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STRUTH Thomas
Still
Schirmer / Mosel, 2001, 23,5 x 29, 144 pages sous reliure éditeur toilée et jaquette illustrée. Avec 52 photographies en noir & blanc et couleurs. Essais de Guy Tossato, Régis Durand, Hripsimé Visser et James Lingwood. Version allemande du catalogue des expositions au Carré d'Art à Nîmes, au Stedelijk Museum à Amsterdam et au Centre national de la Photographie à Paris.
Reference : PHOTOGRA7417715
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Le Plaisir du Texte
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5 book(s) with the same title
JAMES ENSOR AND STILL LIFE IN BELGIUM (1830-1930) : Rose, Rose, Rose Mes yeux
, Mercatorfonds, 2023 PB, 260 x 210 mm, ENG.,176 p, NEW, 160 illustraties. ISBN 9789462303638.
This book offers a unique journey through the history of still life in Belgium in the 19th and early 20th centuries, with Ensor as guide. Still life played an important role within the oeuvre of Belgian expressionist and symbolist painter James Ensor (1860-1949). The quality and significance of his intriguing, complex still lifes become clear when placed within the broader development of the genre in Belgium between 1830 and 1930. The still life, which in the early 19th century had degenerated into a decorative genre, devoid of content and artistic importance, was artistically revalued in various ways throughout the nineteenth century: by monumentalising it, by animating the image with dolls and masks, through exoticism, or by making it part of an interior. In this, Ensor's work is the most inventive. Moreover, his long career added to Ensor's artistic impact on many artists who from 1880 onwards lapped towards modernism. His late still lifes - often transformations of early works - are little known and intriguing. Besides an overlook of this important part of Ensor's oeuvre, the book offers an overview of the 19th-century Belgian academic tradition of decorative painting, with intriguing work by lesser-known painters such as Jean Robie, Hubert Bellis, Frans Mortelmans and Henri De Braekeleer, and forgotten female artists such as Berthe Art and Alice Ronner. In the early 20th century, artists such as Louis Thevenet continued to develop the genre of still life in a traditional manner, while innovators such as the late James Ensor, L on Spilliaert, Marthe Donas, Walter Vaes and Gustave Van de Woestyne created highly personal interpretations. This tradition of the still life painting ends with artists such as Jean Brusselmans and Ren Magritte, who deconstructed the pictorial space of the 'theatre of things'. This book is published on the occasion of the first exhibition ever entirely devoted to James Ensor's still lifes at Mu.ZEE (Ostend).
Reference : albe3d04dbe20e83d3f
Isaac Azimov. My memory is still young. I still feel happy. In Russian (ask us i
Isaac Azimov. My memory is still young. I still feel happy. In Russian (ask us if in doubt)/Ayzek Azimov. V pamyati po-prezhnemu molod. Po-prezhnemu chuvstvuyu radost.Series: Library of Adventure and Science Fiction. Extraterrestrial Center.. SKUalbe3d04dbe20e83d3f.
Still Life: Still Life Painting in the Early Modern Period (Big Art)
Köln 1994 Taschen GmbH Soft cover Fine
Still Life: Still Life Painting in the Early Modern Period (Big Art) 176 blz met talrijke illustraties / foto's in kleur en z/w 300 x 240 mm, soft cover, in goede staat
Fertile Ground of Painting: Seventeenth-Century Still Lifes and Nature Pieces.
, Brepols - Harvey Miller, 2020 Hardcover, 304 pages ., 162 colour ill., 225 x 300 mm, Languages: English. ISBN 9781912554065.
Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic strcutures of Art in general. 17th-Century Netherlandish Still Life painting actively participated in the intellectual discourse of natural philosophy and the natural sciences, even though art history until recently described it, somewhat simplifying, as realistic-representative painting. We urgently need a rehabilitation of the notion of Mimesis. The author restarts the discussion, by putting more emphasis on the historical notions of Nature and Image. She examines how mimetic structures acquired a biotic reproductive capacity in the 17th century. Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic strcutures of Art in general. Karin Leonhard is professor of art history at the University of Konstanz.
Nature Morte: Contemporary artists reinvigorate the Still-Life tradition
Petry, Michael: Nature Morte: Contemporary artists reinvigorate the Still-Life tradition. Thames & Hudson, 2013. 288 pages. Hard cover. 28 x 23.5cms. Provocative re-imaginings of the traditional still life by over 180 international contemporary artists.
Provocative re-imaginings of the traditional still life by over 180 international contemporary artists
