Paris Editions Princesse 1977 in 4 (30,5 x 25,5) 1 volume reliure cartonnée de l'éditeur sous jaquette illustrée en couleurs, 96 pages, avec de nombreuses reproductions en noir et blanc et en couleurs. Collection '' Dessins et Aquarelles des Grands Maîtres ''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
Très bon Jaquette en très bon état Reliure
, Brepols Publishers, 2011 Hardcover, VII 654 p., 0 b/w ill. 336 colour ill., 225 x 300 mm, . ISBN 9781905375486.
"Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art" (Charles Dempsey, The Johns Hopkins University) A very important part of Caravaggio?s production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio?s art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggio?s innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggio?s multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggio?s enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggio?s work, Pericolo examines the notion of Leon Battista Alberti?s istoria as interpreted and developed by early modern artists and theorists?from Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Bellori?in vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth? among others?are carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggio?s followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velazquez, Pericolo explores how Caravaggio?s innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the master?s death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolo?s profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggio?s paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggio?s expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries? discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.
Brussel, Bozar, 2012 Hardback with dusjacket 285x225mm, 200pages., illustrations English text ISBN 9789085866275.
The Centre for Fine Arts presents a retrospective of the work of Per Kirkeby (born in 1938), one of the key painters of the Danish avant-garde. But just what does avant-garde mean: rupture, minimalism, abstraction, borrowings, subversion? One can find all of those in a prolific body of work that began in the 1960s in the wake of the Fluxus movement. But that is only one aspect of a very diverse oeuvre that draws just as much on the figuration of Danish classicism and the experiments of 19th-century French masters such as Eugene Delacroix. Kirkeby cannot be pigeonholed, nor does he want to be: he prefers to relentlessly question the position and the perceptions of the observer. An artistic process that has seen him turn to different media (canvas, blackboards, paper, bronze, etc.) in an assertion of the freedom he finds, as a trained geologist, in the omnipresence of nature. It is in this context that the Kurt Schwitters room in the exhibition is so relevant. Here, Kirkeby is not confronted with the Dadaist, but with an unfamiliar, figurative Schwitters, in love with landscape. ''Forbidden paintings'' - from the point of view of the modernist mainstream that is. The Danish artist recognises in this work his own credo: a visceral assertion of his freedom as an artist. Bozar, Brussel. Expo: 10/02/2012 - 20/05/2012
Paris, Hyperion Press 1940 269pp. with ca. 300 bl/w illustrations + 16 colour plates out-of-texte, text in ENGLISH, 25cm., solid modern hardcover binding in red half-cloth, original softcover preserved and bound in, text and interior are clean and bright, with heraldic ex-libris, very good, S115944
Antwerpen, 1959 148pp.rijkelijk geïll., 27cm., geïllustreerde omslag, tentoonstellingscatalogus
Paris, , Librairie Hachette, 1959 Broche, couverture papier blanch, impression du titre en rouge et noir, 130 x 200mm., 344pp.
Un fils de famille - Le salon de l'empereur - La bande a Manet - L'apres-midi d'un faune. Bon etat.
Paris,, Librairie Hachette, 1958 Broche, couverture papier blanche, impression du titre en rouge et noir, 130 x 200mm., 367pp.
Treclau - Le diable au corps - Elles - Le chien au lorgnon.. Bon etat.
, Antwerp, Mercatorfonds, 1993 Bound, 630 pages, gilt on plate, gilt title on spine, with illustrated dust-jacket in colors, 713 illustrations including 171 plates in full color, 340 x 260 x 55 mm, bibliography, index., in Very Good Condition ! ISBN 9780810919358.
This book present a fresh examination of the work of this great Flemish painter in the context of his studio, his colleagues, and the culture in wich he lived. With 713 illustrations, including 171 plates in full color.
PETRE, Anne (coord.)./TLACHOVA, Katka (coord.)/DEVISSCHER, Hans (eindred.) & TYS, Michele (eindred.).
Reference : 27231
Brussel, BBL, 1999 Originele uitgeversomslag met flappen, 21x29.6 cm., 278 pp., geillustreerd in z/w en in kleur.
Tentoonstelling georganiseerd door de Moravska Galerie te Brno in samenwerking met de BBL, Paleis van Keizer Karel Brussel 21 oktober 1998 - 17 januari 1999 Europalia 98 Ceska Republika. Overzicht van schilderkunst, architectuur, toegepaste kunst, houtsnijwerk, etc. en een historische context
Bruxelles, Fonds Mercator, 2005 Broche, sous jacquette originale d'editeur en couleurs, 28x23 cm., 287 pp., illustrations en couleurs et en n/b. ISBN 9061536022.
Europalia.russia. L'expositio au Palais des Beaux-Arts aborde le mouvement dans son ampleur pluridisciplinaire, afin d'etablir un dialogue entre les tableaux, les sculptures, les reliefs, les objets artisanaux, les decors et costumes de theatre, les courts metrages, les photographies et photocollages, les projets architecturaux, les affiches ... Pour la premiere fois, le mouvement est resitue dans un contexte historique large. L'exposition en retrace l'histoire eclatante, depuis ses origines jusqu'au milieu des annees 1930, et temoigne ainsi de cette evolution parallele ou concomitante vers le realisme sovietique, dont le dogme sera proclame en 1934.
, Fonds Mercator, 2005., softcover, originele geillustreerde uitgeversomslag in kleur, 23x28cm, 286pp, geillustreerd in kleur en z/w. ISBN 9789061536017.
