Anabelle kienle (64 resultados)

Hardback. Condición: Good. The famous proclamation that Cezanne 'is the father of us all' has been attributed to both Matisse and Picasso, and his influence has extended to a great diversity of artists thereafter. In this monumental book, a team of distinguished scholars offers the most comprehensive view to date on Cezanne's vital role in shaping European and American art throughout the twentieth century and into the twenty-first.More than forty paintings and ten works on paper by Cezanne - many of his best-known and most admired - are juxtaposed throughout the catalogue with approximately 120 works by a range of modern and contemporary artists who found in Cezanne a central inspiration. They include Max Beckmann, Georges Braque, Charles Demuth, Alberto Giacometti, Arshile Gorky, Marsden Hartley, Fernand Leger, Brice Marden, Piet Mondrian, Giorgio Morandi, Liubov Popova, and Jeff Wall, as well as Picasso, Matisse, Johns, and Kelly. The essays offer insights into the 'conversation' between Cezanne and each of these other artists, who stand on a par with his greatness. Among its many features, this book contains a conceptual overview by Richard Shiff and an illustrated chronology.…

Condición: New. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination,during the 1870s, with bridges. Editor(s): Ponka, Anabelle Kienle. Num Pages: 84 pages, 47 colour illustrations. BIC Classification: ACVT; AFC; AGB. Category: (G) General (US: Trade). Dimension: 261 x 311 x 16. Weight in Grams: 956. . 2019. hardcover. . . . . Books ship from the US and Ireland.…

Condición: New. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination,during the 1870s, with bridges. Editor(s): Ponka, Anabelle Kienle. Num Pages: 84 pages, 47 colour illustrations. BIC Classification: ACVT; AFC; AGB. Category: (G) General (US: Trade). Dimension: 261 x 311 x 16. Weight in Grams: 956. . 2019. hardcover. . . . .…

Hardback. Condición: Good. The famous proclamation that Cezanne 'is the father of us all' has been attributed to both Matisse and Picasso, and his influence has extended to a great diversity of artists thereafter. In this monumental book, a team of distinguished scholars offers the most comprehensive view to date on Cezanne's vital role in shaping European and American art throughout the twentieth century and into the twenty-first.More than forty paintings and ten works on paper by Cezanne - many of his best-known and most admired - are juxtaposed throughout the catalogue with approximately 120 works by a range of modern and contemporary artists who found in Cezanne a central inspiration. They include Max Beckmann, Georges Braque, Charles Demuth, Alberto Giacometti, Arshile Gorky, Marsden Hartley, Fernand Leger, Brice Marden, Piet Mondrian, Giorgio Morandi, Liubov Popova, and Jeff Wall, as well as Picasso, Matisse, Johns, and Kelly. The essays offer insights into the 'conversation' between Cezanne and each of these other artists, who stand on a par with his greatness. Among its many features, this book contains a conceptual overview by Richard Shiff and an illustrated chronology.…

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

Condición: As New. Unread book in perfect condition.

Paperback. Condición: new. Paperback. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 18761919) and Arthur Lismer (Canadian, 18851969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the ports activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port anime et une ville ravagee par l'explosion d'Halifax. Deux perspectives dHalifax un an apres l'explosion.En juin 1918, lartiste Arthur Lismer (18851969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend a Halifax pour documenter leffort de guerre sur le front canadien et representer le port de cette ville a la suite de lexplosion dorigine humaine la plus meurtriere a survenir avant lapparition des armes nucleaires.De son cote Harold Gilman (18761919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoye au Canada, est charge par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais dAnabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port dHalifax 1918 retracent l'approche meticuleuse des artistes a leur mission, les defis de travailler au lendemain de la tragedie et leur role au cours d'une moment dans l'histoire de la peinture de paysage canadienne. Catalog for the exhibition held at the National Gallery of Canada, Ottawa, October 12, 2018-March 17, 2019; and the Art Gallery of Nova Scotia, Halifax, April 12-September 2, 2019. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: New.

