‎Thai Textiles‎

‎, British Museum Press 1992, 1992 Paperback, 192 pages, ENG, 275 x 215 mm, the cover has some creases in the front but the book itself is in good condition , with images/ illustratiions in colour and b/w. ISBN 9780714125060.‎

‎The textile industry in Thailand is one of the largest commercial businesses for jobs and economic growth in the country. Although they are in constant competition with China, Bangladesh, and Vietnam, their textile industry has made them a headquarters for Cotton USA.‎

‎Robert Motherwell Pure Painting.‎

‎, Hatje Cantz, 2023 Hardcover, 208 pages, Illustrated. English, *NEW. ISBN 9783775754385.‎

‎An intensely intellectual painter, Robert Motherwell is renowned for his distinctive Abstract Expressionist style. The seminal artist permeated his gestural works with an expressionism and austerity reflective of the human psyche; at the same time his oeuvre addressed political and humanitarian themes. Robert Motherwell ? Pure Painting is an in-depth exploration of his artistic practice. Leading art scholars examine the American artist?s turn from Surrealism to abstraction and analyze the major series that developed over his fifty-year career. The catalogue studies the dialogue between Motherwell?s art and the nineteenth-century French painting tradition, investigates his relationship to Spanish techniques and processes, with an emphasis on their underlying political significance, and delves into Motherwell?s use of ochre pigment, with its evocation of both deep geological time and avant-garde practices.‎

‎VAN DYCK 350‎

‎, National Gallery of Art, 1994 Hardcover, 372 pages, ENG / ITA, 285 x 235 mm, In Fine State / Primo Condicione. ISBN 9780894682018.‎

‎Van Dyck werd geboren in 'Den Berendans' op de huidige Groenplaats in Antwerpen. Hij was het zevende kind van twaalf van de rijke textielhandelaar Francois van Dyck en Maria Cuypers. Het gezin bestond uit vier jongens en acht meisjes, drie stierven er jong. Catharina, Maria, Cornelia II en Franchois jr. waren ouder dan Antoon. Na hem kwamen Susanna, Anna, Dierick en Elisabeth of Isabella. Ze verhuisden in 1599 van de Grote Markt naar de Korte Nieuwstraat, waar op 7 maart 1607 ook het belendende pand 'De Stadt van Gendt' werd gekocht. Antoons moeder stierf echter een maand later, op 17 april 1607. Vanaf december 1610 waren er problemen, een priv -aangelegenheid: de Hondschootse Jacobmyne de Kueck moest uit de stad worden verbannen, na ruiten te hebben ingegooid en Franchois van Dyck te hebben bedreigd met de dood. Antons oudere zusters Catharina en Maria waren getrouwd in respectievelijk 1610 en 1615 en vanaf de zomer van 1615 gingen Franchois' zaken minder goed. Zijn schoonzonen daagden hem in juli 1615 voor het gerecht. Zijn boedel werd ge nventariseerd en verkocht. Antoon ging tegen zijn zwagers in het verweer. De florerende handelaarsfamilie was een moederloos gezin met serieuze problemen geworden. Mogelijk waren de gezinsleden niet langer 'sociaal aantrekkelijke kandidaten op de Antwerpse huwelijksmarkt' en werden daarom Susanna, Isabella en Cornelia begijn, Anna non en Dierick norbertijner kanunnik. De ouderlijke woning, 'De Stadt van Gendt', werd op 20 mei 1620 gedwongen verkocht. Rond 1620 was het gezin van Francois van Dyck 'sociaal gestigmatiseerd' en alleen Antoon kon de goede naam van de familie redden.‎

‎Van Dyck, a complete catalogue of the paintings catalogue raisonne Sir Anthony Van Dyck ENG. edition ‎

‎, YALE , 2004 Hardcover, 692 pages, English, 320 x 260 mm, fine. 632 b/w + 202 color illus. catalogue raisonne. FINE!! ISBN 9780300099287.‎

