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Publicado por Jumava, 2001
ISBN 10: 9984054233ISBN 13: 9789984054230
Librería: HPB-Diamond, Dallas, TX, Estados Unidos de America
Libro
unknown_binding. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!.
Publicado por Shearsman Books, 2019
ISBN 10: 1848616740ISBN 13: 9781848616745
Librería: GreatBookPrices, Columbia, MD, Estados Unidos de America
Libro
Condición: New.
Más opciones de compra de otros vendedores en IberLibro
Nuevo desde EUR 15,52
Usado desde EUR 16,40
Encuentre también Tapa blanda Original o primera edición
Publicado por Riga ,, 1988
Librería: Antiquariat Robert von Hirschheydt, Wedemark, Alemania
Miembro de asociación: BOEV
238 S., Ln.
Publicado por Latvju Solidartate, 1981
Librería: MyLibraryMarket, Waynesville, OH, Estados Unidos de America
Libro
Paperback. Condición: Good. ***please read*** Book is in very good condition but without its cover - pencil note on title page - no marks on text - 251 pages - inside a mylar sleeve - my shelf location -29-c-30.
Publicado por Gramatu draugs, 1973
Librería: MyLibraryMarket, Waynesville, OH, Estados Unidos de America
Libro
Hardcover. Condición: Very Good. Latvian Language ***please read*** name inside cover with light pencil - no marks on text - dj is very good - my shelf location 25-g.
Publicado por Liesma, Riga, Latvia, 1988
Librería: Samuel H. Rokusek, Bookseller, Pleasant Prairie, WI, Estados Unidos de America
Libro
Illustrated Cloth. Condición: Fine. No Jacket. Text: Latvian. Book has export stamps on back paste down.
First serial publication. Contained in the hard-to-find Summer 1984 issue of The Threepenny Review, a now-established quarterly magazine. This early issue includes work by, among others, Nadine Gordimer, Diana Ketcham, Wendy Lesser, Laura Mullen, Rodrigo Rey Rosa (translated by Paul Bowles), Rainer Maria Rilke (translated by Edward Snow), Aram Saroyan, and Gary Soto.
Publicado por Forlaget Rasmus., 2009
Librería: Kælderantikvariatet, Aarhus C, Dinamarca
Miembro de asociación: ILAB
Condición: Meget fint eksemplar. Med dedikation fra oversætter Per Nielsen. Illustreret - Digte fra 1920'erne af den lettiske digter Aleksandrs Caks (1901-1950). Hæftet med orig. omslag. 182 sider.
Publicado por Sesi, Riga, 1928
Librería: Knowledge Legacy Bookstore, Jurmala, Latvia
Miembro de asociación: IOBA
Libro Original o primera edición
Soft cover. Condición: Very Good. 1st Edition. 30,[2]pp.;13cm. Original wrappers, the author of the cover is uncredited. The book is in very good condition. Some minor stains on the title page.
Publicado por Sesi, Riga, 1928
Librería: Knowledge Legacy Bookstore, Jurmala, Latvia
Miembro de asociación: IOBA
Libro Original o primera edición
Soft cover. Condición: Near Fine. 1st Edition. 30pp;14cm. Original wrappers, the author of the cover is uncredited. The book is in near-fine condition.