Paperback. Condición: New. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port's activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists' meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d'Halifax un an après l'explosion.En juin 1918, l'artiste Arthur Lismer (1885-1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l'effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l'explosion d'origine humaine la plus meurtrière à survenir avant l'apparition des armes nucléaires.De son côté Harold Gilman (1876-1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d'Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d'Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne. …

Paperback. Condición: New. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port's activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists' meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d'Halifax un an après l'explosion.En juin 1918, l'artiste Arthur Lismer (1885-1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l'effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l'explosion d'origine humaine la plus meurtrière à survenir avant l'apparition des armes nucléaires.De son côté Harold Gilman (1876-1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d'Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d'Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne. …

hardcover. Condición: As New. Catalogue of an exhibition at the National Gallery of Canada. Decorative hardcover, no dust jacket as issued. U.S. orders are shipped from N.Y. state.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good. This catalogue of the Max Beckmann's work was created to accompany an exhibit which ran from March 31-June 18, 2006. It has 159 pages. There are both black-and-white images and color images included in this publication. The boards are covered in red paper. The front board is stamped with the publisher's logo. There is light toning to the edges. The dust jacket is curled along the top edge, is lightly toned on the spine and has a small tear where the front panel meets the spine cover. Previous owner's name is on the front free end paper. The dust jacket is currently protected by a clear removable cover. Max Beckman (ilustrador).…

dj. First Edition. First edition and first printing. Hardcover. 585 pages. Published in conjunction an exhibition that ran February 26 through May 17, 2009. Features essays by Roberta Bernstein, Yve-Alain Bois, Jean-Francois Chevrier, John Elderfield, John Goldin, Christopher Green, Jennie Hirsh, Joop M. Joosten, Anabelle Kienle, Albert Kostenevich, Carolyn Lanchner, Mark D. Mitchell, Joseph J. Rishel, Katherine Sachs, Richard Shiff, Robert Storr, and Michael R. Taylor. Includes 483 color and 85 black and white illustrations of works by a wide range of artists from the likes of Cezanne, Picasso, Leger, Braque, Gorky and others. A fine copy in cloth boards in a near fine dust jacket with some slight rumpling to the base of the front panel. This is a heavy and oversized book and will require extra shipping. …

Hardcover. Condición: Fine. 1st. Pictorial boards, 101 pages, illustrations (chiefly colour); 26 x 31 cm. Text in English and French. Published in conjunction with the exhibition at National Gallery of Canada, Ottawa, 30 October 2015 to 15 February 2016. Firm binding, clean inside copy. OVERSIZE! Additional shipping charges may be requested for international & priority orders. Richly illustrated with colour plates. *** "This beautifully illustrated catalogue explores Claude Monet's experiments with the motif of the bridge between 1872 and 1875, in the aftermath of the Franco-Prussian War. After moving to Argenteuil, a suburban town on the outskirts of Paris, the artist (1840-1926) was inspired to paint the local highway bridge located near his house on the banks of the Seine. Le Pont de Bois (1872) depicts the bridge under repair following the destruction wrought by the war, and as such is a tribute to France's return to order. A composition of startling modernity, the painting also became a starting point for further explorations of this theme. Focusing on twelve major paintings by the artist, this book examines how Monet used the motif of the bridge as a laboratory for his innovative ideas, in his desire to establish himself as a leader of the avant-garde. it also looks at the Impressionists' artistic response in the aftermath of the Franco-Prussian War and the way in which photographers and painters highlighted the remarkable range of brides in Paris." - Publisher. *** CONTENTS: Foreword; Acknowledgements; Lenders to the exhibition; Towards the modern landscape: Monet's Le pont de bois in context, by Annabelle Kienle Ponka; Reconstruction and reassurance in paintings: representing the aftermath of the Franco-Prussian War, by Richard Thomson; "Great works of human industry": imagining the bridges of Paris, 1852-75, by Simon Kelly; Chronology, by Kirsten Appleyard; Exhibition checklist. Size: Oblong. …

Soft cover. Condición: New. Condition: Brand New. Still wrapped in plastic. International shipping will be extra. Thank you.

Softcover. Condición: Fine. Stiff unmarked book in crisp covers with flaps; about new.; 8.8 X 0.8 X 10 inches; 124 pages.

Condición: New.

