piotr krasny (25 resultados)

Condición: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: good. Fast Free Shipping â" Good condition. It may show normal signs of use, such as light writing, highlighting, or library markings, but all pages are intact and the book is fully readable. A solid, complete copy that's ready to enjoy.

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

Condición: good. Signs of wear and consistent use.

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

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

Hardcover. Condición: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Hardcover. Condición: Acceptable. reading copy only - damaged /worn /marked - may be ex-libris. Oversized.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. A nice, clean copy. Very light edge wear. ; Color Plates; 11.417322823 X 11.417322823 X 0.787401574 inches; 192 pages.

Pictorial Hardcover. Condición: Fine. Estado de la sobrecubierta: Near Fine. 1st Edition. First English Language Edition. Translated from the Polish by Wladyslaw Chlopick. A bright, clean, tight copy sans tears, stains, discoloration, etc. with all text and illustrations clear/unmarked. " The volume gives you an opportunity to capture the essence of Polish art, at the same time allowing you to trace the influence of trends in world art on the achievements of domestic artists." PROFUSELY ILLUSTRATED in full color photographic reproduction of Polish artworks with accompanying descriptive captions. 192 pages. LE1.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. 380pp hardback, red cloth gilt in wrapper, well illustrated in colour.

Cloth. Condición: Fine Condition. Estado de la sobrecubierta: Fine Condition. 378 pp., 197 illustrations 137 in full color. Dustjacket is protected with a mylar cover.

Pictorial Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. First Edition. Minimal wear to jacket. No tears. Book very clean. Binding tight. 192pp Size: 290mm x 285mm. Book.

Condición: New.

hardcover. Condición: New. 1st.

Gebundene Ausgabe. Condición: Befriedigend. 380 Seiten; Schutzumschlag mit Gebrauchsspuren, vordere Seite oberhalb leicht beschädigt, Artikel stammt aus Nichtraucherhaushalt! F5-149 Sprache: Englisch Gewicht in Gramm: 2359.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Good. 380pp. Red cloth-covered boards; gilt titles on spine; gold endpapers. Small Folio. Some very light mottling to boards. Internally neat, clean, bright and tight. Dust jacket has shelf wear, edges curling, light chipping to edges.

Hardback. Condición: New. An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the 'religion of reason' invented by the philosophes. A recurrent theme in the majority of statements in this discussion is a contention that religious images must not be perceived as 'portraits of God', but that they should be seen merely as 'separated signs', detached from their invisible prototype; signs that only remind the faithful about God.French writers favoured restraint in shaping paintings and sculptures, fearing that otherwise works of art might excessively fascinate viewers with their sophisticated appearance, or might too profoundly move the emotions of the faithful. Christianity was for these writers above all a religion of the Word, and they considered images merely as a pastoral aid intended for 'simpletons' who either could not read or were unable to grasp the teachings of the catechism or the message of simple homilies. So, these writers approached religious art with reservations. Yielding to the above theoretical assumptions, the makers of religious art in seventeenth-century France achieved a high level of workmanship, characterized by noble simplicity and purity, only to succumb to the banality of schematic solutions in the following century, as they were unwilling to exert themselves in a domain that was becoming increasingly disregarded by the elites.

216 S.,43 Abb. Gr 8° Kart. *neuwertig* The present book is an introduction to the dispute about religious art that had been conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace the dogmatic Christianity with the 'religion of reason' invented by the philosophes. A recurrent theme in the majority of statements in this discussion was a contention that religious images must not be perceived as 'portraits of God', but that they should be seen merely as a 'separated signs', detached from its invisible prototype; signs that only remind the faithful about God.

Hardcover. Condición: new. Hardcover. An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the religion of reason invented by the philosophes.A recurrent theme in the majority of statements in this discussion is a contention that religious images must not be perceived as portraits of God, but that they should be seen merely as separated signs, detached from their invisible prototype; signs that only remind the faithful about God.French writers favoured restraint in shaping paintings and sculptures, fearing that otherwise works of art might excessively fascinate viewers with their sophisticated appearance, or might too profoundly move the emotions of the faithful. Christianity was for these writers above all a religion of the Word, and they considered images merely as a pastoral aid intended for simpletons who either could not read or were unable to grasp the teachings of the catechism or the message of simple homilies. So, these writers approached religious art with reservations. Yielding to the above theoretical assumptions, the makers of religious art in seventeenth-century France achieved a high level of workmanship, characterized by noble simplicity and purity, only to succumb to the banality of schematic solutions in the following century, as they were unwilling to exert themselves in a domain that was becoming increasingly disregarded by the elites. An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the religion of reason invented by the philosophes. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. First Edition; First Printing. Near Fine in a Very Good dust jacket. 1 inch open tear at top of front flap fold. ; 4to - over 9¾" - 12" tall.

Condición: New. 2019. 1st Edition. hardcover. . . . . .

Fol. , gebundene Ausgabe, 271 Seiten, Das Buch ist in einem sehr guten Zustand. 9788380438743 pl Gewicht in Gramm: 2050.

Condición: New. 2019. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: new. Hardcover. An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the religion of reason invented by the philosophes.A recurrent theme in the majority of statements in this discussion is a contention that religious images must not be perceived as portraits of God, but that they should be seen merely as separated signs, detached from their invisible prototype; signs that only remind the faithful about God.French writers favoured restraint in shaping paintings and sculptures, fearing that otherwise works of art might excessively fascinate viewers with their sophisticated appearance, or might too profoundly move the emotions of the faithful. Christianity was for these writers above all a religion of the Word, and they considered images merely as a pastoral aid intended for simpletons who either could not read or were unable to grasp the teachings of the catechism or the message of simple homilies. So, these writers approached religious art with reservations. Yielding to the above theoretical assumptions, the makers of religious art in seventeenth-century France achieved a high level of workmanship, characterized by noble simplicity and purity, only to succumb to the banality of schematic solutions in the following century, as they were unwilling to exert themselves in a domain that was becoming increasingly disregarded by the elites. An introduction to the dispute about religious art conducted in France from the beginning of the sixteenth century until the end of the eighteenth century. The debate involved not only Catholic and Protestant theologians, but also lay writers who tried to replace dogmatic Christianity with the religion of reason invented by the philosophes. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.