‎Sir Anthony Van Dyck (1599-1641) is among the greatest portrait painters of all time. The 1990s opened and closed with major exhibitions devoted to his work, and now the long-awaited catalogue raisonne of his painted oeuvre is complete. A native of Antwerp, Van Dyck also lived and worked for long periods in Italy and England, where his brief, productive life ended. He is best known for his work at the court of Charles I. His full-length portraits of aristocrats in the Caroline court and in Genoa, Antwerp, Brussels, and The Hague influenced the history of Western portraiture into the twentieth century in the work of John Singer Sargent. Handsomely designed and illustrated, the volume includes a reproduction of every known authentic painting by the artist as well as the provenance and the significant facts and literature on each. This catalogue raisonne is, fittingly, the collaborative work of an international team devoted to the study of this major international artist. Susan J. Barnes, an independent art historian, co-curated a Van Dyck exhibit in Washington, D.C., 1990. Nora De Poorter is director of the Rubenianum, Antwerp. Oliver Millar, Surveyor Emeritus of The Queen?s Pictures, organized an exhibition of Van Dyck?s English work at the National Portrait Gallery, London, 1982?83. Horst Vey, former director of the Kunsthalle, Karlsruhe, is author of the standard work on Van Dyck?s drawings. ‎

‎Van Dyck - A Complete Catalogue of the Paintings. Catalogue raisonne. Sir Anthony Van Dyck‎

‎, Yale University, 2004 Hardcover in dusjacket, 792pp, 632 b/w + 202 color illus. catalogue raissone. ISBN 9780300099287.‎

‎Sir Anthony Van Dyck (1599-1641) is among the greatest portrait painters of all time. The 1990s opened and closed with major exhibitions devoted to his work, and now the long-awaited catalogue raisonne of his painted oeuvre is complete. A native of Antwerp, Van Dyck also lived and worked for long periods in Italy and England, where his brief, productive life ended. He is best known for his work at the court of Charles I. His full-length portraits of aristocrats in the Caroline court and in Genoa, Antwerp, Brussels, and The Hague influenced the history of Western portraiture into the twentieth century in the work of John Singer Sargent. Handsomely designed and illustrated, the volume includes a reproduction of every known authentic painting by the artist as well as the provenance and the significant facts and literature on each. This catalogue raisonne is, fittingly, the collaborative work of an international team devoted to the study of this major international artist. Susan J. Barnes, an independent art historian, co-curated a Van Dyck exhibit in Washington, D.C., 1990. Nora De Poorter is director of the Rubenianum, Antwerp. Oliver Millar, Surveyor Emeritus of The Queen?s Pictures, organized an exhibition of Van Dyck?s English work at the National Portrait Gallery, London, 1982-83. Horst Vey, former director of the Kunsthalle, Karlsruhe, is author of the standard work on Van Dyck's drawings. ‎

‎Charles Joseph Natoire (1700-1777)‎

‎, Arthena, 2012 Couverture reliee sous jaquette hardcover/dusjacket -Reli , 24 32 cm, 584 pages,1281 illustrations dont 137 en couleur. Bon etat/neuf/ Texte en Francais. ISBN 9782903239480.‎

‎Membre de l'Acad mie royale de peinture et de sculpture, directeur de l?Acad mie de France Rome, Natoire fut pour ses contemporains l'un des plus grands artistes fran ais du XVIIIe si cle. Sa production abondante (plus de 1 200 peintures et dessins) t moigne des commandes qu?il re ut tant de la noblesse que de la cour, peignant pour Versailles, Marly ou Fontainebleau, l?h tel de Soubise, la manufacture des Gobelins. Pr face de J. Patrice Marandel.‎

‎Constructions of Gender in Late Antique Manichaean Cosmological Narrative‎

‎, Brepols, 2019 Paperback, 324 pages, Size:156 x 234 mm, Languages: English, Latin. ISBN 9782503586663.‎

