Jennifer raab (190 resultados)

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. Joy Raab (ilustrador).

hardcover. Condición: Good.

Condición: very_good.

Condición: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: New.

Paperback. Condición: NEW. 1st. x, 179 pages, illustrations (some colour), facsimiles; 28 cm. Catalogue of an exhibition of the same name held at Thomas Cole National Historic Site in Catskill, New York from May 1 to November 4, 2018. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. OVERSIZE! Additional shipping charges may be requested for international & priority orders. *** "Landscape art in the early 19th century was guided by two rival concepts: the picturesque, which emphasized touristic pleasures and visual delight, and the sublime, an aesthetic category rooted in notions of fear and danger. British artists including J.M.W. Turner and John Constable raised landscape painting to new heights and their work reached global audiences through the circulation of engravings. Thomas Cole, born in England, emigrated to the United States in 1818, and first absorbed the picturesque and sublime through print media. Cole transformed British and continental European traditions to create a distinctive American form of landscape painting. The authors here explore the role of prints as agents of artistic transmission and look closely at how Cole's own creative process was driven by works on paper such as drawings, notebooks, letters, and manuscripts. Also considered is the importance of the parallel works of William Guy Wall, best known for his pioneering Hudson River Portfolio. Beautifully illustrated with works on paper ranging from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, as well as notable paintings, this book offers important insights into Cole's formulation of a profound new category in art--the American sublime." - Publisher. *** CONTENTS: An Inheritance in Print: Thomas Cole and the Aesthetics of Landscape, by Tim Barringer and Jennifer Raab; Working Papers: Thomas Cole's Early Drawings and Notebooks, by Nicholas Robbins; Idyllic and Industrial Visions: Thomas Cole, William Guy Wall, and the Hudson River, by Sophie Lynfold, by Catalogue, by Origins, by Picturesque, by Sublime, by Trans-Atlantic Inheritance. Size: 4to. Collectible. …

Hardcover. Condición: Fair. No Dust Jacket. This book is a study, reference, or reading copy only. Missing dust jacket : The book has some shelfwear, edge wear, corner wear; several beverage ring water stains to wraps, so not an attractive copy. Inside pages have no writing.; 12 x 10 x 3 inches; 288 pages.…

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

Condición: as new. Wie neu/Like new.

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

Condición: As New. Unread book in perfect condition.

Paperback. Condición: As New. Color pictorial glued wraps.x, 179 pp., profusely illustrated with over 100 color and bw images. Catalogue of an exhibition of the same name held at Thomas Cole National Historic Site in Catskill, New York from May 1 to November 4, 2018. Although the catalogue only lists 31 amply-annotated works, there is a very lengthy and well-illustrated essay which precedes the catalogue. A significant addition to the literature on Cole and his influences and influence. "Landscape art in the early 19th century was guided by two rival concepts: the picturesque, which emphasized touristic pleasures and visual delight, and the sublime, an aesthetic category rooted in notions of fear and danger. British artists including J.M.W. Turner and John Constable raised landscape painting to new heights and their work reached global audiences through the circulation of engravings. Thomas Cole, born in England, emigrated to the United States in 1818, and first absorbed the picturesque and sublime through print media. Cole transformed British and continental European traditions to create a distinctive American form of landscape painting. The authors here explore the role of prints as agents of artistic transmission and look closely at how Cole's own creative process was driven by works on paper such as drawings, notebooks, letters, and manuscripts. Also considered is the importance of the parallel works of William Guy Wall, best known for his pioneering Hudson River Portfolio. Beautifully illustrated with works on paper ranging from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, as well as notable paintings, this book offers important insights into Cole's formulation of a profound new category in art--the American sublime." -- Publisher's description.…

hardcover. Condición: New.

Condición: Brand New. 200 pages. 6.30x0.59x9.45 inches. In Stock.

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Paperback. Condición: New. Landscape art in the early 19th century was guided by two rival concepts: the picturesque, which emphasized touristic pleasures and visual delight, and the sublime, an aesthetic category rooted in notions of fear and danger. British artists including J.M.W. Turner and John Constable raised landscape painting to new heights and their work reached global audiences through the circulation of engravings. Thomas Cole, born in England, emigrated to the United States in 1818, and first absorbed the picturesque and sublime through print media. Cole transformed British and continental European traditions to create a distinctive American form of landscape painting. The authors here explore the role of prints as agents of artistic transmission and look closely at how Cole's own creative process was driven by works on paper such as drawings, notebooks, letters, and manuscripts. Also considered is the importance of the parallel works of William Guy Wall, best known for his pioneering Hudson River Portfolio. Beautifully illustrated with works on paper ranging from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, as well as notable paintings, this book offers important insights into Cole's formulation of a profound new category in art-the American sublime.Published in association with the Thomas Cole National Historic SiteExhibition Schedule:Thomas Cole National Historic Site (05/01/18-11/04/18).…

Condición: New. pp. 192.

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Hardback. Condición: Good. On the two-hundredth anniversary of Frederic Edwin Church?s birth, leading scholars explore how his wide-ranging work continues to resonate in today?s world The work of Frederic Edwin Church (1826?1900), renowned American landscape painter, was indelibly shaped by global travel. Church?s art was defined by place: early trips took him to South America, across the northeastern United States, and to the Arctic; later he visited the Caribbean, Europe, and the Middle East; in his final decades, he spent long sojourns in Mexico. Intimate drawings and oil sketches executed on-site illuminate his encounters with new environments and cultures. Large, extravagantly detailed paintings produced for public exhibition made him internationally famous. The designed landscapes, extensive collections, and striking architecture of his home, Olana, in the Hudson Valley, reflect the many worlds through which he traveled. In Frederic Church: Global Artist, original essays by scholars from across the humanities reveal Church as an artist enmeshed in the economic and territorial expansionism of the nineteenth century. Church?s works engage with questions of industrialization and environmental destruction, the rise and fall of empires, the construction of national identity, and the cataclysmic effects of slavery and civil war. This lavishly illustrated volume examines the artist in his time and demonstrates his continuing relevance in our own. Published in association with the Olana Partnership Exhibition Schedule: Olana NY State Historic Site(May 17?October 25, 2026).…

1st edn. Tall 8vo. Original brown cloth, dustwrapper (Fine in publisher's unopened shrinkwrap). Pp. 224, illus throghout (no inscriptions).