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‎Series: History of the Art of the Peoples of the USSR. In 9 volumes, 10 books. ‎

‎Series: History of the Art of the Peoples of the USSR. In 9 volumes, 10 books. Editor-in-Chief B.V. Weirman/Seriya: Istoriya iskusstva narodov SSSR. V 9 tomakh, 10 knigakh. Glavnyy redaktor B.V. Veyrman History of the Art of the Peoples of the USSR series of 10 volumes published in Moscow by the Publishing House of Fine Arts in the period 1971-1984 Volume 1-The Art of Primitive Society and the Ancient States Volume 2-The Art of the Fourth-13th Centuries Volume 3-The Art of the 14th-17th Centuries Volume 4-The Art of the Late 17th-18th Centuries Volume 5-The Art of the First Half of the 19th Century Volume 6-The Art of the Second Half of the 19th-Early 20th Century Volume 7-The Art of the Peoples of the USSR from WSR to 1941 Volume 8-The Art of the Peoples of the USSR during the Great Patriotic War and until the end of the 1950s Volume 9 (1, 2) -The Art of the Peoples of the USSR 1960-197. 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-6b640d154b8b2de0.‎

‎Art auctions and dealers. The Dissemination of Netherlandish Art during the Ancien Regime. ‎

‎Turnhout, Brepols, 2009 Paperback, original editor's jacket, english, XI+174 pp., 41 b/w illustrations., 17x25 cm. NEX ISBN 9782503516202.‎

‎Studies in European Urban History (1100-1800). Studies in European Urban History (1100-1800) (SEUH 20). This collection of essays presents a status quaestionis concerning the dissemination of Flemish and Dutch art during the period 1400-1800, and highlights the role art auctions and dealers have played in this process. Auctions emerged as the primary channel for art sales at the end of the seventeenth century in the Low Countries and during the eighteenth century, countless local art collections were broken up and put up for auction. Especially (old master) paintings exchanged hands in great numbers at these public sales, and the finest pieces frequently ended up in foreign holdings. The activities of the professional art dealer form the focus of several essays. These intermediaries played an instrumental role in the commercialization and expansion of the art trade in early modern Europe. They had a profound impact on the history of collecting as they mediated and even influenced taste. Naturally, the role of art dealers changed over time. Therefore, the historians, art historians and economists who contributed to this volume have approached this phenomenon in an interdisciplinary fashion in order to properly understand how art markets functioned. In doing so, these essays explore the various ways in which art dealers helped shape markets for art, and how they facilitated the increasing volume of exports of Netherlandish art from the sixteenth century onwards. ‎

‎Art in the Seventies.‎

‎, Phaidon, 1980 Paperback, 128 pages, ENG, 280 x 215 mm, in good condition, illustrations in color / b/w. ISBN 9780714820712.‎

‎ From his stance as an active and important art critic, Edward Lucie-Smith has close first-hand knowledge of the art of the 70s. In this first general survey of the decade, packed with images that are often surprising and sometimes disturbing, he sets out to analyse the development both of old forms and of new ones, and to provide a coherent framework for the general reader. He shows how 70s artists have reacted to the Pop Art, Minimal Art and Conceptual Art of the 60s, and traces a new interest in illusionism, figuration and realism. Other important new elements are the impact of feminism and ecology on the arts, the blurring of the distinction between art and craft, the impact of high technology, and the 'cultural colonialism' of modern art in the wake of Western technology. The author's method is to document rather than to judge; his task has been to select and order, and to allow the new works of the decade to convey their own excitement. But behind the objective presentation lies the author's argument that the 70s may well become known as the decade in which the very notion of an avant-garde was finally seen to be untenable. This stunningly illustrated book provides the general reader and the art lover with an authoritative guide to a confused but exciting decade. Edward Lucie-Smith is well known as a poet and art critic through his many books, articles and broadcasts. His books include Art Today, Super Realism and Cultural Calendar of the Twentieth Century, all published by Phaidon.""‎

‎ Art on Paper: Ephemeral Art in the Low Countries The Triumphal Entry of the Archdukes Albert and Isabella into Antwerp, 1599 ‎

‎, Brepols - Harvey Miller, 2014 softcover, 157 p., 100 b/w ill., 220 x 280 mm, ILanguages: English. ISBN 9782503543413.‎

‎This book focuses on ephemeral art of festival, created for public events, such as triumphal processions, weddings and court funerals. The ephemeral art of festival, popular in the 16th and 17th centuries, was created for public events, such as triumphal processions, weddings and court funerals. Large-scale monuments combining painting, sculpture and the performing arts were devised for the duration of the event, but as soon as this was over, these extravagant constructions were dismantled and their individual components ultimately destroyed. Before the monuments ceased to exist, the city council would ensure their conservation in words and images, thus materializing the ephemeral art of festival into the more lasting medium of word and image on paper. One of the most celebrated such festive events was that of the 1599 Antwerp Triumphal Entry of Archduke Albert of Austria and the Infanta Isabella Clara Eugenia of Spain, the new Spanish governors of the Netherlands. No fewer than 22 monuments, composed of ephemeral materials, were devised. Construction of the monuments was entrusted not only into the hands of sculptors, painters, goldsmiths, carpenters and architects, but also to one of the leading thinkers of the time, the humanist and city secretary Johannes Bochius. This study offers a new approach to an analysis of the art of such events, based on Bochius? book: The Triumphal Entry of the Archdukes Albert and Isabella. Offering a unique and innovative interpretation of the ephemeral art books, a particular relation is revealed between the ephemeral event itself and its documentation in a book. Examining the role of the author (in this case Bochius) as the sole designer of the event, the monuments and their documentation (the book), requires an idiosyncratic reading of the text, which in turns provides more accurate and valid interpretative framework for the book, and hence also for the artwork. Such books, in uniting event and text into one coherent and long-lasting work of art, constitute a new genre of ekphrasis, formulated and conceived solely for the purpose of eternalizing the ephemeral. Tamar Cholcman, from Tel Aviv University, the Art History Department, specializes in Renaissance art, focusing on the ephemeral art of festivals in the Netherlands and the Iberian Peninsula, during the 16th and 17th centuries.‎