Publicado por Zala varna / Green crow, 1931
Librería: Knowledge Legacy Bookstore, Jurmala, Latvia
Miembro de asociación: IOBA
Libro Original o primera edición
Soft cover. Condición: Very Good. 1st Edition. 63,[1]pp.,8pp ill.;20 cm. Romans Suta (1896 1944) met the artist Jānis Plase (1892 1929) in 1925, and they formed a partnership. In 1926, Plase helped Suta to produce the set design for the play by Carlo Gozzi, The Princess of Turandot, at the Latvian Theatre in Jelgava. In 1929, they worked together on the Soviet exhibition pavilion at an international industry exhibition in Riga. The two artists also took part in exhibitions staged by the Riga Association of Graphic Artists, drew cartoons for the magazine Hello, and were part of the Green Crow association of artists and litterateurs. Suta and Plase were great friends. For a short period of time, Plase lived at the Baltars salon alongside the family of Suta and Aleksandra Belcova, and for a short period of time Suta and Plase shared a flat in Stabu Street. Janis Plase was a bit older than Romans Suta. They both had academic educations, but Suta clearly played the leading role in the creative tandem. His erudition, authority about artistic issues and stable artistic style influenced Plase s style, also changing the stylistics, themes and implementation of his art. He moved from Russian Symbolism to Neo-Realism, producing fantastic compositions and images of everyday scenes. Under Suta s influence, Plase also began to use Indian ink for the purpose of graphic design. The friendship lasted for some four years until Plase s premature death, and it was important for Suta. He was very enthusiastic about joining in the activities of the Green Crow association, which involved exhibitions and meetings. He worked with litterateurs, illustrating Aleksandrs Caks Poem About the Cabby in 1930. To a certain extent, Green Crow replaced the important Riga Group of Artists for Suta one which he had left in 1926. Green Crow was established in 1925 by Janis Plase and the artist Karlis Baltgailis. There are several versions about the name of the group, but it probably has to do with a group of artists that Plase had established a few years earlier in Siberia Green Cat (the name was based on the example of avant-garde organisations in Russia such as Donkey Tail, Jack of Diamonds, etc. names that were a bit shocking and also incomprehensible to the lumpenproletariat). Green Cat didn t last long. Jānis Plase (or Zanis Plase, as he called himself at that time) soon moved from Khabarovsk to the Vladivostok in the Far East, where he met the famous Futurist Wladimir Burliuk. It may be that Janis Plase tried to do the things that he could not do in the past when he joined Green Crow. He was the heart and soul of the organisation, devoting all of his time and efforts to it. Jānis Plase was responsive, helpful and with an excellent sense of humour. His friends lovingly called him in the diminutive Plasitis. Green Crow had no clear declarations about art. The slogan was Bring more into the life of art and more life into art, but that was implemented rather practically through art exhibitions, the publication of new books and the publication of the organisation s magazine. Vivid in the local bohemian life were evening sessions organised by Green Crow. These attracted a great deal of attention because of music, poetry, improvisations, dances, auctions of cartoons drawn by artists on site, and other entertainment. This was all part of the manifestation of the joy of the green crow. The bottom of spine has a small chip, the color of the cover is faded at the edges. Overall in very good condition.
Publicado por Zelta grauds (Gold Grain), Riga, 1930
Librería: Baltic Bouquiniste, Tallinn, Estonia
Libro Original o primera edición
Soft cover. Condición: Near Fine. 1st Edition. Latvian language. Enlarged format. Octavo 20 x 24 cm. Weight 100 gr. Wrappers, 48 pp., including 3 sheets of illustrations tables. The book is in Near Fine condition, without any visible defects, losses, remarks and stains. Two soft creases across front cover corners, very light stain on the bottom left corner of front. The book advertised by the Golden Grain publishing house as a luxury edition, includes three amazing ink drawings considered one of the most successful works of Romans Suta in the books graphics. Through the cabman eyes while driving his cart, the poem celebrates the romance of the city centre of Riga with many cafes, bars, saloons and the city s peripheries, and the everyday lives of people who patronised them. This was an environment that was familiar to Suta, whose paintings and graphic art often present similar scenes and personalities. Caks's poem depicts Riga's typical cabman, who became gradually replaced by cars. In the second half on 1920s Riga achieved progress in mechanization, jazz, outlandish schlagers, fashion, artistic movements etc. Poet portrays going away silhouette of modern city, which has undergone entire era of changes. In this poem, as in early works, poet swim strongly against the tide, he is against the generally accepted ranges of society and don't evaluate changes positively (here he takes cabman's side). As a poet, Aleksandrs Caks (1901-1950) was a legend, the most influential poet among the Latvian modernists. Caks' poetry is notable for its urban setting and modernity which gave it a strong contrast with the established pastoral and folkloric traditions in Latvian literature. His verses was devoted to Riga s restless, throbbing life, including topics and characters that had hardly been featured before the city nightlife, horse taxi drivers (cabmen), shop-windows, streets and boulevards, poverty- stricken suburbs. He is a world-level poet whose works are endowed with all human feelings, a vast scope of emotions and a passionate love. Aleksandrs Caks verse heralded the origination of the modern Latvian poetry by proposing new aesthetic principles and poetic forms. The format characteristics of his verse - rhyme, rhythm and imagery - have influenced succeeding generations of poets. Caks poetry is full of extravagant comparisons and metaphors. He keeps the reader riveted by the vivid scenery, the wealth of personifications, wild imagination and expressivness of his language. The lyrical strand of Latvian poetry is not absent even from Caks's most modernist, futurist poems. Artist Romans Suta (1896-1944) considered as outstanding representative of classical modernism in Latvia's art history. In the late 1910s, Romans Suta created artworks with simple forms and heightened expression. He often depicted Latvians, forged by war and their lives as refugees. By the first half of the 1920s, artist increasingly turned to the styles of Constructivism and Cubism. Very popular became his works in the field of graphic art - series of indian ink drawings which depict inviolable components of an urban environment, along with wine lovers, card players, musicians and dancers.
