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GETTE (Paul-Armand)
Colour etc.
Lille Alain Buyse In-8 oblong, broché en planches, non paginé. Lithographies couleur.
Reference : 16411
Tirage à 106 exemplaires numérotés, signé par l'artiste. Couverture un peu salie. * Voir photographie(s) / See the picture(s). * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte sur rendez-vous.
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Conformes aux règles du SLAM (Syndicat de la Librairie Ancienne et Moderne) et de la LILA (Ligue Internationale de la Librairie Ancienne).
5 book(s) with the same title
COLOUR REVOLUTION Victorian Art, Fashion & Design
, Acc Art Books, 2023 Paperback, 256 pages, ENG. edition, 280 x 220 x 20 mm, NEW, illustrated in colour. ISBN 9781910807576.
Britain's industrial age is often perceived through a black-and-white filter as the 'funereal' age of coal pollution and bleak working class slums. This catalogue will dispel that perception, demonstrating how the industrial revolution transformed colour, and focus on the central role it played in art, culture and technology As opposed to approaches favouring a long history of colour, the catalogue focuses on the second half of the 19th century and argues that this was a crucial chromatic turn, which has been significantly ignored by prominent historians of colour and previous publications Several essays in the catalogue offer new research into key chromatic events of the period including the 1862 International Exhibition Accompanies an exhibition at the Ashmolean Museum from 21 September 2023 to 18 February 2024 Contrary to the monochrome vision of Queen Victoria's mourning dresses and the coal-polluted streets of Charles Dickens' London, Victorian Britain was, in fact, a period of new and vivid colours. The Industrial Revolution had transformed the Victorians' perception of colour and, over the course of the second half of the 19th century, it became the key signifier of modern life. Colour Revolution: Victorian Art, Fashion & Design charts the Victorians' new attitudes to colour through a multidisciplinary exploration of culture, technology, art and literature. The catalogue explores key 'chromatic' moments that inspired Victorian artists and writers to think anew about the materiality of colour. Rebelling against the bleakness of the industrial present, these figures learned from the sacred colours of the past, the sumptuous colours of the Middle East and Japan and looked forward towards the decadent colours that defined the end of the century.
Three bound groups of Architectural Plans A total of 13 water colour architectural plans
Paris N/A 1908 Une belle collection de 9 études au crayon par Ledonné. Il s'agit principalement d'esquisses pour des études dans une Ecole Nationale en France, mais certaines font partie de sa soumission pour le certificat "Form Drawing" de la Cooper Union for the Advancement of Science and Art. Ces feuilles sont accompagnées d'un certificat imprimé et gaufré de l'université. Les feuilles comprennent 9 dessins au crayon, signés au recto, au verso ou aux deux. Certains sont des études de caractère de statues, dans un style grec. Quelques-uns sont des esquisses d'éléments architecturaux. La plupart des feuilles ont un format de 48 x 31 cm. Elles sont toutes en bon état, propres, mais certaines portent quelques marques et l'une d'entre elles présente des plis et des déchirures sur le bord (sans incidence sur l'image). Celles qui ont été soumises à l'école portent deux cachets, l'un pour l'école et l'autre indiquant la note / les points attribués. Les cachets ne figurent pas sur les images. Toutes les images sont d'un excellent niveau et peuvent être encadrées. Plusieurs de ces photos ont été présentées dans le cadre d'un cours à la Cooper Union. Cette institution a été fondée par l'inventeur, l'industriel et le philanthrope Peter Cooper à New York en 1858 (d'après le certificat, 1859 d'après leur site web) et existe encore aujourd'hui. Le certificat comporte une jolie vignette gravée représentant le grand hall de l'établissement. Il est signé à l'encre par le directeur et le président du collège, et porte un sceau estampé à l'aveugle. Il montre que Ledonné était inscrit à la Free Night School, et vraisemblablement à une école d'architecture (bien que ce sujet ait été appelé designing). Nous ne savons pas grand-chose sur Ledonné. Français, il a séjourné aux États-Unis entre 1899 et 1903, puis est rentré en France et a travaillé comme dessinateur ou architecte sous la direction de l'architecte Eugené Dr Chifflot (frère de Jules Léon Chifflot).
