kiefer frederick (87 resultados)

Condición: Good. . . All orders guaranteed and ship within 24 hours. Before placing your order for please contact us for confirmation on the book's binding. Check out our other listings to add to your order for discounted shipping.

Soft cover. Condición: Good. 1st Edition. Binding has wear. 112 p., well illustrated with images from antiquarian tomes about luck and fortune, including the engraved title page of Sigismondo Fanti's "Triompho di Fortuna" (Venice, 1526) [B1:2:1].

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition.

Hardcover. Condición: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardbound. Condición: Very Good. Octavo, prined paper covered boards, xxxiv, 929 pp., bibliography Inscribed by the author on the free front endpaper.

Softcover. Condición: Very Good with no dust jacket. Sound binding. Pages clean, off-white. Wraps have light handling wear. ; Contents: Spiegel, Social change and literary language: the textualization of the past in thirteenth-century Old French historiography. Martin, A journeymen's Feast of Fools. Harrán, The concept of battle in music of the Renaissance. Adams, Ramus, illustrations, and the Puritan movement. Kiefer, The dance of the madmen in The Duchess of Malfi. Schwartz, Emblematic structures in Yver's Printemps. Prager, "If I be Devil": English Renaissance response to the proverbial and ecumenical Ethiopian. ; 9.25" tall; 150 pages.

Condición: As New. Unread book in perfect condition.

Condición: New.

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

Paperback. Condición: New. Palaces, villas and churches. These were the highlights of my first visit to Italy. I took a lot of photos and looked forward to sharing them with friends and family. Back home, though, I found that I didn't recall much about the places that impressed me. Although I had the benefit of a half-day guide in Rome, Florence and Venice, I sometimes had difficulty hearing what was said on crowded streets and busy interiors. The guides were capable but had only enough time to mention a few major features. As a rule, they skimped on actually describing buildings that intrigued me. And so they were not especially helpful in providing the insights I wanted. Upon my return, I found myself wondering: Where did the architects actually find their ideas? What did they want to accomplish? And what do their choices tell us about their time? My sojourn in Italy would have been more satisfying if I had come away with a fuller account of what I had seen. What I most needed was context. This book supplies that context.Contemplation of antiquity and the exchange of views among architects released a surge of intellectual energy not seen for a millennium, a development that would never have happened so quickly were it not for Johannes Gutenberg's invention of printing with movable type. This development, in turn, led to architects' heightened self-awareness of their collective enterprise. They read what their fellow architects wrote and thereby gained in sophistication. They were no longer merely masons. They became architects in the modern sense. They took pride in their achievements and shared a conviction that the visual culture they created was far superior to that of the previous thousand years.Their embrace of classical civilisation had a visceral urgency. Rome, after all, was a culture with a storied past, peopled by larger-than-life figures. To learn what the ancients had created in word or stone could supply a shortcut to wisdom. And emulating the Romans would provide new models of aesthetic excellence. This endeavour became known as the Renaissance, or rebirth. The Reformation, however, changed everything. Martin Luther brought to issue a quandary: How exactly was Christianity to be reconciled with the pagan past, if at all? Could one source of inspiration be sustained without compromising the other? Religious reform questioned the aesthetic achievements of the previous hundred years. The story of Renaissance architecture represents the effort to find an accommodation.

Paperback or Softback. Condición: New. Italy's Renaissance in Buildings and Gardens: A Personal Journey. Book.

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

Condición: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,800grams, ISBN:0874135958.

Paperback. Condición: New. Palaces, villas and churches. These were the highlights of my first visit to Italy. I took a lot of photos and looked forward to sharing them with friends and family. Back home, though, I found that I didn't recall much about the places that impressed me. Although I had the benefit of a half-day guide in Rome, Florence and Venice, I sometimes had difficulty hearing what was said on crowded streets and busy interiors. The guides were capable but had only enough time to mention a few major features. As a rule, they skimped on actually describing buildings that intrigued me. And so they were not especially helpful in providing the insights I wanted. Upon my return, I found myself wondering: Where did the architects actually find their ideas? What did they want to accomplish? And what do their choices tell us about their time? My sojourn in Italy would have been more satisfying if I had come away with a fuller account of what I had seen. What I most needed was context. This book supplies that context.Contemplation of antiquity and the exchange of views among architects released a surge of intellectual energy not seen for a millennium, a development that would never have happened so quickly were it not for Johannes Gutenberg's invention of printing with movable type. This development, in turn, led to architects' heightened self-awareness of their collective enterprise. They read what their fellow architects wrote and thereby gained in sophistication. They were no longer merely masons. They became architects in the modern sense. They took pride in their achievements and shared a conviction that the visual culture they created was far superior to that of the previous thousand years.Their embrace of classical civilisation had a visceral urgency. Rome, after all, was a culture with a storied past, peopled by larger-than-life figures. To learn what the ancients had created in word or stone could supply a shortcut to wisdom. And emulating the Romans would provide new models of aesthetic excellence. This endeavour became known as the Renaissance, or rebirth. The Reformation, however, changed everything. Martin Luther brought to issue a quandary: How exactly was Christianity to be reconciled with the pagan past, if at all? Could one source of inspiration be sustained without compromising the other? Religious reform questioned the aesthetic achievements of the previous hundred years. The story of Renaissance architecture represents the effort to find an accommodation.