Publicado por Zelta grauds (Gold Grain), Riga, 1932
Librería: Baltic Bouquiniste, Tallinn, Estonia
Libro Original o primera edición
Soft cover. Condición: Near Fine. 1st Edition. Latvian language. Enlarged format. Octavo 20 x 24 cm. Weight 160 gr. Wrappers, 52 pp., [10] pp. lithographic tables. The book is in Near Fine condition, without any visible defects, losses, remarks and stains. Some soft and small creases across cover corners, occasional minor foxing spots to the cover edges and on some sheets at the beginning of the book. Great modernist collaborative creation of writer and artist. Minimalist book cover design, 8 ink drawings (zincographies) and 10 amazing graphical plates (lithographies) by Niklavs Strunke, who received Culture Fund Prize on several occasions, among them in 1932 for his illustration of the poem "Umur-Kumurs", which is considered the best of his works in the field of book graphics. Poem's title consists of two German words "Hunger" and "Kummer" (Hunger and Sorrow). This is the poem about Rigas' recent past, which describes a pole-climbing contest at public festival which took place at the turn of the century. The festival was celebrated every autumn in memory of hunger and sorrow of siege warfare. A main hero, who was ascending a pole in front of a crowd falls from a height and dies. But actually this symbolist poem is a statement about the fate of most of the artists despised in life but appreciated only after death. Among Caks's friends were a lot of artists to whom he dedicated this poem - Janis Plase, Janis Liepins, Niklavs Strunke, Karlis Baltgailis, Aleksandrs Junkers and others. Aleksandrs Caks (1901-1950) was the first Latvian modernist writer and poet whose works are distinctly urban, compared to the usual depictions of country life or small villages in earlier Latvian literature. He created a new tradition, describing in free verse, with exaggerated images, the atmosphere of the suburbs. Caks published his first poetry book Sesi (Six) in 1928, dedicated to Riga and its life, which made him wildly popular. These poems included topics and characters previously not shown in Latvian poetry - the city night life, homeless people, prostitutes, poor suburbs, even the sewers in blockhouses. In his works, Caks shows his deep love for Riga as it is. Riga is not the only subject of his poems, though - he has also written romantic poetry and works dedicated to the Latvian riflemen. Caks also wrote some short stories, although they are generally not as well-known as his poems. His influence on a new generation of Latvian poets is greater than any other poet's. Niklavs Strunke (1894 1966) is one of the most original Latvian artists who was devoted to the modernist movements in Europe and at the same time studied the Latvian cultural heritage. He was active in a number of artistic fields painting, graphic design, stage design. Strunke's creative work has been influenced by different styles, the main of them are Cubism, Constructivism, Futurism, Suprematism, Primitivism and Italian Proto-Renaissance. Beginning with the second half of the 20th century these influencies are mainly connected with the stylization methods characteristic for Art Deco.