‎Summary Manichaeism emerged from Sasanian Persia in the third century CE and flourished in Persia, the Roman Empire, Central Asia and beyond until succumbing to persecution from rival faiths in the eighth to ninth century. Its founder, Mani, claimed to be the final embodiment of a series of prophets sent over time to expound divine wisdom. This monograph explores the constructions of gender embedded in Mani's colourful dualist cosmological narrative, in which a series of gendered divinities are in conflict with the demonic beings of the Kingdom of Darkness. The Jewish and Gnostic roots of Mani's literary constructions of gender are examined in parallel with Sasanian societal expectations. Reconstructions of gender in subsequent Manichaean literature reflect the changing circumstances of the Manichaean community. As the first major study of gender in Manichaean literature, this monograph draws upon established approaches to the study of gender in late antique religious literature, to present a portrait of a historically maligned and persecuted religious community. TABLE OF CONTENTS 1. Introduction: This discusses the history of gender studies and its application to religious studies; a summary of previous literature relating to gender in Manichaeism; a brief life of Mani and its relation to his canon of texts. It outlines the contents of the following chapters. 2. The Manichaean Father: exploration and identification of gendered attributes associated with masculinity with reference to Connell's model of hegemonic masculinity. The Manichaean Father is considered as embodiment of desirable masculine traits and the appropriate exercise of masculine rulership and authority. 3. The Chief Archon: This chapter examines the construction of gender implicit in the characterization of the chief archon. Mani's writings characterize the chief archon in polar opposition to the Manichaean Father as exemplum of masculine rulership which embodies lust for power and territory. Mani characterizes the chief archon as a dangerous outsider who seeks to invade. This is expressed through the trope of the cannibal. The chief archon's acts of cannibalism mark him as alien, uncivilized and savage. Manichaean texts written after Mani's death reflect the persecution of the Manichaean community. The characterization of the chief archon develops to reveal a tyrannous ruler who incites fear and terror in his own subjects. 4. The First Man: This chapter considers the apparent paradox of the two competing constructions of masculinity evident in the characterization of the Manichaean First Man, who plays a central role in Manichaean cosmological drama. His characterization as both valiant warrior and suffering victim in defeat is explored in the context of the changing circumstances of the Manichaean community facing persecution. Parallel models of endurance as a worthy expression of masculinity in Jewish, Judaeo-Christian and early Christian literature are discussed. 5. The Mother of Life: This chapter explores the gendered characterization of the Manichaean Mother of Life in Manichaean literature. As mother of the First Man, the Mother of Life embodies positive motherhood, demonstrating nurturing characteristics. Her role in the mythological drama is considered as an expression of the Jewish/Judaeo-Christian literary Wisdom figure (Sophia, Hokmah). The Mother of Life shares and extends imagery attached to Hokmah to encompass wisdom as a weapon. The Mother of Life is also characterized as a model of feminine imprecation to masculine authority through the valorization of her prayer to the Manichaean Father on behalf of the beleaguered First Man. This is discussed in relation to the veneration of Hannah's prayer (1 Sam.) in rabbinic literature. 6. The Manichaean Demoness Az and the yetzer hara: This chapter explores parallels between the feminine-gendered demon Az and the evolving Jewish concept of the "evil inclination" (the yetzer hara) as expressions of the human propensity to sin. As mother of Adam and Eve and mother of the demons, the maternal style of the demoness Az polarizes the motherhood of the Mother of Life. 7. The Maiden of Light: This chapter explores the characterization of the Maiden of Light and her epithets of purity and wisdom in the context of the seductive display of her image to the archons in Manichaean mythology. This act is considered in the context of the model used by feminist biblical scholars of the male as owner of the gaze and the female as object of male gaze. The chapter argues that the characterization of the Maiden of Light should be considered in relation to the biblical characterizations of Susanna, Judith and Esther. These reveal the female as both victim and manipulator of male gaze. These texts reveal that the seeking of male gaze is extolled in cases of communal threat when authorized by masculine authority. It is argued that the seductive display of the Maiden of Light allows doubt concerning the exploitation of females within the Mnichaean community. 8. Conclusions: The conclusion draws together the research findings of the previous chapters. Polarized positions within and across constructions of gender are considered.‎

‎Odyssee in der Sp tantike. Bildliche und literarische Rezeption‎

‎, Brepols, 2020 Paperback, xii + 362 pages, Size:216 x 280 mm, Illustrations:53 b/w, 2 tables b/w., Languages: German, Latin, Greek. ISBN 9782503583792.‎

