14 books for « a massing »Edit

‎Splendours of Flanders. Late medieval art in Cambridge collections‎

‎Cambridge University Press Broché 1993 In-4 (22x29.5 cm), broché, couverture illustrée, 240 pages, catalogue d'exposition, ouvrage en anglais, texte de Alain Arnould et Jean-Michel Massing, riche iconographie noir et blanc et couleurs ; bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎SPLENDOURS OF FLANDERS. LATE MEDIEVAL ART IN CAMBRIDGE COLLECTIONS.‎

‎Cambridge / Brussels, University Press / Gemeentekrediet, 1993 Bound, bordeaux hardcover with goldprint, original editor's jacket in colours, 30.3x22.5 cm., 240 pp, illustrated in colours and in b/w.. ISBN 9780521441575.‎

‎The record of an important exhibition of late medieval Flemish art in Cambridge collections, held at the Fitzwilliam Museum, from July to September 1993. Good condition.‎

‎Suits : The Clothes Make the Man. The Art Guys with Todd Oldham.‎

‎Harry N. Abrams, N.Y. 2000 With essays by Dave Hickey and Shaila Dewan and a conversation with Todd Oldham. In-4, cartonnage illustré, sous jaquette illustrée, photographies en noir et en couleurs, 119 pp. En anglais. Très bon état d’occasion. ‎

‎Une performande d’art post-conceptuel, par Dave Hickey & The Art Guys. Ils ont traversé les Etats-Unis vêtus d’habits conçus par le designer Todd Oldham, sur lesquels ils avaient collé les auto-collants publicitaires de 56 compagnies américaines. Outre de très nombreuses photographies de cette hilarante épopée, cet ouvrage contient des textes et une interview qui élairent une entreprise de critique de notre société de consommation. The Art Guys sont Jack Massing et Michael Galbreth. Ils se sont rencontrés à l’université de Houston en 1983 et travaillent ensemble depuis. The Suits project was conceived in the fall of 1996 as an all-out, super public, totally social, transcontinental art event in which those impudent Pimpernels of post-conceptual performance art, The Art Guys, would appear at any and all events where people appear simply to make an appearance. Très bon état d’occasion ‎

‎Painting Restoration Before the Restauration. The Origins of the Profession in France, ‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 204 b/w ill., 240 x 280 mm. ISBN 9781905375349.‎

‎The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century - even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its 'original state'; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if 'adjustment' were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup d'etat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academy's statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner - in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleon's policy of confiscation of works of art from all over Europe. The relationship between the French government's administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries. New book.‎

‎The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. Painting and Practice‎

‎Massing, Ann: The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. London: 2003. Series: Painting and Practice. 240pp with 263 colour and 109 monochrome illustrations. Cloth, 28.6x25cms. Documents the examination and conservation of the Retable, one of Britain's largest and best preserved medieval altarpieces. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. The restoration of the altarpiece has provided new insights into the sophisticated practice of oil painting in England before the 15th century.‎

‎Documents the examination and conservation of the Retable, one of Britain's largest and best preserved medieval altarpieces. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. The restoration of the altarpiece has provided new insights into the sophisticated practice of oil painting in England before the 15th century. Text in English‎

‎Fatal Discord‎

‎Harper Perennial USA (3/2022)‎

‎LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9780063143432‎

‎Cindy Sherman Anti-Fashion‎

‎, Hannibal Books, 2024 HB, 295 x 230 mm, 184 pages, Color illustrations, ENG-NL edition. ISBN 9789464941326.‎

‎Een spiegel op mode en massamedia in ijzersterk fotografisch werk van Cindy Sherman. Het boek bij de eerste Cindy Shermantentoonstelling in de Lage Landen Cindy Sherman ( 1954) staat bekend om haar baanbrekend werk in fotografie. Ze verkent thema?s als identiteit, gender en sociale rollen door zichzelf te transformeren in uiteenlopende personages en sc nes. Anti-Fashion belicht haar fotografisch werk vanuit een nieuw perspectief, waarbij de focus ligt op de wisselwerking tussen mode en kunst. Haar vele opdrachten voor magazines als Vogue en Harper?sBazaar en haar nauwe samenwerking met beroemde ontwerpers vormen een voortdurende bron van inspiratie. Maar ook omgekeerd be nvloedt deze hedendaagse kunstenaar de modewereld en geeft ze er belangrijke impulsen aan. Shermans interesse in mode komt op een subversieve manier tot uiting: haar foto?s tonen figuren die allesbehalve aantrekkelijk zijn en daardoor alle conventies van haute couture en de gebruikelijke voorstellingen van schoonheid tegenspreken. Het brede spectrum aan personages toont het kunstmatige en veranderlijke van identiteit, die meer dan ooit een kwestie van keuze lijken te zijn, (zelf)geconstrueerd en flu de. Deze publicatie verschijnt bij de tentoonstelling Cindy Sherman, die loopt van 28 september 2024 tot 2 februari 2025 in FOMU, Antwerpen.‎

