baltimore museum of art rizzoli (6 résultats)

Etat : New. . . . . 4to, hardcover. NEW in dust jacket. Still in shrinkwrap - pristine. 167 pp., illus. history art painting 19th century 19th, Art, Century, History, Painting, 0912298715.

Paperback. Etat : Near Fine. 202 pages, illustrations (some colour); 31 cm. Near fine. Firm binding, clean inside copy. Age toning. OVERSIZE! Additional shipping charges may be requested for international & priority orders. *** Less famous than Gertrude Stein and her brother Leo, the Cone sisters were important patrons of early modernism and the School of Paris. Their collection, which is especially rich in works by Matisse, now resides in the Baltimore Museum of Art. Size: 4to.

Paperback. Etat : Good. 1st. xii, 151 pages, illustrations (some colour); 22 x 26 cm. Exhibition held at the Baltimore Museum of Art, September 18 to November 13, 1977. Good+. Firm binding, clean inside copy. Sunned wraps, age toning. *** Navajo blankets and rugs. Baskets of the West. Profusely illustrated. Size: Oblong.

Softcover. Etat : VG. Blue pictorial wraps. 167 pp. 60 large color, numerous smaller bw & color plates. Catalogue by Sona Johnston, with the assistance of Susan Bollendorf, and an essay by John House. Annotated and illustrated catalogue of 59 works. Reproduced are key works by fourteen pivotal figures including Gustave Caillebotte, Mary Cassatt, Paul Cezanne, Edgar Degas, Paul Gauguin, Édouard Manet, Claude Monet, Berthe Morisot, and Pierre-Auguste Renoir, which reveal the astonishing originality and beauty of the Impressionists" portraits. An extended catalogue entry by curator Sona Johnston, assisted by Susan Bollendorf, accompanies each plate, discussing the identities of the paintings" subjects, the relationships between artists and sitters, and the place of each painting within the artist"s oeuvre. The stories behind the canvases are revealed as Johnston highlights the social context of this influential circle of artists. Published to accompany the exhibition held in Baltimore, MD: Baltimore Museum of Art, Oct. 10, 1999 to Jan. 30, 2000, two other locations.

Hardcover. Etat : Near Fine. Etat de la jaquette : Fine. 1st. Cloth, 167 pages, colour illustrations; 31 cm. Catalogue of an exhibition held at the Baltimore Museum of Art and 2 other venues, 1999-2000. Near fine. Firm binding, clean inside copy. Age toning. Dust jacket protected in a mylar cover. OVERSIZE! Additional shipping charges may be requested for international & priority orders. *** "This book accompanies the first major exhibition to focus exclusively on the portraits made by the Impressionist masters and their immediate predecessors. Breaking free from portraiture's conventions, the Impressionists expanded the notion of a portrait to reflect not only an individual's appearance but also his or her everyday surroundings. From traditional, tightly rendered likenesses to light-filled, loosely brushed paintings, the works in this volume depict a variety of subjects: friends, family members, patrons, public figures, and the artists themselves. Reproduced are key works by fourteen pivotal figures including Gustave Caillebotte, Mary Cassatt, Paul Cezanne, Edgar Degas, Paul Gauguin, douard Manet, Claude Monet, Berthe Morisot, and Pierre-Auguste Renoir, which reveal the astonishing originality and beauty of the Impressionists' portraits. In an introductory essay, John House examines how the Impressionists' revolutionary approach to painting changed portraiture and discusses the meanings and implications of the various types of portraits they made. House explains how these portraits were used to establish public and private identities and what makes them such insightful expressions of modern life and identity. An extended catalogue entry by curator Sona Johnston, assisted by Susan Bollendorf, accompanies each plate, discussing the identities of the paintings' subjects, the relationships between artists and sitters, and the place of each painting within the artist's oeuvre. The stories behind the canvases are revealed as Johnston highlights the social context of this influential circle of artists. An essential volume for lovers of Impressionism, this beautiful book paints a revealingly intimate picture of the Impressionists' world. / Sona Johnston is Curator of Painting and Sculpture Before 1900 at The Baltimore Museum of Art. She has organized exhibitions on the art of Antoine-Louis Barye, Honor Daumier, Winslow Homer, Louis Comfort Tiffany, and others. Her writings include numerous exhibition and collection catalogues. At present she is preparing a catalogue raisonn of the work of the American Impressionist Theodore Robinson. John House is Professor of the History of Art and Deputy Director of the Courtauld Institute of Art, University of London. An expert on nineteenth-century French art, he has written requisite monographs on Monet and Renoir and has made major contributions to many notable books on Impressionist art. Susan Bollendorf is Research Assistant in the Department of Painting and Sculpture Before 1900 at The Baltimore Museum of Art." - Publisher. Also includes an essay by Paul Valery, "On Portraits." Size: 4to. Collectible.

Hardcover. black boards w/ red printing. 256 pgs w/ color, bw illustrations. blue, multi-color dustjacket w/ black printing. ".In this engrossing volume, essays by experts in the field and more than 130 color images showcase the experimental and international extent of Surrealist art during these years. Three of the book's featured artists, Dalí, Miró, and Pablo Picasso, were from Spain, where tensions between right and left after the formation of the republic in 1931 led, five years later, to full-blown civil war. The victory of General Francisco Franco's Nationalist forces over the Republicans in April 1939 was a blow to anti-Fascist hopes throughout the West. Picasso's 'Guernica', painted in response to the bombing of a Basque village in April 1937, was exhibited in Paris at the Exposition Internationale and made a strong case for the relevance of visual art in political discourse. With the onset of World War II in September 1939, brutal hostilities engulfed the whole continent and then the world. Unlike Picasso, who remained in Paris throughout the war, many artists became refugees, and some fled to safety in the Americas. Despite (or because of) the political and personal turmoil, this was a period of surprising brilliance and fertility: avant-garde artists on both sides of the Atlantic pushed themselves to engage artistically with the psychological forces propelling contemporary history. Tapping into classical mythology, folklore, and witchcraft iconography, artists found ways to communicate their feelings and fears in this 'time of distress,' implementing a wide spectrum of new techniques. In the 1930s and 1940s, monstrosities in the real world bred monsters on canvas, in sculpture, on film, and in the pages of journals and artists' books. 'Monsters & Myths' brings together the most vivid and potent of these creations, showing us war through the eyes of some of the twentieth century's most celebrated artists."--WorldCat. Good+ (spine lean; textblock & pgs firm & intact. light wear to boards & corners. dustjacket has an approx 2inch tear to front spine edge; edge-wear; creasing to front upper edge.).