‎Summary Homer's Odyssey is one of the most fascinating and popular texts of all time, inspiring not only artists and poets but also generating a massive amount of research. This book focuses for the first time on the Odyssey's reception in late antiquity, the period that witnesses the transformation of classical culture into the world of the middle ages. The epic's late antique pictorial reception was a selective one. Artists represented but a small canon of topics: Odysseus' encounter with the terrifying one-eyed Cyclops, with the dangerous sorceress Circe, with the bewitching song of the Sirens, and with Scylla the man-eater; a handful of iconographically diverse depictions can be related to the hero's return to Ithaca that never attracted as much attention as Odysseus' adventures in the course of the wandering. In all cases, the book stresses the close relation between viewer, or context of reception, and specific form of artistic rendering. Depending on context and intended viewer, Odysseus e.g. can be characterized as a person with whom the man in the street can identify, as a problematic and ridiculous figure, or as an example of virtue. Almost all late antique depictions of Odysseus' wanderings have been found - and produced - in the Western provinces of the Roman Empire. In the course of Roman antiquity, the Greek hero and his wanderings had become what they are still: a part of Western cultural identity. The Odyssey's late antique literary reception was much more multifaceted than the artistic one, as regards topics and geography. In this book, though, the focus will be on those topics that were dealt with in the visual arts, too. Contrasting the late antique pictorial reception with the literary one, and contrasting both with the Homeric epic, reveals the originality of late antiquity's artists and writers. Both employ the classical heritage with means and ends of their own (or of their patrons), and both are nevertheless deeply embedded in and influenced by late antique discourse, be it on religion, philosophy, slavery, heroism, or gender relations. Homers Odyssee fasziniert die Menschen seit beinahe dreitausend Jahren. Das Epos inspirierte zahlreiche Kunstschaffende aller Epochen und aller Genres und brachte enorme Mengen an Forschungsliteratur hervor. Das vorliegende Buch widmet sich erstmals der Rezeption der Odyssee in der Sp tantike, also jener Epoche, in der das kulturelle Erbe der Antike f r Mittelalter und Neuzeit sortiert, transformiert und zumindest teilweise bewahrt wurde. Analysiert werden diejenigen Episoden des Epos, die in der Sp tantike noch bildlich umgesetzt wurden: die Begegnung des Odysseus mit dem ein ugigen Riesen Polyphem, mit der Zauberin Kirke, mit den verf hrerischen Sirenen und mit der Menschenfresserin Skylla; au erdem verschiedene Momente der Heimkehr nach Ithaka, die allerdings bei weitem nicht so popul r war wie die Abenteuer der Irrfahrt. Eine Gegen berstellung von bildlicher und schriftlicher Rezeption sowie eine Gegen berstellung beider mit dem Homerischen Text macht die Eigenst ndigkeit und Originalit t der sp tantiken Rezeption deutlich. Sowohl bildende K nstler als auch Literaten verfolgten mit je eigenen Mitteln je eigene Zwecke und Aussageintentionen. Beiden gemeinsam ist die Einbettung in die Diskurse der sp tantiken Gesellschaft, zu denen sie mit ihren Interpretationen der Odyssee auch selbst einen Beitrag leisteten. Das betrifft nicht nur die Diskurse zum Thema Religion oder Philosophie, sondern auch zu Themen wie Heldentum, Sklaverei oder Geschlechterverh ltnis. TABLE OF CONTENTS Inhaltsverzeichnis Abbildungsverzeichnis Vorwort Kapitel I: Einleitung bersicht ber die sp tantike literarische Rezeption der Odyssee Zeitrahmen Gegenstand der Untersuchung und ltere Forschung Fragen Methodische Pr missen Aufbau des Buches Kapitel II: Polyphem Der homerische Text Die literarische Rezeption Die bildliche Rezeption Zusammenfassung der Ergebnisse zur sp tantiken Rezeption des Polyphem-Abenteuers Kapital III: Kirke Der homerische Text Die literarische Rezeption Die bildliche Rezeption Zusammenfassung der Ergebnisse zur sp tantiken Rezeption des Kirke-Abenteuers Kapital IV: Sirenen Der homerische Text Die literarische Rezeption Die bildliche Rezeption Zusammenfassung der Ergebnisse zur sp tantiken Rezeption des Sirenen-Abenteuers Kapital V: Skylla Der homerische Text Die literarische Rezeption Die bildliche Rezeption Zusammenfassung der Ergebnisse zur sp tantiken Rezeption des Skylla-Abenteuers Kapital VI: Heimkehr nach Ithaka Der homerische Text Die literarische Rezeption Die griechischen Zeugnisse Die bildliche Rezeption Zusammenfassung der Ergebnisse zur sp tantiken Rezeption der Heimkehr nach Ithaka Kapital VII: Fazit Anh nge Bibliographie Register‎

‎Crossing parallels Agostino Carracci - Hendrick Goltzius. ‎

‎, Imhof verlag, 2021 Hardcover, 24 30 cm, 304 pages with 289 illustrations. English text. ISBN 9783731909712.‎

‎Crossing Parallels Agostino Carracci, Hendrick Goltzius Graphische Sammlung ETH Z rich: 9. Dezember 2020 bis 14. M rz 2021 Agostino Carracci and Hendrick Goltzius were the leading engravers of the late 16th century ? one north and the other south of the Alps. They have not only achieved revolutionary achievements in technical terms, but have also had a lasting impact on the medium of copperplate engraving with the selection and design of their image content. While there are already numerous publications on Goltzius as well as on Carracci, the obvious comparison of the two great figures of the engraving around 1600 is undertaken here for the first time. In four detailed essays and catalog texts on all exhibited engravings, the amazing parallels in the life and work of the two masters are shown, their artistic development is comparatively analyzed and the readers eyes are sharpened for the sophistication of their virtuoso engraving technique.‎