A lovely collection of architectural studies in ink and water colour by Ledonné. It is not clear whether these are studies as a draughtsman working for Eugené Dr Chifflot, or as an Architectural student (or perhaps a combination). The three groups are as follows: (1) Résumé des Constructions - Perspective lineaire des Prof. F Julien. 4 Sheets. One is a water colour of a fountain on art card, signed by Ledonné and with the éleve signed by Eu. Chifflot. Next is a perspective of the same, in red and black ink on architectural glassine, showing perspective lines (also signed by both). Next a epure de perspective of the fountain in red and black in (also signed by both). Finally, a section of the profile and plan, signed by Ledonné and professor Julien. There is a blank cover sheet (signed by Ledonné and Chifflot). Each sheet is 65 x 48cm, signed by both Ledonné and Chifflot, and in good, clean condition. They are held together by brass rivets to the top edge. (2) Projet de Stéréotomie un Chalet dans les Montagnes. 5 sheets. First is a water colour elevation and cut out of a chalet design. Second is a red, black and water colour design and perspective of the chalet staircase. Next a water colour detail of the joints and woodwork of the chalet. Next are water colour details of the woodwork and roof beams. Finally, details of the passages and brickwork. Each sheet is 65 x 48cm, signed by both Ledonné and Chifflot, and in good, clean condition. They are held together by brass rivets to the top edge. (3) 4 sheets of designs for a pavilion of honour. The first is an elevation and details in water colour. (This has some staining and edgewear to it). Second a plan and elevation of the interior with perspective lines. next is a wate rcolour perspective and elevation of the lunette, Finally, the stereotomie of the staircase. (showing the process of the assembly of the complex structure). These three sheets are in good, clean condition. Each sheet is 65 x 48cm, signed by both Ledonné and Chifflot. They are held together by brass rivets to the top edge. We can find little about Ledonné. A Frenchman, he was in American between 1899 and 1903, and later returned to France and worked as a draughtsman or architect under the architect Eugené Dr Chifflot (Brother of Jules Léon Chifflot). .
Retinal Structure and Colour Vision - A Restatement and an Hypothesis , et détermination de leurs constantes optiques principales à l'aide du microscope
Cambridge University Press Malicorne sur Sarthe, 72, Pays de la Loire, France 1946 Book condition, Etat : Bon hardcover, editor's red printed binding, no dust-jacket In-8 1 vol. - 243 pages
5 plates ouf of text, a frontispice in black and white and 2 colour plates, 2 in black (complete), 77 text-figures in B and W. 1st edition, 1946 Contents, Chapitres : Contents, List of illustrations, foreword, preface, xii, Text, 231 pages - The structure of the retinal elements - The function of the retinal elements - The spectrum in terms of rod and cone sensitivity - The C.I.E. colour chart and a possible interpretation - Impulse frequencies in retinal nerve fibres and the perception of colour- The trichromatic basis for colour perception, and the perception of colour in fovea centralis - Certain aspects of colour-blindness - Addendum, General statement of the theory - References - Notes on the construction of the colkour chart - Index - cf : la structure rétinienne et la vision en couleurs editor's binding is fine but no dust-jacket, inside is fine, no markings except the signing of the former owner, compete of the 5 plates
Colour and Culture - Practice and Meaning from Antiquity to Abstraction
Thames and Hudson Malicorne sur Sarthe, 72, Pays de la Loire, France 2012 Book condition, Etat : Bon "paperback, editor's blue and white wrappers, illustrated by "" Iridescent Interpretations "" by Giacomo Balla, 1912" In-4 1 vol. - 269 pages
103 black and white text-figures and 120 colored text-figures, and a frontispice 3rd edition, 2012 "Contents, Chapitres : Introduction - The classical inheritance - The fortunes of Apelles - Light from the east - A dionysian aesthetic - Colour-language, colour-symbols - Unweaving the rainbow - Disegno versus colore - The peacock's tail - Colour under control : The reign of Newton - The palette : "" Mother of all colours "" - Colours of the mind : Goethe's legacy - The substance of colour - The sound of colour - Colour without theory : The role of abstraction - Acknowledgments - Notes to the text - Bibliography and concordance - List of illustrations - Index" near fine copy, the editor's binding is near fine, inferior right corner on the front cover and superior left corner on the back cover very lightly folded, inside is fine, clean and unmarked
Archaeology of Colour. Technical Art History Studies in Greek and Roman Painting and Polychromy
, Brepols, 2024 Hardback, 450 pages, Size:216 x 280 mm, Language: English. ISBN 9789603710899.
