puttfarken thomas (46 resultados)

Soft cover. Condición: Very Good. From the Library of John Russell Taylor.

Soft cover. Condición: Good. Image shows actual book for sale. Book Condition: Good; firm binding; contents good; a little wear at head of spine. Soft Cover Hamburger Kunsthalle 1969 Art.

Soft cover. Condición: Very Good. Image shows actual book for sale. Book Condition: Very Good; firm binding; contents very good; minimal wear. Soft Cover Hamburger Kunsthalle 1969 Art.

Paperback. Condición: Good. No jacket. Jardine Press, 2006. Paperback, ob8vo, 58pp, illust. A good copy. 095520352X/0.2uk.

Taschenbuch. Condición: Gut. 1. Aufl. 188 S. B313-207 9783499501531 Sprache: Deutsch Gewicht in Gramm: 454.

paperback. Condición: Wie neu. ****** mediafritze® | wir können günstig! | Schneller Versand! | Beste Qualität, -Hand geprüft! | Unsere Produkte haben keine Klebeetiketten! | Sie bekommen immer, was Sie auf unseren Fotos sehen! | Ihre Rechnung, mit aktuell gesetzlicher MwSt., wird Ihnen sofort nach erfolgreichem Checkout bereitgestellt! ****** mediafritze® | we can do cheap! | Fast shipping! | Best quality, hand checked! | Our products have no adhesive labels! | You always get what you see on our photos! | Your invoice, with current VAT, will be provided to you immediately after successful checkout! Sprache: Deutsch Gewicht in Gramm: 140.

Paperback. Condición: Used; Very Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Softcover/Paperback. Condición: Sehr gut. 83 Seiten mit 68 z.T. farbigen Tafeln Bucheinband minimal berieben. Sonst kaum Lese- und Lagerspuren. Ein sehr gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 700.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st edition. 1st edition, 2005. A Very Good copy in a Very Good dust jacket. Small 4to., 240 pp., bound in publishers black cloth with illustrated glossy dust jacket. Signs of shelf wear to jacket. Some small pencil checkmarks in margins, otherwise text appears unmarked. Dust jacket now protected in mylar sleeve.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st edition. 1st edition thus, 2000. A Very Good book in a Very Good dust jacket. 4to., 332 pp., bound in publishers green cloth with full color illustrated glossy dust jacket. Minor signs of shelf wear to jacket; minor soiling to text edges. Text appears unmarked. Dust jacket now protected in mylar sleeve.

Softcover/Großformat. Condición: Gut. 83 Seiten, 68 Tafeln Das hier angebotene Buch stammt aus einer teilaufgelösten Bibliothek und kann die entsprechenden Kennzeichnungen aufweisen (Rückenschild, Instituts-Stempel.); der Buchzustand ist ansonsten ordentlich und dem Alter entsprechend gut. Sprache: Deutsch Gewicht in Gramm: 680.

Soft cover. Condición: Very Good. Roderic Barrett Ilustrador. Large oblong 4to. Publisher's original pictorial covers. 216pp. Unread condition.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Title: Roger De Piles' Theory of Art - Thomas Puttfarken (Yale University Press, 1986) Description: New Haven: Yale University Press, 1986. First edition hardback, octavo, 148 pp., black cloth boards with dust jacket. Scholarly study of the French critic Roger de Piles (1635-1709), focusing on his ideas on colour, composition, and painterly judgement, and on his role in the debate between drawing and colour in French art theory. Condition: Very good in very good dust jacket. Clean solid copy with light shelfwear only, boards sharp, jacket bright with minor edge rubbing, interior clean, binding tight.?.

Hardcover. Octavo, xii, 144 pages. In Fair plus condition with a Good plus dust jacket. Spine is cream with black print. Dust jacket has peripheral toning. Boards in green cloth. Text block has underlining and marginal notation in ink. Illustrated: b&w plates. NOTE: Shelved in Netdesk Column W. 1404519. FP New Rockville Stock.