‎Cindy Sherman Anti-Fashion‎

‎, Hannibal Books, 2024 HB, 295 x 230 mm, 184 pages, Color illustrations, ENG-NL edition. ISBN 9789464941326.‎

‎A mirror on fashion and mass media in a powerful photographic work by Cindy Sherman. The book accompanying the first Cindy Sherman exhibition in the Low Countries Cindy Sherman (b. 1954) is known for her pioneering work in photography, through which she explores themes of identity, gender and social roles by transforming herself into different personas in a variety of staged scenes. Anti-Fashion approaches her photographic oeuvre from a new perspective, focusing on the interaction between fashion and art. She uses her many commissions for magazines such as Vogue and Harper's Bazaar and her close collaboration with famous designers as a constant source of inspiration. Conversely, this contemporary artist also continues to influence the aesthetics of the fashion world today, providing essential impulses. Sherman expresses her interest in fashion in a subversive way: her photographs depict people that are anything but desirable, contradicting all conventions of haute couture and the usual representations of beauty. Her wide range of characters shows the artificiality and mutability of identity, which seems more selectable, (self-) constructed and fluid than ever before. Companion publication to the exhibition Cindy Sherman at FOMU (Fotomuseum Antwerpen) from 28 September 2024 until 2 February 2025.‎

‎Studien zum katalanischen Infinitiv‎

‎Köln, 1990 iv + 209pp., 21cm., Doctoral Dissertation (Inaugural-Dissertation zur Erlangung des Doktorsgrades der Philosophischen Fakultät der Universität zu Köln), softcover, stamp at verso of title page, text is clean and bright, T111722‎

‎Splendours of Flanders (Fitzwilliam Museum Publications)‎

‎ 1993 Cambridge University Press Hardcover 1st Edition ‎

‎Splendours of Flanders (Fitzwilliam Museum Publications) Hardcover, rodeband, stofwikkel 300 x 245 mm 254 pg talloze illustraties in z/w en kleur, zeer goede staat‎

‎Splendours of Flanders (Fitzwilliam Museum Publications)‎

‎ 1993 Cambridge University Press Soft cover 1st Edition ‎

‎Splendours of Flanders (Fitzwilliam Museum Publications) catalogue Softcover, 295 x 230 mm, 254 pp, fine condition ‎

‎Harvey Miller. The Westminster Retable. History, Technique, Conservation,‎

‎Turnhout, Brepols, 2009 Hardback, 464 p., 23,8 x 28. ISBN 9781905375288.‎

‎The late 13th-century Westminster Retable is rightly celebrated as one of the most beautiful and enigmatic panel paintings to have survived from medieval Europe. Its history is not without tragedy. It was made in the Westminster Abbey, one of the most prestigious Gothic churches of the thirteenth century, itself a treasure-house of medieval wall and panel painting; then, after the Dissolution of the Monasteries, it was demoted rapidly to use as part of a large cupboard; its ruination in the eighteenth century just pre-dated the Gothic Revival and its rediscovery and rescue. Since then, it has intrigued commentators because of its extraordinary technical mastery, its value as an ornamental resource for study and, more recently, as an important if fragmentary link in the history of painting in England and France in the thirteenth century. There is every reason to believe that its standing as an artwork was apparent even in the Middle Ages, and that, in short, it may be seen as one of the central monuments of Anglo-French Gothic painting. Languages : English.‎

‎Harvey Miller. Painting Restoration before - La Restauration - The Origins of the Profession in France,‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 240 b/w ill., 23,8 x 28. ISBN 9781905375349.‎

‎During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques. Languages : English.‎

‎"Vorgeschichte des politischen Antisemitismus - ""Taschenbücher Syndikat/EVA"" n°78"‎

‎Europäische Verlagsanstalt. 1986. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Quelques rousseurs. VIII + 285 pages. Livre en allemand.. . . . Classification Dewey : 430-Langues germaniques. Allemand‎

‎Aus dem Amerikanischen übersetzt und für die deutsche Ausgabe bearbeitet von Felix J. Weil. Classification Dewey : 430-Langues germaniques. Allemand‎