‎Emile Prisse d'Avennes: Egyptian Art -- Agyptische Kunst -- Art egyptien -- The Complete Plates ‎

‎, Taschen, , 2014 Hardcover with dusjacket, in-folio, 428 pages, Illustrated. Texte en Francais / Deutsch / English. FINE!. ISBN 9783836516471.‎

‎In seiner leidenschaftlichen Bewunderung f r die grandiosen F higkeiten der alt gyptischen und orientalischen K nstler leistete der franz sische Orientalist, Schriftsteller und K nstler mile Prisse d?Avennes (1807?1879) Bahnbrechendes auf dem Gebiet der gyptologie. Schon als Jugendlicher tr umte er davon, den Orient zu erkunden, mit 19 machte er sich erstmals auf den Weg und besuchte Griechenland, Pal stina und Indien. In den folgenden 40 Jahren bereiste er Syrien, die Arabische Halbinsel und Persien und lebte einige Zeit in gypten und Algerien. gypten erkundete Prisse d?Avennes, in arabische Gew nder gekleidet, unter dem Namen Idris Effendi. Als Erforscher der alt gyptischen und islamischen Kulturen schrieb er sp ter in seiner Geschichte der gyptischen Kunst: ?Ich habe die elegantesten Vorlagen ausgew hlt, diejenigen, deren Gestalt eine sehr genaue Vorstellung vermittelt vom Geschmack und Luxus dieser Zeit, als die gyptische Kunstfertigkeit sich auf dem Gipfel ihrer Brillanz befand.? Im Jahr 1844 reiste Prisse d?Avennes von Alexandria nach Frankreich, wo er drei Jahre sp ter die Monuments gyptiens ( gyptische Baudenkm ler) ver ffentlichte. Dieser Band enth lt 51 Tafeln, die auf Zeichnungen basieren, die er w hrend seiner Zeit in gypten angefertigt hatte. Nach einem erneuten Aufenthalt in Nordafrika kehrte er 1860 wieder nach Paris zur ck, mit den Fr chten seiner zahlreichen Reisen im Gep ck: Hunderte von Foliozeichnungen, Fotografien, Skizzen, Karten und 400 Metern an Basreliefs. Fasziniert von der Symmetrie, Komplexit t und Opulenz der gyptischen und arabischen Kunst, griff er auf diesen gewaltigen Fundus zur ck, um Sammelwerke zur Kunst und Architektur zu schaffen, in die er seine Forschungen zum historischen, gesellschaftlichen und religi sen Kontext ebenso einflie en lie wie seine Untersuchungen von Originaldokumenten. 1878/79 erschien in Paris unter dem Titel Histoire de l?art gyptien (Geschichte der gyptischen Kunst) sein vollst ndiges Kompendium, das 159 beeindruckende Tafeln zur gyptischen Kunst enth lt. Diese au ergew hnlichen Tafeln zu Architektur, Skulptur, Malerei und Kunstgewerbe werden hier erstmals in einem Band vereint und vollst ndig ver ffentlicht. ---- In his passionate admiration for the magnificent skills of ancient Egyptian and oriental artists, the French orientalist, writer and artist mile Prisse d?Avennes (1807?1879) made groundbreaking contributions to the field of Egyptology. Even as a teenager he dreamed of exploring the Orient. At the age of 19 he set off for the first time and visited Greece, Palestine and India. In the following 40 years he traveled to Syria, the Arabian Peninsula and Persia and lived for some time in Egypt and Algeria. Prisse d'Avennes explored Egypt, dressed in Arab robes, under the name Idris Effendi. As a researcher of ancient Egyptian and Islamic cultures, he later wrote in his history of Egyptian art: ?I have selected the most elegant models, those whose shape gives a very accurate idea of ??the taste and luxury of that time when Egyptian artistry was at its peak brilliance.? In 1844, Prisse d'Avennes traveled from Alexandria to France, where three years later he published Monuments gyptiens (Egyptian Monuments). This volume contains 51 plates based on drawings he made during his time in Egypt. After another stay in North Africa, he returned to Paris in 1860 with the fruits of his numerous travels in his luggage: hundreds of folio drawings, photographs, sketches, maps and 400 meters of bas-reliefs. Fascinated by the symmetry, complexity and opulence of Egyptian and Arabic art, he drew on this enormous fund to create collections on art and architecture, in which he incorporated his research into the historical, social and religious context as well as his studies of original documents. In 1878/79 his complete compendium was published in Paris under the title Histoire de l'art gyptien (History of Egyptian Art), which contains 159 impressive plates on Egyptian art. These extraordinary panels on architecture, sculpture, painting and decorative arts are brought together and published in full in one volume for the first time.‎