‎Pen and the People : English Letter Writers 1660-1800.‎

‎, OUP Oxford, 2009 Hardcover, 348 pages, ENG., 240 x 165 x 25 mm, In Very Good condition, illustrated dustjacket, with b/w illustrations. ISBN 9780199532445.‎

‎Susan Whyman draws on a hidden world of previously unknown letter writers to explore bold new ideas about the history of writing, reading and the novel. Capturing actual dialogues of people discussing subjects as diverse as marriage, poverty, poetry, and the emotional lives of servants, The Pen and the People will be enjoyed by everyone interested in history, literature, and the intimate experiences of ordinary people. Based on over thirty-five previously unknown letter collections, it tells the stories of workers and the middling sort - a Yorkshire bridle maker, a female domestic servant, a Derbyshire wheelwright, an untrained woman writing poetry and short stories, as well as merchants and their families. Their ordinary backgrounds and extraordinary writings challenge accepted views that popular literacy was rare in England before 1800. This democratization of letter writing could never have occurred without the development of the Royal Mail. Drawing on new information gleaned from personal letters, Whyman reveals how the Post Office had altered the rhythms of daily life long before the nineteenth century. As the pen, the post, and the people became increasingly connected, so too were eighteenth-century society and culture slowly and subtly transformed.‎

‎EXAT 51. 1951-1956. Nuove tendenze. / Catalogo della mostra allestita a Siena nel 2003.‎

‎, Protagon, 2003 softcover, 160 pages, color and b/w illustrations, English / Italian edition .‎

‎Catalogo della mostra allestita a Siena nel 2003. Testo di Marijan Susovski. Edizione bilingue italiano/inglese. EXAT 51 (Experimental Atelier) identifica un movimento di pittori, disegnatori, architetti e artisti sorto a Zagabria nel 1951. In questo laboratorio sperimentale confluirono molti sostenitori croati dell'arte astratta, con il risultato che si cre uno stile inconfondibile anche nell'arte applicata, chiamato proprio con il nome del movimento EXAT. Il presente volume fornisce un'ampia documentazione, sia teorica che iconografica, sui risultati raggiunti dagli artisti di questo movimento.‎

‎Horses, asses, zebras, mules, and mule breeding.‎

‎Londres, Horace Cox, 1895 in-8, viii pp., 166 pp., [5] ff. n. ch., avec quelques illustrations dans le texte et 24 planches hors texte, toile chagrinée aubergine, dos lisse, encadrements à froid sur les plats, mulet doré poussé au centre du plat supérieur (reliure de l'éditeur). Dos insolé et un peu taché.‎

‎Exposé essentiellement zoologique. Le naturaliste William Bernard Tegetmeier (1816-1912) s’intéressa particulièrement aux pigeons et à la volaille, aux rapaces et aux abeilles. Il rencontra Charles Darwin (1809-1882) vers 1855, et les deux savants commenceèrnt alors une correspondance suivie qui portait surtout sur les élevages entrepris par Tegetmeier. Ces échanges alimentèrent même deux livres de Darwin : On the origin of species (1859) et The Variation of Animals and Plants under Domestication (1868).Aucun exemplaire au CCF. - - VENTE PAR CORRESPONDANCE UNIQUEMENT‎

‎Psycho-pharmacologie‎

‎Librairies techniques 1971 in8. 1971. Broché sous rodhoid.‎

‎Bon Etat. Couverture défraîchie. Pages légèrement jaunis‎

‎La planète où nous vivons‎

‎R.S.T.. 1961. In-Folio. Cartonné. A relier, Coins frottés, Dos frotté, Intérieur acceptable. 100 pages. Partiellement désolidarisé. Léger jaunissement. Nombreuses illustrations en noir et blanc et en couleurs, in et hors texte. Texte sur deux colonnes.. . . . Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎Illustrations par J. Hull. Classification Dewey : 500-SCIENCES DE LA NATURE ET MATHEMATIQUES‎

‎Museums in the 21st Century: Concepts, Projects, Buildings,‎

‎, Prestel, 2008 softcover, 225 pages Illustrated. fine, ENG text. ISBN 9783791361703.‎

