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GUAZAVA (Georges C.)
Art et crime
Paris, Nouvelles éditions latine, 1961, in-8, in-8 carré de 92, (4) pages et 16 planche dont 12 en couleurs, exemplaire broché, couverture imprimée en couleurs, Première édition, portant un envoi autographe signé de l'auteur "à Monsieur Sicot avec les respect de l'auteur". Bon exemplaire, bien conservé. L'ancien résistant des Forces françaises de l'Intérieur dédit son livre à Marcel Sicot, qui en 1961 était Secrétaire général d'Interpol. in-8 carré de 92, (4) pages
Reference : 27130
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Librairie Axel Benadi
M. Axel Benadi
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Conditions de vente conformes aux usages du Syndicat de la Librairie Ancienne et Moderne, et au règlement de la Ligue Internationale de la Librairie Ancienne. Tous les ouvrages décrits ont été collationnés et sont garantis complets, sauf indication contraire. Les prix indiqués sont net en Euros, port en sus.
5 book(s) with the same title
Iskusstvo rassledovaniya prestupleniy. In Russian /The Art of Crime Investiga...
Short description: In Russian. Gromov, Vladimir Ustinovich. The Art of Crime Investigation. Moscow: Gosurizdat, 1930. Iskusstvo rassledovaniya prestupleniy. In Russian /The Art of Crime Investigation. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU8164475
L'ART DU CRIME: planches de sang.
Grenoble, Glénat, 2016; in-4, 46 pp., cartonnage de l'éditeur. EO tome 1 DL avril 2016.
EO tome 1 DL avril 2016.
g c guazava Art et crime Nouvelles
Editions latines 1961 1961. G.C. Guazava: Art et crime/ Nouvelles éditions latines 1961 . bon état
Bon état
Crime and Illusion. The Art of Truth in the Spanish Golden Age
, Brepols - Harvey Miller, 2019 Hardback, 336 pages, Size:220 x 280 mm, Illustrations:11 b/w, 118 col., Language: English. ISBN 9781912554096.
Summary According to an old historiographic tradition, the Spanish Golden Age placed the imitation of nature at the service of religion: its radical naturalism responded to the deep faith of that culture and moment. Crime & Illusion argues the opposite. It defends the thesis that the fundamental problem artists of the Golden Age confronted was not imitation but Truth. Moreover a large part, maybe the best part, of Spanish Baroque religious imagery is better understood as a complex exercise in addressing the spectators' doubts. Hovering on the horizon of an emerging empiricism, artists created their images as pieces of evidence, arguments for belief. Crime & Illusion reconstructs and interprets this judicial or forensic aspect of early modern visual culture at the center of a political, religious, and scientific triangle. Finally, the book explores the artists' skeptical reflection on the problematic relationship of painting and sculpture to the art of truth.
