1999 FIRST EDITION oversize paperback Book . BRAND NEW from 1999 publisher . Never opened, Never owned, Never marked . very small light bend center back cover ; still Gift Giving quality . 176 pages . Lavishly illustrated with full color illustrations of original 1960's rock music psychedelic poster art . Beautiful book, album-size 10 x 12 " , weighs more than 2 pounds . The evolution of the rock poster as an art form began in San Francisco in the mid 1960s , in the hippie hey-day . as artists were commissioned to create affordable advertising for concert events took the opportunity to break free from the confines of commercial poster design . with vivid colors & fluid lettering . but there was much more of a 'serious' art influence than was perhaps recognized at the time . Much of it was simply creativity uleashed by the so-called ' hippie artists ' , with the best of art from another era , melded into the hyper-modern world of their own . with the influence from recent art school attendees leading them to a heady mixture of the styles of long-forgotten artists of another time . Much like the furniture and clothing and antiques and collectibles of the time were rescued 'castoffs' from an unfashionable late Victorian and into Edwardian age . with the art styles of the era, the same applied . Old treasures which had become a 'drug on the market' , and even an embarrassment to 'real' art dealers, were rediscoverd and given pride of place to an entire new generation . In particular, the influence of French Belle Epoque styles, and Art Nouveau figures Mucha . Toulouse-Lautrec . and Cheret . began to dominate . notably through the use of lettering as a prominent compositional element, but also with nouveau lines and the fluid melding of text into design . of ethereal maidens and, in 20th century commercial art, unique to the Art Nouveau world and to the hippie art of the 60s, through full-blooded . and full-bodied . curvaceous women . The color separations of an earlier era were perhaps never duplicated; but the psychedelic, or ' neon ', ' dayglo ' colors more than made up for that, and brought a freshness to the curving neo-nouveau lines which remains unique in the annals of art to this day . The result of this 1960s intense exploration of positive and negative space led to the eventual creation of psychedelic imagery portrayed in the ' vibrating ' colors, reflective of the psychedlic experience . ' High Art ' explores both the creation of psychedelia and the imagery born of this movement . Among the major protagonists, it features both the Avalon and Fillmore ballrooms . the entertainment meccas born of genius Bill Graham, who commissioned the art as advertisement, perhaps not fully realizing at first that it would become iconic . and collectible . in its own right . as well as the UFO Club in London . and more obscure pockets, who were aware of the psychedelic movement . this art also widely influenced local artists who did work for many of the famed 'copycat' clubs, such as the Retinal Circus in Vancouver, and a whole host of others . This beautiful book traces the history of the 60s psychedelic art phenomenon . from its origins and influences . through American psychedelia in art . including interviews with such famed artists of the genre, as Stanley Mouse, Alton Kelley, Rick Griffin and Victor Moscoso . to the British scene and leading British artists Michael English, Nigel Waymouth, Big O and Osiris Visions . It ends with a discussion of the New Wave of psychedelic art + comes complete with a collectors' guide . " High Art : A History of the Psychedelic Poster " . by Ted Owen and Denise Dickson . 1999 softcover book, published by Sanctuary Publishing, London England *** Securely packed ~ Safe shipping, since 1965 *** Size: 10 x 12 x 3/4 ". N° de ref. de la librería
Sinopsis: Sixties psychedelic poster art has stretched beyond the ephemeral and functional nature of its design to become highly collectable and internationally recognized. High Art explores both the creation of psychedelia and the imagery born of this movement. It covers the Avalon and Fillmore ballrooms who commissioned the art, the UFO Club in London and features leading American artists, profiles of British artists and it describes the collectors' experience.
From Library Journal:
No matter how high the hippies got, most had to come back to earth, cut their hair, get jobs, and "sell out" their counterculture. High Art flashes back to when love and LSD were free and psychedelic posters were not bankable art. The boldly and beautifully colored reproductions do the mystic and merry tripper's visions justice; however, after an insightful introduction to the social and political climate of the 1960s and the poster artists' influences, the written content of this book wavers. For the profiles of American poster artists and the rock venues and promoters that employed them, the authors reprinted deep but sometimes outdated pieces from the 1976 exhibition catalog San Francisco Rock Poster Art by historian Walter Medeiros. Their original coverage of the British scene with direct quotes from the artists is more engaging. Why psychedelic art blacked out in the 1980s and soared in popularity in the mid- and late 1990s is not explored either. Recommended where demand warrants.AHeather McCormack, "Library Journal"
Copyright 1999 Reed Business Information, Inc.
Título: High Art - a History of the Psychedelic ...
Editorial: Sanctuary Publishing
Año de publicación: 1999
Encuadernación: Soft Cover
Ilustrador: Stanley Mouse, Victor Moscoso, et al
Condición del libro: New
Edición: First Edition.
Descripción Sanctuary Publishing Ltd, 1999. Paperback. Estado de conservación: Good. A few small marks to page edges Good condition is defined as: a copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Most items will be dispatched the same or the next working day. Nº de ref. de la librería mon0006621310
Descripción San Francisco Museum of Modern Art, London, 1999. Paperback. Estado de conservación: Near fine. Sanctuary. Folio in green and red pictorial wrappers; illus. (some color), ports.; 175 p., 32 cm. Near fine copy. Thin half-inch, black mark to upper cover wrapper otherwise they are clean; very small, barely noticeable ding to foreedge of first 100 pages; two very small flaws to an otherwise excellent copy; pages and art are clean, crisp, bright and free of marks and creases; binding is tight. Nº de ref. de la librería 84615
Descripción Sanctuary Publishing, 1999. Paperback. Estado de conservación: Used: Good. Nº de ref. de la librería SONG1860742564
Descripción Sanctuary Pub Ltd, 1999. Estado de conservación: Good. 1860742564 1860742564 Good. (Binding: Soft Cover, Jacket: No Jacket) Covers shelfworn with a little water damages at top near spine. Nº de ref. de la librería 2028491
Descripción Sanctuary Pub Ltd, United Kingdom, 1999. Paperback. Estado de conservación: Very Good. Neat and attractive with general shelf wear. Nº de ref. de la librería 087718
Descripción Sanctuary Publishing 1999-06-25, 1999. Paperback. Estado de conservación: good. illustrated edition. 1860742564. Nº de ref. de la librería 533935
Descripción Sanctuary Publishing, U.S.A., 1999. Paperback. Estado de conservación: Very Good. First. An unmarked copy in very good condition. minimal edgewear to wraps, faint crease to lower edge front panel. Size: Folio - over 12" - 15" tall. Nº de ref. de la librería 028252
Descripción Estado de conservación: Acceptable. Book Condition: Acceptable. Nº de ref. de la librería 97818607425695.0
Descripción Sanctuary Publishing, 1999. Paperback. Estado de conservación: Very Good. Nº de ref. de la librería P021860742564
Descripción Sanctuary Publishing, 1999. Paperback. Estado de conservación: Like New. Nº de ref. de la librería P011860742564