SOFTCOVER. Condición: Fine. 1st Edition. Artists book. Square 4to in stiff glossy card covers, unpaginated, approx. 32pp on glossy art paper, colour plates, etc. . [CONDITION: A well preserved almost AS NEW unmarked copy (merest hint of tanning to covers). Uncommon ] . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Hardcover. Condición: Fair. Estado de la sobrecubierta: Good. A Fair copy in a Good dust wrapper of a former library copy of a title in which "Late in his life Titian created a series of paintings - the 'Four Sinners', the 'poesie' for his patron Philip II of Spain, and the 'Final Tragedies' - that were dark in tone and content, full of pathos and physical suffering." "In this major reinterpretation of Titian's art, Thomas Puttfarken shows that the often dramatic and violent subject matter of these works was not, as is often argued, the consequence of the artist's increasing age and sense of isolation and tragedy. Rather, these paintings were influenced by discussions of Aristotle's Poetics that permeated learned discourse in Italy in the mid-sixteenth century." Dust wrapper is housed in a Mylar jacket. Inside flaps of Mylar jacket are taped to black boards. Black boards have crisp gilt lettering. Wear and library stamps in black ink to page edgings on all sides. Rear red flyleaf has been torn out along the spine leaving a small part still attached. Small white label with library stamp in black ink remains on front flyleaf. Library spine label remains attached to the dust wrapper at base of spine. Wear to Mylar jacket with scratching. Small pencil mark on Verso. Library stamp in black ink to multiple pages. Lavishly illustrated. "Contents: Acknowledgements; Introduction; On the status of painting in the Renaissance: Painting, poetry and the liberal arts; Imitation, moral purpose and learning; Tragedy; Titian and tragedy: The four great sinners; Michelangelo and Titian: terribilita? and tragic pathos; Titian's mythological paintings: problems of interpretation; Titian's poesie for Philip II as painted tragedies; The final tragedies and Titian's 'late style'; Notes; Bibliography; Index; Photograph Credits""Description: vi, 240 pages : illustrations (some color) ; 27 cm.".

Hardcover. Condición: Very Good. No Jacket. 1st Edition. 144 pages including an index. Illustrated with plates. In Very Good condition. Some very small notations, mostly in pencil. Back of the jacket shows light moisture to the top. Back board shows the faintest of discoloration. No warpage or other blemishes. A clean, tight book in a dust jacket that is now protected in an archival Brodart. We pack all our books with care and ship in cardboard boxes. We accept all major credit cards and paypal. Additional photos emailed upon request.

Printed Black Boards. Condición: Very Good. No Jacket. "In der Zeit vom 30. August bis zum 19. Oktober 1969 fand anlasslich der Jahrhundertfeier der Hamburger Kunsthalle eine einzigartige Austellung unter dem Titel "Meister Francke und die Kunst um 1400" statt. Mit dem Katalog uber diese grossartige Sammlung von Kunstwerken hoffen wir, Ihnen eine Freude zu bereiten." Contributors are Alfred Hentzen (Vorwort); Jurgen Bolland (Hamburg um 1400); Hans Werner Grohn (Meister Francke Urkunden und Meinungen); Otto Pacht (Meister Francke - Probleme); Peter Streider (Das Fragment der Mitteltafel des Thomas-Altars von Meister Francke); Paul Pieper (Meister Francke und die niederdeutsche Kunst); and L. M. J. Delaisse (Das Problem der regionalen Stile in nordlichen Europa um 1400). 82 pages of text with Verzeichnis der ausgestellten Werke, Ausgewahlte Literatur zu Meister Francke, and Nachweis der Bildvorlagen; plus 68 plates, many in color. Covers are slightly bumped at lower leading corners, and cover printing has faded, covers otherwise sound; rfEP has been clipped at upper leading corner; text is strong and clean, though browning at edges.

68 sehr gute Bildtafeln, 83 Textseiten, Zustand: sehr gutes Exemplar, minimale Gebrauchsspuren. Beilage: Anleitung für den Betrachter der Ausstellung. Sprache: Deutsch Gewicht in Gramm: 1100 29,0 x 23,0 cm, Broschiert, Softcover/Paperback.

