Knapp gottfried (479 résultats)

Etat : Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Etat : Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

paperback. Etat : Very Good. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books.

Paperback. Etat : Very Good. This text examines 100 of the most famous and popular depictions of angels in the history of art. All are illustrated in colour, together with details of each artist and the background of the work in which they appear. Gottfried Knapp demonstrates the different ways angels have been portrayed in art, how art reflects contemporary views on religion and the radical changes that have occurred in the past. Angels have long been used by artists to imbue their work with a sense of the divine. In the middle ages they were predominantly represented as men. By the time of the Renaissance, theologians had agreed upon a hierarchy for the company of heaven in which cherubim and seraphim held the highest rank. Then, in descending order, were: thrones, dominations, virtues, powers, principalities, archangels and angels. The angels were frequently depicted as women and children, and their number appeared to reflect the artist's view of the spiritual importance of the subject, particularly in manuscript and book illumination. However, the most popular have always been the baroque representations of small, fat cherubim - winged putti, high-spirited and roguish. In our century, Marc Chagall's colourful, glowing angels have given expression to human love and divine grace. The word "angel" comes from the Greek word angelos, meaning "messenger", and save for their depiction in art, angels were considered to be bodiless minds or spirits. Angels are not restricted to Christianity; they also appear in Judaism and Islam - and always as intermediaries between God and humankind. Gottfried Knapp writes of this angelic world. Whether in painting or in sculpture, in book illumination or in film, in fiction or in non-fiction, angels have continued to fascinate and delight artists and art lovers through the ages. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.…

Hardcover. Etat : Very Good. unmarked, light shelfwear-NICE Oversized.

paperback. Etat : Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Etat : good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

paperback. Etat : Very Good. Book is in very good condition. Text clean & unmarked, solid binding. Minor shelf/edge wear.

Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Good. Good condition. (christianity, christian art, angels, religious art) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Etat : Fine.

Etat : As New. Unread book in perfect condition.

Etat : very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Etat : Very Good. Bilingual. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

hardcover. Etat : Very Good. Very Good Condition - May show some limited signs of wear and may have a remainder mark. Pages and dust cover are intact and not marred by notes or highlighting.

Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Soft cover. Etat : Near Fine. Softcover includes color and b/w illustrations, unpaginated.

Trade Paperback. Etat : Very Good. Like New. May have some shelf wear from being out in store. All Orders Shipped With Tracking And Delivery Confirmation Numbers.

Paperback. Etat : Near Fine. 96 pages, illustrations (some colour); 30 cm. Translated from the German. Near fine. Firm binding, clean inside copy. Age toning. Profusely illustrated. *** "This text examines 100 of the most famous and popular depictions of angels in the history of art. All are illustrated in colour, together with details of each artist and the background of the work in which they appear. Gottfried Knapp demonstrates the different ways angels have been portrayed in art, how art reflects contemporary views on religion and the radical changes that have occurred in the past. Angels have long been used by artists to imbue their work with a sense of the divine. In the middle ages they were predominantly represented as men. By the time of the Renaissance, theologians had agreed upon a hierarchy for the company of heaven in which cherubim and seraphim held the highest rank. Then, in descending order, were: thrones, dominations, virtues, powers, principalities, archangels and angels. The angels were frequently depicted as women and children, and their number appeared to reflect the artist's view of the spiritual importance of the subject, particularly in manuscript and book illumination. However, the most popular have always been the baroque representations of small, fat cherubim - winged putti, high-spirited and roguish. In our century, Marc Chagall's colourful, glowing angels have given expression to human love and divine grace. The word 'angel' comes from the Greek word angelos, meaning "messenger", and save for their depiction in art, angels were considered to be bodiless minds or spirits. Angels are not restricted to Christianity; they also appear in Judaism and Islam - and always as intermediaries between God and humankind. Gottfried Knapp writes of this angelic world. Whether in painting or in sculpture, in book illumination or in film, in fiction or in non-fiction, angels have continued to fascinate and delight artists and art lovers through the ages." - Publisher. Size: 4to.…

Hardcover. Etat : Very Good. in German and English - unmarked, light shelfwear-NICE Oversized.