Summary Ancient polychromy speaks a language of ?the visible? and ?the invisible?, through signs of pigments, brushstrokes and forms. Another reminder of our classical past, colour is an inherent component of artistic creation, inspiration and imagination. New sophisticated technologies, as well as the development of interdisciplinary studies over these past decades, have stimulated the collection and evaluation of numerous scientific data from in-situ investigation of polychrome and painted documents, and have challenged our understanding of the complexity and function of ancient painting materials and techniques. The present volume is another contribution to the ongoing exploration of the rich history of colour in the classical world; an exploration which builds on previous knowledge and opens up new horizons for a more extended understanding of the aesthetics and meaning of Greek and Roman art. It includes fifteen papers that move from Archaic and Classical Greece to the Hellenistic and Roman periods, and deal with colour on monumental architecture, marble statues and reliefs, wooden and terracotta statuettes, stone sarcophagi, paintings on stone and plaster, and pigments as raw materials. TABLE OF CONTENTS INTRODUCTION Hariclia Brecoulaki ARCHAIC / CLASSICAL PERIOD 1. Physicochemical Characterization of Colours and Plasters of an Archaic Sarcophagus from Chiliomodi, Corinth Yannis Maniatis, Eleni Korka, Melina Fotopoulou, Chara Sakellari, Nikos Minos, Safaa Abd El Salam, Alessia Andreotti, Maria Perla Colombini, Stefano Legnaioli and Hariclia Brecoulaki 2. The Revelation of the Decorative Pattern on the Coffered Ceiling of the Porch of the Karyatids in the Erechtheion Giasemi Frantzi, Anastasia Maridaki, Eleni Papakonstantinou, Giovanni Verri, Sophia Sotiropoulou and Hariclia Brecoulaki 3. Technical Investigation of the Polychromy of the Northwest Raking Sima of the Parthenon Eleni Aggelakopoulou, Anastasia Panou, Ioannis Kotsifakos, ?nastasia P. Moutsatsou, Asterios Bakolas, Maria Karoglou and Elisavet P. Sioumpara 4. Two Polychrome Ionic Capitals from the Athenian Agora: Documentation and Experimental Reconstruction Vinzenz Brinkmann, Ulrike Koch-Brinkmann and Heinrich Piening LATE CLASSICAL / HELLENISTIC PERIOD 5. A Pilot Technological Investigation of the Aigai (Vergina) Hunt Frieze: Retrieving Ancient Colours, Rethinking Modern Reconstructions Hariclia Brecoulaki, Andreas G. Karydas, Giovanni Verri and Kalliopi Tsampa 6. The Figured Stelai from the ?Great Tumulus? of Aigai Revisited: New Findings on the Distribution of Pigments and Aspects of their Iconography Myrina Kalaitzi and Giovanni Verri 7. Organic Binders and Painting Techniques of Funerary Wall-paintings from Ancient Macedonia Lydia Avlonitou, Maria Perla Colombini and Anna Lluveras-Tenorio 8. Greek Gilded Wood: an Exceptional Polychrome Peplophoros from Kerch (Musée du Louvre) Brigitte Bourgeois, Violaine Jeammet and Sandrine Pagès-Camagna 9. The Spectrum of Skin Colours in Hellenistic Sculptures and Other Media. A wide range with different meanings Clarissa Blume-Jung ROMAN PERIOD 10. New Research on the ?Monochromes on Marble? from Herculaneum and Pompeii Susanna Bracci, Roberta Iannaccone, Sara Lenzi and Paolo Liverani 11. Identification of Pigments on Ancient Sculptures from the Collections of the Archaeological Museum of Thessaloniki Polyxeni Adam-Veleni, Katerina Tzanavari, Christos S. Katsifas, Dimitris Karolidis and Orestis Kourakis 12. Roman Sarcophagi Use and Reuse: Colour Application Techniques and Ancient Repainting Eliana Siotto ON COLOURS 13. Eclectic Uses of Egyptian Blue in Greek Painting: a Versatile Painting Material Hariclia Brecoulaki, Giovanni Verri, Anne-Marie Guimier-Sorbets and Lydia Avlonitou 14. In Search of Mineral Pigments Described by Theophrastus of Eressos: Cyanus from Scythia, Miltos from Sinope and Ochre from Cyprus Thomas Katsaros 15. Did Colour and Colouring in Greek Art Confer Prestige? Elena Walter-Karydi INDEX