Condición: New.

Condición: New. In.

Paperback. Condición: Acceptable. Kiefer, Anselm Ilustrador. Some edge wear, stains, bend injury to spine. Satisfaction 100% guaranteed.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Very Good. Very Good in Very Good unclipped dust jacket. Gently read. Previous owner's name is written on the FFEP or first blank page. NO markings in text. Binding is still tight. Pasadena's finest independent new and used bookstore.

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

Paperback. Condición: Brand New. 250 pages. 8.50x5.51x1.00 inches. In Stock.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:9782503529974.

First edition. 377 pages with index. Illustrated. Cloth. Fine in like dustjacket.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Good. 1st Edition. undamaged brown boards and spine, the latter lettered in gilt. Slightly soiled cream jacket creased along top edge with a 2 cm x 1 cm chip at rear; a 1 cm closed tear to top front edge and a 1.5 cm one to lower rear edge. Internally clean and unmarked. Size: 8vo - over 7¾" - 9¾" Tall Landscape Format.

Hardcover. Condición: New. Brand New Hardcover Book.

hardcover. Condición: New. 1st.

Paperback. Condición: New. Palaces, villas and churches. These were the highlights of my first visit to Italy. I took a lot of photos and looked forward to sharing them with friends and family. Back home, though, I found that I didn't recall much about the places that impressed me. Although I had the benefit of a half-day guide in Rome, Florence and Venice, I sometimes had difficulty hearing what was said on crowded streets and busy interiors. The guides were capable but had only enough time to mention a few major features. As a rule, they skimped on actually describing buildings that intrigued me. And so they were not especially helpful in providing the insights I wanted. Upon my return, I found myself wondering: Where did the architects actually find their ideas? What did they want to accomplish? And what do their choices tell us about their time? My sojourn in Italy would have been more satisfying if I had come away with a fuller account of what I had seen. What I most needed was context. This book supplies that context.Contemplation of antiquity and the exchange of views among architects released a surge of intellectual energy not seen for a millennium, a development that would never have happened so quickly were it not for Johannes Gutenberg's invention of printing with movable type. This development, in turn, led to architects' heightened self-awareness of their collective enterprise. They read what their fellow architects wrote and thereby gained in sophistication. They were no longer merely masons. They became architects in the modern sense. They took pride in their achievements and shared a conviction that the visual culture they created was far superior to that of the previous thousand years.Their embrace of classical civilisation had a visceral urgency. Rome, after all, was a culture with a storied past, peopled by larger-than-life figures. To learn what the ancients had created in word or stone could supply a shortcut to wisdom. And emulating the Romans would provide new models of aesthetic excellence. This endeavour became known as the Renaissance, or rebirth. The Reformation, however, changed everything. Martin Luther brought to issue a quandary: How exactly was Christianity to be reconciled with the pagan past, if at all? Could one source of inspiration be sustained without compromising the other? Religious reform questioned the aesthetic achievements of the previous hundred years. The story of Renaissance architecture represents the effort to find an accommodation.

Hard Cover. FIRST EDITION. Large octavo, pp. xi, [[3], 358. 40 monochrome figures within text. Publishers' black cloth with gilt titles to spine in unclipped pictorial dust-jacket. A clean bright copy with no annotation or inscriptions. Dust-jacket lightly spine sunned, with 1 cm closed tear to top edge of lower panel. Study of Shakespeare's visual culture and the personified characters created in his plays, with explanations of the symbolism of their costumes and props. Heavyweight so a contribution to increased postage costs will be requested for overseas delivery.

Condición: Sehr Gut. Zustandsbeschreibung: vordere Buchdeckelfläche punktuell stark beschädigt, sonst sehr gut. Edited by Frederick Kiefer. X,209 Seiten, gebunden (Arizona Studies in the Middle Ages and the Renaissance; Band 23/Brepols 2009). Statt EUR 68,90. Gewicht: 510 g - Gebunden/Gebundene Ausgabe.

Copertina rigida con sovracoperta, 358 pagine, copia molto ben conservata.