Nathan vonk (11 resultados)

Condición: very_good. Cover may have light wear, pages in very good condition and binding is sturdy; may have other light shelf wear or creases. May have notes or highlighting.

Hardcover. Condición: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condición: As New. new with a small tear on the back on the dj - my shelf location bn2-a-26*.

Hardcover. Size: 9.75"x8.25" oblong, 200pp., 74 colour plates. As new, clean, tight & bright condition, with bright and crisp dust jacket.

Hardcover. First. Black cloth boards, brown illustrated dust jacket. 130 pp. Duotone plates. Published in conjuction with the August 2012 gallery exhibition entitled "Leon Dabo: Toutes Les Fleurs". Leon Dabo (1865-1960). VG+/VG(DJ has a spine label from a private collection).

Hardcover. Estado de la sobrecubierta: new in shrinkwrap. First edition. Small Square Folio (12 1/4"). 275 [1]pp. Original off-white cloth with color reproduction of Fischinger Blue Square Clusters laid to debossed square on cover, with black and debossed silver lettering on cover and spine. Blue endpaper. Space Spiral (Blue Space) on inside front cover. Color frontispiece, Flag 1. Featuring color reproductions of Fischinger's drawings, pastels, watercolors and drawings between 1929 and 1966. Homage to the filmmaker and artist Oskar Fischinger in conjunction with an exhibition at the Sullivan Goss Gallery in Santa Barbara, January 2 - February 23, 2026. The acknowledgments provide a detailed account of people and institutions involved in furthering and preserving the work of Oskar Fischinger, including icons like Orson Wells and Galka Scheyer, the Guggenheim Museum, the MOMA, the TATE Modern, to name a few, and the staff at Sullivan Goss in Santa Barbara, Nathan Vonk, Jeremy Tessmer, Susan Bush, and Lauren Wilson. Introductory quotes of renowned art critic Paul Karlstrom, "I fully recognize Fischinger as a significant California abstract artist. Reconciling his major areas of commitment, it occurs to me that one might say Oskar Fischinger was not, as the expression has it, "a jack of all trades," but a passionate master of one-or in his case, two," and gallerist Nathan Vonk, "The three passions that drove Fischinger's development were his continuing interest in visual music, recent scientific discoveries, and new age spirituality. the seeming convergence of these. fields of knowledge was something he found deeply exciting and motivating. Matter had become energy, energy formed waves, and waves were the medium of both visual and musical expression, which was, in turn, an expression of the human spirit," draw a picture of the environment of Oskar Fischinger's life and work. The book presents a fascinating and exhaustive view of Fischinger's work as a painter offering color reproductions of one hundred and twenty-one of his works. The bibliography, including Martina Dillmann's dissertation "Oskar Fischinger (1900 - 1967) The Painterly Work," an attempt to compose a catalog raisonnee of Fischinger's work, in conjunction with the Fischinger chronology, a list of collections with his work, and the descriptive plate index provide a invaluable tool for the study of the work of Oskar Fischinger, living through such turbulent currents as the Hitler regime in Germany, and the tantalizing world of the Hollywood film industry. Born in Gelnhausen, Germany, Fischinger (1900-1967) was educated as an engineer. He made a name for himself as an abstract animator and filmmaker decades before the appearance of computer graphics and music videos. He is best known for his film Motion Painting No. 1. A few highlights: In 1921, via theatre critic Bernhard Diebold, Fischinger met the German abstract film pioneer Walter Ruttmann, who later became the beneficiary of Fischinger's invention of the Wax Slicing Machine which synchronized a vertical slicer with a movie camera shutter. Fischinger later licensed the invention to Ruttmann who used it to make backgrounds for Lotte Reiniger's animated fairy tale film "The Adventures of Prince Achmed." In 1929 Fischinger created the special effects for Fritz Lang's "Woman in the Moon." The disdain for abstract art by the Hitler regime prompted Fischinger to work in advertisement. Among other films, his probably best known 1934 abstract animation commercial is "Muratti greift ein ." This and Fischinger's "Komposition in Blue" were shown to Ernst Lubitsch by an American agent in 1936 and prompted Lubitsch to offer Fischinger to work in Hollywood. In 1934, two years before his move to Hollywood, Fischinger painted 271 "frames," tempera on paper, for his 4-minute abstract animation film "Squares," each of them artworks in themselves, prefiguring his own film "Radio Dynamics" and the famous balancing squares of Josef Albers. After his move to the United States in 1936 he worked, in collaboration with effects animator Cy Young, on Disney's "Fantasia" in 1938. Constraints imposed on Fischinger's work in various projects in the Hollywood movie industry prompted him to focus more and more on his painting. It is estimated that Fischinger finished approximately 800 paintings between 1929 and 1966. New in shrinkwrap. Fine in publisher's shrink wrap.…