Europalia.russia. De tentoonstelling in het Paleis voor Schone Kunsten wil die veelvormigheid recht doen. Daarom werd gekozen voor een multidisciplinaire aanpak en een dialoog tussen schilderijen, beelden, reliefs, artisanale producten, theaterdecors en -kostuums, kortfilms, foto's en fotocollages, architectuurprojecten, affiches, enzovoort. De Russische avant-garde wordt hier voor het eerst in een brede historische context gesitueerd. De tentoonstelling schetst haar geschiedenis vanaf de eerste jaren van de 20e eeuw tot het midden van de jaren 1930 en legt de diverse banden bloot met de ontwikkeling naar het sovjetrealisme, dat in 1932 tot dogma verheven werd.
PETROV, Vsevolod & KAMENSKI, Alexandre. DABBADIE, Denis (traduit du russe par)
Reference : 24062
Léningrad Editions d'Art Aurora 1991 in 4 (29,5x22,5) 1 volume reliure toilée bleue de l'éditeur sous jaquette illustrée, 330 pages [1], avec de nombreuses illustrations en noir et blanc, et en couleurs, dont planches hors-texte en couleurs. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
Très bon Jaquette en très bon état Reliure
Paris, Librairie Renouard, Henri Laurens Editeur, 1918. 1 volume in-folio (30*41 cm), broché, XII-519 pp., enrichi d'environ 500 gravures illustrées, très bon exemplaire à l'état de neuf. Tirage limité à 550 exemplaires numérotés (No 406). Un autre exemplaire, relié plein cuir moderne, est vendu 550 euros.
Le Kai Tseu yuan Houa Tchouan ou "Les Enseignements de la Peinture du Jardin comme un grain de moutarde" constitue une véritable Encyclopédie de la Peinture Chinoise.«Ce traité fondamental rassemble les plus vieilles lois de l'esthétique extrême-orientale; il recueille les instructions et les exemples des plus grands maîtres sans donner la préférence à une école particulière, ni à une époque déterminée. L'abondance des renseignements qu'il apporte, philosophiques, historiques ou techniques en font un instrument de travail de premier ordre.» (Extrait de la Préface). Ouvrage très lourd / Veryheavy book / extra-postage.
PETRUS PICTOR & PETRUS DE SANCTO AUDEMARO (& VAN ACKER L., ed.)
Reference : R67817
(1972)
Turnhout, Brepols 1972 clxx + 247pp., 25cm., in the series "Corpus Christianorum. Continuatio Mediaevalis" vol.25, editor's cloth with gilt lettering, VG, ISBN 2-503-03251-1 [introduction in German, text in Latin]
PETRUS PICTOR & PETRUS DE SANCTO AUDEMARO (& VAN ACKER L., ed.)
Reference : R101997
(1972)
Turnhout, Brepols 1972 clxx + 247pp., 25cm., in the series "Corpus Christianorum. Continuatio Mediaevalis" vol.25, original softcover, ISBN 2-503-03252-8, [introduction in German, text in Latin], very good, R101997
London, National Portrait Gallery 1982 120pp.with bl/w ills. & 12 ills. in colour, 25cm., illustrated softcover, Exhibition catalogue (London, 19 November 1982 to 20 March 1983), very good, S85699
1997 / 351 pages. Relié avec jaquette Editions Flammarion.
TRES BON ETAT. Quasi NEUF !
Bruxelles, Cercle d'Art 1945 53pp.+ 32 planches hors-texte en n/bl, 25cm., br.orig., jaq. ill., dans la série "L'art en Belgique", bon état, S91861
Antwerpen, Pierre Dirix, 1941 Papieromslag, 27 x 17,5cm., pp. (18pp.) niet genummerd, III z/w platen.
, Diest, Pro Arte, 1941., Gebonden in linnen, 43,5 x 32cm, 181 pages , folio, geillustreerd met een groot deel originele houtsneden. *** in zeer goede staat!
Een van de 500 genummerde exemplaren . nummer 149, Vlaamsch houtsnijder: zijn kunst, zijn plaats en zijn verdienste. Kritische katalogus op zijn houtsneden. Het grootste gedeelte van de afgedrukte houtsneden zijn orgineel. in zeer goede staat !! Clothbacked, 43,6 x 32,5 cm., 181 pp. with a survey of the woodcuts, including an oeuvre catalogue of the graphic work, bibliography, 114 b/w illustrations (83 originally printed from the block), each protected by a guard sheet. In general a good copy. Inner-hinges
1972 / 199 pages. Relié avec jaquette. Editions : Belgium, art of our time / Laconti, Brussels. Langue Anglais.
Jaquette présentant des frottements d'usage, intérieur trés frais. Bon état.
PICABIA, Francis - Préface de Suzanne Pagé (Commissaire)
Reference : 120201
(2002)
ISBN : 2879007062
2002 Musée d'Art moderne de la Ville de Paris / Paris Musée / Les amis du Musée d'art moderne de la Ville de Paris - 2002 - In-4, cartonnage vert de l'éditeur; pièce d'illustration au 4e plat - 461 pages - Très nombreuses illustrations et reproductions photographiques en couleurs et en N&B in et hors texe - Catalogue accompagnant l'exposition s'étant déroulée du 16 novembre 2002 au 16 mars 2003
Bon état - Dos très légèrement insolé
PICCOLIA 2020 1 pages 1x12x17cm. 2020. Broché. 1 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
Tournai/Paris, Casterman, 1958 Relie, couverture carton illustree, 124x17 cm., 227 pp.65 x 270mm., 208pp., illustration profonde en n/b et en couleurs.