"" "ART EDITION DE 1969. BROCHE."
Reference : "C70033C03989"
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Paris, Baudry's European Library Relié 1841 In-8 (14 x 22 cm), reliure pleine peau, dos lisse orné de dorures, liseré d'encadrement sur les plats, texte en anglais, dates d'édition et paginations multiples (153 + 101 + 49 + 86 pages) ; dos bruni, frottements aux mors, coiffes et coins, pages 81 à 153 roussies, note personnelle manuscrite en début d'ouvrage, par ailleurs assez bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
Presses Pocket Le livre d'or de la science-fiction Dos carré collé 1979 In-8, (10.5x18 cm), couverture illustrée en couleurs, dos carré-collé, 381 pages, récits fantastique, présentation de Alain Dorémieux ; quelques petites marques d'usage sur les plats, intérieur bruni, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
Presses Pocket Le livre d'or de la science-fiction Dos carré collé 1979 In-8 (10.5x18 cm), couverture illustrée en couleurs, dos carré-collé, 381 pages, récits fantastiques, présentation de Alain Dorémieux ; pliure au dos, papier bruni, par ailleurs bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
Reference : albf2b89b4f55e08c7a
Moore Thomas. Moore Thomas The Poetic Works of Thomas Moore Poetry by Thomas Moore. In English (ask us if in doubt)/Moore Thomas. Mur Tomas The Poetical works of Thomas Moore Poeziya Tomasa Mura. Reprinted from earlier editions with explanatory notes etc. London Thomas Yardley 1890 674c. 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. SKUalbf2b89b4f55e08c7a
, Antique Collectors' Club, Size: 280 mm x 220 mm. Pages: 160. Illustrations: 140 colour. Hardback. New. ISBN 9781851497478.
In their different mediums, Henry Moore (1898-1986) and Francis Bacon (1909-1992) created unforgettable images of the human figure. The distinctive visual languages that each artist developed over more than half a century were marked by a growing simplicity and monumentality of form. Their perspective differed: Moore clung to a belief in humanism, while Bacon espoused a post-humanist, nihilistic view of the world. In expressing their visions of humanity, the two artists had very different approaches: Bacon working from the outside in, disintegrating and dissolving form; Moore from the inside out, pushing anatomical structure to the surface. If Bacon's images suggest flux, chance, and the arbitrariness of existence, Moore's sculptures have been interpreted as universal symbols of strength and endurance.Bacon and Moore first exhibited together in a group exhibition at the Lefevre Gallery in London in which Bacon showed his Three Studies for Figures, at the Base of a Crucifixion (1944), propelling him into the limelight for the first time. Moore showed two sculptures from the1930s and fourteen wartime drawings, some of which anticipate the theme (though not the savage imagery) of Bacon's triptych.Exhibiting together in a commercial gallery was repeated twice in the 1960s, when Moore and Bacon were both represented by Marlborough Fine Art. These joint shows, extensively reviewed in the press, gave critics a chance to compare the artists' radical approaches to the human figure, which were seen as complementary rather than conflicting. Fifty years later, this publication once again brings their work into direct comparison.