Etat : Good. Good condition. German edition. Paperback edition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Soft cover. Etat : Very Good. Clean, unmarked with very light corner wear and crease-free spine. BP/Angels.

Etat : New.

Hardcover. Etat : new. Hardcover. Text in English and German. Heinz Tesar has carefully preserved the existing Bode Museum building on the Museum Island in Berlin, and provided it with highly unusual additional sections for the anticipated hordes of visitors. His work proved its extraordinary qualities even at the opening. There is scarcely anywhere else in the world where the contrasting styles arising from a museum's various building periods come together to form such an individual whole, at best comparable in its density with the Italian architect Carlo Scarpa's museum designs. The essential basis for this successful symbiosis of heterogeneous stylistic elements is the variable historical architecture that museum director Wilhelm Bode invited architect Ernst Eberhard von Ihne to develop around 1900 for the collections, which were very disparate in both style and genre. When the museum opened in 1904, the magnificent architecture still had a political message to proclaim. It was called the 'Kaiser-Friedrich-Museum' at first, and there was a definite programme behind this: invoking the name of the art-minded earlier emperor and erecting ostentatious equestrian statues of figures from Prussian history was intended as a powerful pictorial display to anchor the Prussian dynasty in German history and European culture. But as Ihne eschewed any sense of regional identification, the museum could have carried his name after the abolition of the monarchy. But it was renamed Bode-Museum after its inventor Wilhelm von Bode in the GDR years, which indicates the significance of the stylistic spaces Bode created for the development of exhibition techniques. The text in the book provides a reminder of museum's first collection, a mixed one consisting of paintings, sculpture and furniture. The pictorial section then records the present content of the restored galleries, shaped by Heinz Tesar and using objects from the sculpture collection, the Byzantine museum and the numismatic collection. Tesar carried out some architectural interventions of considerable sculptural quality in the new basement under the small dome, in other words in the rotunda where the planned underground passage from the Pergamon-Museum will come in, and in the new stairwell added as a slim section in one of the courtyards. Heinz Tesar has carefully preserved the existing Bode Museum building on the Museum Island in Berlin, and provided it with highly unusual additional sections for the anticipated hordes of visitors. This book provides a reminder of the museum's first collection, a mixed one consisting of paintings, sculpture and furniture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Etat : New. Text in English and German. Heinz Tesar has carefully preserved the existing Bode Museum building on the Museum Island in Berlin, and provided it with highly unusual additional sections for the anticipated hordes of visitors. His work proved its extraordinary qualities even at the opening. There is scarcely anywhere else in the world where the contrasting styles arising from a museum's various building periods come together to form such an individual whole, at best comparable in its density with the Italian architect Carlo Scarpa's museum designs. The essential basis for this successful symbiosis of heterogeneous stylistic elements is the variable historical architecture that museum director Wilhelm Bode invited architect Ernst Eberhard von Ihne to develop around 1900 for the collections, which were very disparate in both style and genre. When the museum opened in 1904, the magnificent architecture still had a political message to proclaim. It was called the 'Kaiser-Friedrich-Museum' at first, and there was a definite programme behind this: invoking the name of the art-minded earlier emperor and erecting ostentatious equestrian statues of figures from Prussian history was intended as a powerful pictorial display to anchor the Prussian dynasty in German history and European culture. But as Ihne eschewed any sense of regional identification, the museum could have carried his name after the abolition of the monarchy. But it was renamed Bode-Museum after its inventor Wilhelm von Bode in the GDR years, which indicates the significance of the stylistic spaces Bode created for the development of exhibition techniques. The text in the book provides a reminder of museum's first collection, a mixed one consisting of paintings, sculpture and furniture. The pictorial section then records the present content of the restored galleries, shaped by Heinz Tesar and using objects from the sculpture collection, the Byzantine museum and the numismatic collection. Tesar carried out some architectural interventions of considerable sculptural quality in the new basement under the small dome, in other words in the rotunda where the planned underground passage from the Pergamon-Museum will come in, and in the new stairwell added as a slim section in one of the courtyards.…