Erstausgabe, 4°, 83 S. mit s/w-Abbildungen und 68 Tafelseiten mit s/w- und Farbabbildungen, original Kartonage (Paperback) mit am Buchrücken montiertem original Schutzumschlag, Schutzumschlag minimal berieben, Schutzumschlag oben rechts am Vorderdeckel mit kleiner Notiz, Schutzumschlag am Rückdeckel mit Fleck, sonst schönes, sauberes Exemplar mit dem Corrigendum-Zettel. Katalog der Ausstellung zur Jahrhundert-Feier der Hamburger Kunsthalle. Abholung im Ladengeschäft in Frankfurt am Main (Nordend ggü. Musterschule) möglich. Das spart die Portokosten. Pickup at the store in Frankfurt am Main (Nordend, close to Musterschule) is possible. It saves the shipping costs.

Taschenbuch. Condición: Gut. 1. Aufl. 188 S. Sprache: Deutsch Gewicht in Gramm: 454.

hardcover. Condición: Acceptable. Please see the condition note after this for details, if this is missing please consider Acceptable to mean poor quality that could include major staining, water damage, writing, missing dustjacket, etc etc. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. 1st Edition. xii, 144 pp; 24 illus. Original cloth. Near Fine, in near fine dust jacket.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. 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,1450grams, ISBN:0300081561.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. 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,1450grams, ISBN:0300081561.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Contents: 1: Rudimenta -- Easel painting and pictorial order -- 2: Why the Renaissance did not talk about pictorial composition -- Alberti and the composition of bodies -- Perspective and composition I -- Figure and ground -- Scale and presence -- In search of the whole and its harmonies -- 3: The discovery of pictorial composition in France -- Borghini, van Mander and Junius: northern approaches to pictorial composition -- Poussin's thoughts on invention and disposition -- The beginnings of the French theory of painting: public discourse and the image in the mind -- Perspective and composition II -- Du Fresnoy and de Pile's De arte graphica: a primer in pictorial composition -- The rule of the Tableau and its losses. viii, 332 pages : illustrations (some color) ; 27 cm. First edition, first printing. Dark green boards, unclipped dust jacket (now in a removable protective sleeve). Slight shelf wear to edges, gift inscription on half-title page from author 'For Jane and David, with much love, Thomas and Elly 17 June 2000', tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging. Signed by Author(s).

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First printing. 4to. 332 pp. Fine in Fine dust jacket.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Contents: 1: Rudimenta -- Easel painting and pictorial order -- 2: Why the Renaissance did not talk about pictorial composition -- Alberti and the composition of bodies -- Perspective and composition I -- Figure and ground -- Scale and presence -- In search of the whole and its harmonies -- 3: The discovery of pictorial composition in France -- Borghini, van Mander and Junius: northern approaches to pictorial composition -- Poussin's thoughts on invention and disposition -- The beginnings of the French theory of painting: public discourse and the image in the mind -- Perspective and composition II -- Du Fresnoy and de Pile's De arte graphica: a primer in pictorial composition -- The rule of the Tableau and its losses. viii, 332 pages : illustrations (some color) ; 27 cm. First edition, first printing. Dark green boards, unclipped dust jacket. Slight shelf wear to edges, no inscriptions, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging.

Hardcover. Condición: New.

Hardcover. Condición: New. Estado de la sobrecubierta: New. 326 pp., 27 x 21 cm. color illustrations. Brand new copy. No bumps or marks.In this illuminating book, art historian Thomas Puttfarken examines how pictorial composition and attitudes toward it changed between the early Renaissance and the beginning of the nineteenth century. Before 1600, a painting's overall composition was hardly ever discussed. As far as art theory and criticism were concerned, pictorial composition was a "discovery" of the seventeenth century, the author explains. In the first part of the book, Puttfarken investigates why pictorial composition did not figure in earlier accounts of the art. In Italy artists and patrons focused on large-scale wall paintings or altarpieces and on the presentation of life-size saints or protagonists whose physical proportions and interactions in narratives were considered more important than notions of overall effect or pictorial format. The second part of the book discusses the discovery of composition and its consequences for both the theory and practice of painting, understood as the production of tableaux, or easel pictures. Puttfarken considers the effects on paintings of size, location, perspective, and relief, the relationship between ground and figures and between image and frame, and the different traditions defining Italian and Northern art. For readers with an interest in the theory and history of European art, this book is full of rich insights and fresh analyses.