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardcover. Estado de la sobrecubierta: New in its clamshell box. First edition. Small Square Folio (12 1/4"). 275 [1]pp. Original off-white cloth with color reproduction of Fischinger Blue Square Clusters laid to debossed square on cover, with black and debossed silver lettering on cover and spine. Housed in original shipping box with Fischinger image in color designed by Sullivan Goss Gallery, Santa Barbara. Blue endpaper. Space Spiral (Blue Space) on inside front cover. Color frontispiece, Flag 1. Featuring color reproductions of Fischinger's drawings, pastels, watercolors and drawings between 1929 and 1966. Homage to the filmmaker and artist Oskar Fischinger in conjunction with an exhibition at the Sullivan Goss Gallery in Santa Barbara, January 2 - February 23, 2026. The acknowledgments provide a detailed account of people and institutions involved in furthering and preserving the work of Oskar Fischinger, including icons like Orson Wells and Galka Scheyer, the Guggenheim Museum, the MOMA, the TATE Modern, to name a few, and the staff at Sullivan Goss in Santa Barbara, Nathan Vonk, Jeremy Tessmer, Susan Bush, and Lauren Wilson. Introductory quotes of renowned art critic Paul Karlstrom, "I fully recognize Fischinger as a significant California abstract artist. Reconciling his major areas of commitment, it occurs to me that one might say Oskar Fischinger was not, as the expression has it, "a jack of all trades," but a passionate master of one-or in his case, two," and gallerist Nathan Vonk, "The three passions that drove Fischinger's development were his continuing interest in visual music, recent scientific discoveries, and new age spirituality. the seeming convergence of these. fields of knowledge was something he found deeply exciting and motivating. Matter had become energy, energy formed waves, and waves were the medium of both visual and musical expression, which was, in turn, an expression of the human spirit," draw a picture of the environment of Oskar Fischinger's life and work. The book presents a fascinating and exhaustive view of Fischinger's work as a painter offering color reproductions of one hundred and twenty-one of his works. The bibliography, including Martina Dillmann's dissertation "Oskar Fischinger (1900 - 1967) The Painterly Work," an attempt to compose a catalog raisonnee of Fischinger's work, in conjunction with the Fischinger chronology, a list of collections with his work, and the descriptive plate index provide a invaluable tool for the study of the work of Oskar Fischinger, living through such turbulent currents as the Hitler regime in Germany, and the tantalizing world of the Hollywood film industry. Born in Gelnhausen, Germany, Fischinger (1900-1967) was educated as an engineer. He made a name for himself as an abstract animator and filmmaker decades before the appearance of computer graphics and music videos. He is best known for his film Motion Painting No. 1. A few highlights: In 1921, via theatre critic Bernhard Diebold, Fischinger met the German abstract film pioneer Walter Ruttmann, who later became the beneficiary of Fischinger's invention of the Wax Slicing Machine which synchronized a vertical slicer with a movie camera shutter. Fischinger later licensed the invention to Ruttmann who used it to make backgrounds for Lotte Reiniger's animated fairy tale film "The Adventures of Prince Achmed." In 1929 Fischinger created the special effects for Fritz Lang's "Woman in the Moon." The disdain for abstract art by the Hitler regime prompted Fischinger to work in advertisement. Among other films, his probably best known 1934 abstract animation commercial is "Muratti greift ein ." This and Fischinger's "Komposition in Blue" were shown to Ernst Lubitsch by an American agent in 1936 and prompted Lubitsch to offer Fischinger to work in Hollywood. In 1934, two years before his move to Hollywood, Fischinger painted 271 "frames," tempera on paper, for his 4-minute abstract animation film "Squares," each of them artworks in themselves, prefiguring his own film "Radio Dynamics" and the famous balancing squares of Josef Albers. After his move to the United States in 1936 he worked, in collaboration with effects animator Cy Young, on Disney's "Fantasia" in 1938. Constraints imposed on Fischinger's work in various projects in the Hollywood movie industry prompted him to focus more & more on painting. It's estimated that Fischinger finished approximately 800 paintings between 1929 and 1966. New in its clamshell box. Fine in publisher's shrink wrap. …