Hardcover. Condición: New; in shrink wrap. Illustrated boards with salmon/white lettering. No dust jacket, as issued. 110 pp., 62 color illustrations. Catalogue from the exhibition organized by the National Gallery of Canada and presented in Ottawa from 30 October 2015 to 15 February 2016. English and French text. "French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His series of water lilies, hay fields, cathedrals and many other masterpieces are loved and admired by everyone. For the first time, this volume explores a new aspect of Monet's paintings: his fascination with bridges in the 1870s. After settling in Argenteuil, a small town on the Paris outskirts, Monet became interested in a bridge over the Seine not far from his home, The Pont de bois of 1872. The book begins with this picture and examines how Monet was able to exploit the theme of the bridge between 1872 and 1877 after the Franco-Prussian War and beyond. Magnificently illustrated, the volume examines both how Monet set himself to be the leader of the avant-garde and the prime role that bridges represented in this context. Focused on Monet's main works, the catalog also examines Impressionists in a changing environment and the transformation of Paris and its periphery at the end of the nineteenth century." - from the publisher's web site.…

Hardcover. Condición: new. Hardcover. French painter Claude Monet (1840-1926) is one of the most popular artists of all time. His paintings of water lilies, haystacks, cathedrals, and much more are all celebrated and beloved. For the first time, this book explores a new aspect of Monet's work: his fascination, during the 1870s, with bridges. After moving to Argenteuil, a small town on the outskirts of Paris, Monet was drawn to the local footbridge near his house on the banks of the Seine. His painting of it, The Wooden Bridge, 1872, is a composition of startling modernity. The book begins with this work and explores Monet's use of the bridge motif from 1872 to 1877 in the aftermath of the Franco-Prussian war and beyond. Beautifully illustrated and published to accompany a major exhibition, the book explores how Monet sought to establish himself as a leader of the avant-garde and how his paintings of bridges played a pivotal role in this context. Focusing on twelve major paintings by Monet, the catalogue further examines the Impressionists' response to their ever-changing environment and the late nineteenth-century transformation of Paris and its suburbs. The publication consists of three sections featuring three essays followed by an illustrated chronology: Monet's use of the bridge as a testing ground for his innovative ideas, the role of photography, illustrations, and contemporary influences; the expansion of Paris and the urban cityscape; the role of Impressionism in the context of the Franco-Prussian war. Text in English and French. AUTHORS: Anabelle Kienle Ponka is Associate Curator, European and American Art, at the National Gallery of Canada. Simon Kelly is Curator of Modern and Contemporary Art at the Saint Louis Art Museum, Missouri. Richard Thomson is the Watson Gordon Professor of Fine Art at the University of Edinburgh. 62 colour images For the first time, this book explores a new aspect of Monet's work: his fascination, during the 1870s, with bridges. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: As New. Unread book in perfect condition.

Softcover. Condición: VG. Color-illustrated wraps with white lettering; French flaps. 124 pp. 28 color plates with 1 fold-out + many BW and color figures. Parallel text in English and French. Catalogue of an exhition held October 12, 2018-March 17, 2019 and in Halifax from April 12-September 2, 2019. …

Condición: New.

Condición: new. Livraison rapide, bien emballé, service client soigné.Pour tout renseignement complémentaire, n'hésitez pas à nous contacter.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Paperback. Condición: New. Winter Count draws inspiration from the Plains First Nations practices of recording significant events each winter, a visual reminder that helps structure histories and traditions passed down to future generations. This handsome volume explores how winter has long shaped Indigenous, Canadian settler, and northern European art, uniting different cultural perspectives through such diverse topics as storytelling, effects of light, physical adaptation, and community and isolation. Presenting a selection of works spanning from the early 19th century to the present day - including artists such as Kenojuak Ashevak, J.E.H. MacDonald, Claude Monet, Kent Monkman, Megan Musseau, and Jin-me Yoon - Winter Count features approximately 170 plates, along with illustrated essays by curators from the National Gallery of Canada. The result is a book that invites readers to see winter anew - not as a season to be endured, but as a source of invention, connection, and mutual respect across time and place.…

Soft cover. Condición: Fine. 1st Edition. pictorial paper covers, 124 pages : illustrations (some color. Catalogue of an exhibition held at the National Gallery of Canada, Ottawa, Ontario and at the Art Gallery of Nova Scotia, Halifax, Nova Scotia,Co-published by: National Gallery of Canada, Parallel texts in English and French. A year after the city was devastated by the Halifax Explosion, Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion. With the effects of the explosion still clearly visible, Gilman and Lismer turned their attention to the bustling harbour. Size: Folio - over 12 - 15" tall. Book. …