‎In this book, the world s most exciting new museums are shown to be as inspiring as the works they display.The twenty-first century has seen a boom in museum construction, both in new buildings and renovations or additions to existing ones. Nearly thirty museums are given close inspection in this generously illustrated volume. Each entry includes a discussion of the building s cultural and geographic environment, complemented by color photographs, sketches and architectural plans. The book encompasses four continents and highlights the designs of Frank Gehry, Renzo Piano, Steven Holl, Zaha Hadid, Mario Botta, David Chipperfield, Tadao Ando, Yoshio Taniguchi and Daniel Libeskind. In addition, the authors provide thoughtful commentary on the relationship between architecture and the fine arts and an assessment of museum functionality in modern times.Suzanne Greub is Director of the Art Centre Basel and the editor of several exhibition catalogues. She is a contributor to Museums for a New Millenium (Prestel).Thierry Greub is an art historian and Assistant Director of the Art Centre Basel.‎

‎Spain, Espagne, Spanien: Foreigh Artists Discover Spain 1800-1900 ‎

‎, The Equitable Gallery 1993, 1993 Paperback, 142 pages, English, 305 x 230 mm, in good condition,.‎

‎ Spain -- In art -- Exhibitions. Painting, European -- Spanish influences -- Exhibitions. Painting, American -- Spanish influences -- Exhibitions.‎

‎Monet / Mitchell : Catalogue officiel d'exposition‎

‎, Hazan / Fondation Louis Vuitton, 2022 Paperback, 240 pages, Texte en Francais, 320 x 270 x 20 mm, Nouveau, illustrations pleine page en couleur. ISBN 9782754112833.‎

‎Le catalogue de l?exposition Monet Mitchell , organis e la Fondation Louis Vuitton en partenariat avec le mus e Marmottan Monet, explore les correspondances entre les ?uvres tardives de Claude Monet (1914-1926), qui anticipent les d buts de l?abstraction, et les peintures de Joan Mitchell (1925-1992). Peintre am ricaine issue de l?expressionnisme abstrait, Joan Mitchell voyage en France d s 1948 et s?installe en 1968 V theuil, lieu d?inspiration o v cut aussi Monet de 1878 1881. Les chefs-d??uvre et les essais ici r unis soulignent les points de convergence li s la couleur, la lumi re, la gestualit , la nature et aux paysages de Giverny et V theuil, qui ont profond ment inspir les deux artistes.‎

‎Mittel Europa : Rediscovering the Style and Design of Central Europe‎

‎, Clarkson Potter Publishers 1994, 1994 Hardcover, 252 pages, EN, 260 x 260 mm, book is in very fine condition, cover is somewhat discoloured, coloured illustrations and pictures very clear, . ISBN 9780517588031.‎

‎The authors of the International Style Library turn their attention to the land east of the Danube as they travel through Vienna, Budapest, Prague, and the surrounding countryside to find in the architecture, interiors, and folk arts of the region a host of thriving design traditions accessible again after a long isolation.Full-color photographs.‎

‎Zwart op Wit De peintre-graveurs van de Nederlandsche Etsclub,1885?1896. ‎

‎, Scriptum, 2024 hardcover, 160 pagina's, met prachtige illustraties. ISBN 9789083450704.‎

‎De 'vergeten' kunst van het etsen opnieuw op de kaart ze en. Dat is het belangrijkste uitgangspunt bij de oprichting van de Nederlandsche Etsclub in 1885 door een groep jonge, ambieuze kunstenaars onder leiding van Willem Witsen, Jan Veth en Antoon Derkinderen. Samen is men sterker was het idee en dus werden ook oudere kunstenaars als Jozef Isra ls, Anton Mauve en Jacob Maris uit. En De Etsclub nodigt vrouwelijke kunstenaars als Th rese Schwartze, Barbara van Houten, Etha Fles, Wally Moes en Suze Robertson uit om deel te nemen en breekt zo -bewust of niet- een lans voor vrouwelijke grafici. De Etsclub nam tussen 1885 en 1896 deel aan tentoonstellingen van hedendaagse kunst, maar organiseerde zelf ook tentoonstellingen in Amsterdam en DenHaag. Voor de internationale context werden daarvoor ook Engelse en Franse kunstenaars gevraagd: James Abbot McNeil Whistler, Francis Seymour Hadden, Charles Fran ois Daubigny, Theodoor Rousseau en Mary Cassa . Daarnaast gaf De Etsclub jaarlijks een map uit met minstens 10 werken van kunstenaarsleden. Donateurs kregen jaarlijks zo?n portefeuille. In de en jaar van haar bestaan werden 9 portefeuilles uitgeven met in totaal honderd werken van 28 verschillende kunstenaars Jaap Versteegh gaat uitgebreid in op de opkomst van de etstechniek in de negen ende eeuw in interna onale context. Vervolgens legt hij de focus op het ontstaan en verdere verloop van de Nederlandsche Etsclub. In een gedetailleerde geschiedenis laat hij de hoofdrolspelers veelal via citaten aan het woord. Suzanne Veldink behandelt in haar bijdrage de vrouwelijke leden van De Etsclub. De grafici Wally Moes, Th r se Schwartze, Barbara van Houten en Etha Fles hadden ieder hun eigen ontwikkeling en hun persoonlijke redenen om lid te worden. Daarnaast besteed zij uitgebreid aandacht Mary Cassa . Het boek besluit met een volledig ge llustreerde oeuvrecatalogus met alle prenten die door De Etsclub zijn uitgegeven, wat dit boek tot een onmisbaar naslagwerk maakt voor iedereen die ge nteresseerd is in Nederlandse grafiek.‎

