU Leuven) of the series Architectura Moderna (Brepols Publisher) and author of several books on the history and theory of architecture and urban planning. ‎

‎10 photographies par Charles Lyan des oeuvres de l'artiste J. D. Kirzsenbaum [ Les 10 photographies annotées et signées par le peintre ] [On joint : ] 3 Photographies annotées et signées par le peintre - 10 photographs by Charles Lyan of the works of the artist J. D. Kirzsenbaum [The 10 photographs annotated and signed by the painter ] [Attached : ] 3 Photographs annotated and signed by the painter‎

‎Ensemble 13 photographies annotées et signées. Détail : 10 photographies noir et blanc avec cachet d'atelier de Charles Lyan, format 15 x 12 cm (une photo au format 16 x 12 cm), chaque photo signée et annotée par le peintre : "Arlequin, 1946" ; "Der [ ... ] Rabbi 1945" ; "Arbeitloser 1945" ; Frauenkopf 1945" ; "Damenschneider 1945" ; "Rabi u Diener im Synagogentor 1945" ; "Auf dem Friedhof 1945" ; "Procession 1945" ; "Fahrt der Chassidim 1946" ; "[... ] 1946" ; On joint 3 autres photos sans cachet de photographe, à savoir 2 petites photos de sculpture (annotée et signée par l'artiste) et une photo 12,5 x 15,5 cm : "Messiahverkündung der Propheten Eli 1946"‎

‎Né en Pologne, Jesekiel David Kirszenbaum (1900–1954) part en Allemagne en 1920 et étudie au Bauhaus sous la direction de Paul Klee et Kandinsky. Il rejoint Paris en 1933, et sera influencé par l'Ecole de Paris, mais conserve un style propre, marqué par la mystique et le folklore juif de son enfance, à l'instar d'un Chagall. Pendant la guerre, son épouse ainsi que tous les membres de sa famille demeurés en Pologne sont tués par les allemands, et son atelier mis à sac. C'est grâce à l'aide de la baronne Alix de Rothschild qu'il peut se remettre à peindre au lendemain de la mort ; il mourra prématurément d'un cancer en 1954. Born in Poland, Jesekiel David Kirszenbaum (1900–1954) left for Germany in 1920 and studied at the Bauhaus under Paul Klee and Kandinsky. He moved to Paris in 1933, and was influenced by the School of Paris, but retained his own style, marked by the Jewish mysticism and folklore of his childhood, like Chagall. During the war, his wife and all the members of his family who remained in Poland were killed by the Germans, and his studio was ransacked. It was thanks to the help of Alix de Rothschild that he was able to resume painting after the war ; he died prematurely of cancer in 1954.‎