‎Le Non-Mental selon la pensée Zen.-‎

‎2e édition. Paris. La Colombe. 1952. In-8 (140 x 192mm) broché, couverture imprimée en noir et brun sur fond vert, 216 pages. Bon exemplaire, non coupé.‎

‎Johan Clarysse * Why October & Other Questions‎

‎, ludion, 2008 hardcover 77 pagina's, ill. ISBN 9789055447282.‎

‎De schilderijen van Johan Clarysse ogen verleidelijk en vervreemdend. Ze nodigen u uit om deel te nemen aan de zoektocht van de kunstenaar naar een kritische interpretatie van de menselijke verlangens, drijfveren en emoties. Dit boek is een esthetische belevenis en tegelijkertijd een psychologische uitdaging om de dingen niet als vanzelfsprekend te zien. En om dan in de dubbelzinnigheid de waarheid te zien. Warm aanbevolen.‎

‎100 Kindervragen - Voetbal‎

‎, Stichting Kunstboek 2012, 2012 Hardcover, 64 pagina's, Nederlands, 245 x 175 mm, wetenschap voor kinderen EN de ouders. ISBN 9789058564276.‎

‎Ieder deel van de reeks 100 Kindervragen bevat 100 vragen van kinderen over een bepaald onderwerp. De thema's binnen deze reeks zijn zeer divers, maar sluiten nauw aan bij de dagelijkse belevingswereld van het kind. Heel wat kwesties zullen ook de ouders boeien, omdat zij lang niet alle gestelde vragen zelf kunnen beantwoorden.‎

‎Cairopolis Global events - Local repercussions / vier Belgische topfotografen Zaza Bertrand, Filip Claus, Bieke Depoorter en Harry Gruyaert / **** SIGNED‎

‎, Snoeck, 2013 Gebonden, Hardcover 125 pagina's . 24X24CM **** GESIGNEERD DOOR ZAZA BERTRAND EN BIEKE DEPOORTER ISBN 9789461610829.‎

‎Op 25 januari 2011 streken reporters van over de hele wereld neer op het Tahrirplein, om de roep van het volk om vrijheid en democratie uit eerste hand vast te leggen. Een revolte was begonnen in Egypte. Het is na twee jaar duidelijk dat het beeld dat door de media aangeboden wordt er niet in slaagt te vatten wat echt aan het gebeuren is. De documentaire outsiders-blik van het team van vier Belgische topfotografen (Zaza Bertrand, Filip Claus, Bieke Depoorter en Harry Gruyaert) wordt aangevuld met poetische bespiegelingen van dichters en proza-schrijvers. Het resultaat is een gelaagd, divers beeld van de post-revolutionaire Egyptische maatschappij‎

‎Perspective as Practice. Renaissance Cultures of Optics‎

‎, Brepols, 2019 Hardback, 512 pages, Size:178 x 254 mm, Illustrations:143 b/w, 46 col., 2 maps b/w, Language: English. ISBN 9782503581071.‎

‎Summary This book is about the development of optics and perspective between the fifteenth and seventeenth centuries. The point of departure of this book is the recognition of the polysemy of perspective, that is, the plurality of meanings of perspective. To bring forward the polysemy of perspective, this book explores the history of perspectiva in terms of practices, a conglomerate of material, social, literary and reproductive practices, through which knowledge claims in perspective were produced, promoted, legitimated and circulated in and through a variety of sites and institutions. The ways optical knowledge was used by different groups in different places (such as the university classroom, the anatomist's dissection table, the goldsmith's workshop, and the astronomer's observatory) defined the meanings of Renaissance perspective. As this period was characterized by widespread 'optical literacy', perspective was defined in different ways in different places and sites by various groups of practitioners. Most interestingly, sites such as the theatre, the instrument maker's workshop and the courtly garden were home to practices of perspective which have remained on the margin, or even completely invisible, in the historiographies of optics and perspective. The book also brings out the differences between codifications of perspectiva and practice. There were a variety of non-Albertian constructions to create the illusion of space, and other types of optical knowledge were as important to artists as the geometry of perspective. TABLE OF CONTENTS Sven Dupr , Introduction I. Sites of Perspective Marvin Trachtenberg, Perspective and Artistic Form: Optical Theory and Visual Culture from Giotto to Alberti Marjolijn Bol, The Emerald and the Eye: On Sight and Light in the Artisan's Workshop and the Scholar's Study Samuel Gessner, The Perspective of the Instrument Maker: The Planispheric Projection with Gemma Frisius and the Arsenius Workshop at Louvain Tawrin Baker, Dissection, Instruction, and Debate: Visual Theory at the Anatomy Theatre in the Sixteenth Century Jaime Cuenca, The Princely Point of View: Perspectival Scenery and Aristocratic Leisure in Early Modern Courts Juliet Odgers, The Optical Construction of John Evelyn's 'Dyall Garden' at Sayes Court II. Writing on Perspective Elaheh Kheirandish, Optics and Perspective in and beyond the Islamic Middle Ages: A Study of Transmission through Multidisciplinary Sources in Arabic and Persian A. Mark Smith, The Roots and Routes of Optical Lore in the Later Middle Ages and Renaissance Dominique Raynaud, A Hitherto Unknown Treatise on Shadows Referred to by Leonardo da Vinci Sven Dupr , How-To Optics Jose Calvo Lopez, Teaching, Creating, and Using Perspective in Sixteenth-Century Spain: The Architectural Notebook of Hernan Ruiz II III. Drawing, Constructing, Painting Filippo Camerota, Masaccio's Elements of Painting: Geometrical Practice in the Trinity Fresco Pietro Roccasecca, Divided into Similar Parts: Representation of Distance and Magnitude in Leon Battista Alberti's De pictura J.V. Field, The Use of Perspective in the Art of Piero della Francesca Paul Hills, The Venetian Optics of Light and Geometry of Proportion Georges Farhat, Constructed Optics and Topographic Perspective at the Grand Canal of Versailles‎

‎Making of Technique in the Arts. Theories and Practice from the Sixteenth to the Twentieth Century‎

‎, Brepols, 2023 Hardback, 206 pages, Size:178 x 254 mm, Illustrations:35 col., Language: English. ISBN 9782503598994.‎

‎Summary What is technique in the arts? Now widely used to refer to the practical aspects of art making, ?technique' was a neologism in the vernacular, and started to appear in treatises on arts and sciences from around 1750. Rooted in the Greek techne?, which was translated routinely as ?art' until the mid-eighteenth century, technique referred to processes of making or doing and their products. Described previously as ?art', ?methods', ?manners' or ?mechanics', techniques were recorded in text with the intention of documenting or transmitting practical skills and knowledge. This book bridges the gap between the changing concept of technique and the practices currently described by it. It explores the linguistic, philosophical, and pedagogic history of technique in the arts, answering the question why the term ?technique' first emerged around 1750, and exploring how its meaning to artists, art theorists, and natural philosophers changed until the twentieth century. TABLE OF CONTENTS 1. Introduction Sven Dupre? & Marieke Hendriksen 2. The Body and Daily Life as Metaphor and Analogy in Technical Language in the Works of Leonardo da Vinci, Vannoccio Biringuccio and Benvenuto Cellini Andrea Bernardoni 3. Neudo?rffer's Notebook: Recipes and the Rendering of Calligraphic Technique between Manuscript and Print in Sixteenth-Century Germany Hannah Murphy 4. Between arte and ingenio. Approaches to Technique in Early Modern Spanish painting Jose? Ramo?n Marcaida 5. ?An old and calm woman, blind and mute': Finding Words to Describe Technique in Dutch Seventeenth-Century Art Literature Marije Osnabrugge 6. ?Have a great care of the shadows'. Perspectives on Carefulness in Historical Recipes for the Restoration of Oil Paintings. Maartje Stols-Witlox 7. Architecture and Technical Virtuosity in Eighteenth Century France Vale?rie Ne?gre 8. The Debate about Technique in the Kunstwissenschaft around 1900 Maria Teresa Costa 9. Somatic Language in Artistic Work Practices. An Ethnographic Perspective on Bodies, Materials, Practical Knowledge and Technique in Contemporary Art Christiane Sch rkmann‎