turske veith (15 resultados)

8°, Broschur, 68 S., 1 Bl. Zustand: Gut, Einband berieben, viele s/w Bilder, Anstreichungen 600 gr.

Paperback. Condición: Very Good. Oblong Qto., 32 pages, illustrated in colour. There are several, small art gallery ink stamps on the inside of the covers, not obtrusive. German and English text. Book.

(82)pp. Prof. illus. Lrg. oblong 4to. Wraps.

Condición: Sehr gut. Faksimileausgabe. 166 Seiten sehr gutes Exemplar, Nummer 123 von 1200 nummerierten Exemplaren. Faksimileausgabe der 1914 in Lausanne erschienenen Erstausgabe. Französischsprachige Ausgabe, Einleitung zusätzlich in Deutsch und Englisch. Aufgrund meiner Knie-OP versende ich vorübergehend nur dienstags & freitags. Danke für eure Verständnis Sprache: Französisch Gewicht in Gramm: 855 Original-Leinenband mit transparentem Schutzumschlag im Original-Pappschuber.

Leinen, OU. Condición: Gut. 183 unpag. Seiten Buch in guten Zustand; nummer. Exemplar 708; im Pappschuber; mit deutschen und englischen Vorwort Sprache: Französisch Gewicht in Gramm: 662.

Soft cover. Condición: Very Good. oblong 4to. unpaginated. German, French & English text. profusely illus. in b/w. Loosely laid in wrappers. Limited to 2,000 printed copies.

Illustr. Karton - Broschur. Condición: Guter Zustand. Estado de la sobrecubierta: Kein Schutzumschlag. ohne Seitenzählung mit vielen, teils farbigen Abbildungen; Buch mit leichten Gebrauchsspuren - sonst gutes Exemplar; 1,3 kg Versandgewicht = 5 Euro Versandkosten für Deutschland;

0. 8°, quer nicht paginiert, illustr. brosch. Einband leicht gebräunt und bestossen, kleiner Aufkleber innen. Sprache: Deutschutsch 0,480 gr.

Brosch. Gr.8°, o. P.: Frontispiz, 21 Bl., tlw. farbige Abb. (tlw. auf Tafeln). Rücken mit 2 Knickspuren unten, sonst tadellos. EA. Mit einer Einleitung von Veith Turske (dt., engl. und frz.) und einem Text von Dieter Ronte (dt. und engl.); im Anhang Bio- und Bibliografie sowie Ausstellungsverzeichnisse.

Condición: Gut. 39 Seiten zzgl. Anhang kleine Lagerspuren, innen sauber und ordentlich. Q53 Sprache: Deutsch Gewicht in Gramm: 400.

Condición: Gut. ca, 39 Seiten zzgl. Anhang kleine Lagerspuren, innen sauber und ordentlich. Q52 Sprache: Deutsch Gewicht in Gramm: 400.

Bilingualedition: German / English. 23,5 cm x 22,5 cm. 268 Seiten. Mit 79 Illustrationen [268 pages with 79 Illustrations]. Original Softcover. Sehr guter Zustand mit nur geringen Gebrauchsspuren / Excellent condition with only very minor signs of wear. Louis Soutter von Michel Thévoz / Barbara Catoir - Louis Soutter und die zeitgenössische Kunst etc etc. Louis Soutter (* 4. Juni 1871 in Morges; 20. Februar 1942 in Ballaigues; eigentlich Louis-Adolphe Soutter) war ein Schweizer Maler, Cousin des Architekten Le Corbusier. Er zählt zu den wichtigen Vertretern der Art Brut. (Wikipedia). Louis Adolphe Soutter (4 June 1871 20 February 1942) was a Swiss painter and graphic artist in the Art Brut style, who produced most of his work while under care in a hospice. He also worked as a musician, playing the violin. Soutter was born in Morges. His father was a pharmacist and his mother was a singing teacher at a women's academy. His brother, Albert, and sister, Jeanne-Louise became musicians. The architect, Le Corbusier, was a cousin on his mother's side. He initially studied engineering at the University of Lausanne, then left to study architecture in Geneva with Louis Viollier (18521931). The musical atmosphere of his home eventually had its influence, however and, in 1892, he decided on a career in music. Accordingly, he moved to Brussels where he became a student of the violinist, Eugène Ysaÿe, at the Royal Conservatory. While there, he became enamored of one of Ysaÿe's other students; a young American named Madge Fursman (18701965). Shortly after, they became engaged. In 1895, he suddenly interrupted his musical studies, returned to Lausanne, and began to study painting. Later, he worked in Geneva in the studios of the landscape painter Léon Gaud (18441908). After that, he went to Paris and took positions in the studios of Jean-Paul Laurens and Jean-Joseph Benjamin-Constant at the Académie Colarossi. He also met Artus van Briggle, a ceramicist from America, who was planning to start a business in Colorado Springs, where Fursman was from. Van Briggle told Soutter about a new college there, with a fine arts program, and suggested there might be an opportunity to create a department of painting and drawing. He left for the United States at the beginning of 1897. Originally he had planned to open an interior architecture studio in New York, but health problems proved to be an obstacle. He spent the next three months in Chicago, happily planning his next move. He went on to Colorado Springs, where he married Madge in July of 1897. For a time, they lived with her parents, then found an apartment at a residential hotel. He opened a studio and, by 1898, was head of the Fine Arts Department at Colorado College. He would often take his students into the countryside to paint. The next few years passed uneventfully; then, in 1903, Madge sued for divorce; charging physical and mental cruelty, which may have simply been made up, due to the strict divorce laws at the time. She did not ask for support of any kind. He did not contest her action, resigned from the College and, according to The Gazette-Telegraph, had left for Paris with no intention of returning. He was succeeded at the College by Van Briggle, who had by then established his pottery manufactory. He did spend several months in Paris, then went to Morges, where his physical and mental health declined. He would often complain about Madge to his friends and relatives, claiming that she was authoritarian and exploitative.In 1906, a friend of one of his uncles, who was head of the Sonnenfels Clinic in Spiez, invited him there to work as the gardener. By 1907, he was feeling sufficiently improved to embark on a musical career. He obtained a position in the first violin section of the Orchestre du Théâtre de Genève (now the Orchestre de la Suisse Romande), but left after an "artistic disagreement". The following year, he was engaged by the Orchestre Symphonique de Lausanne and, in 1915, by the Orchestre de Genève. Problems persisted, however, and by 1918 he was playing in small ensembles at tea rooms and tourist resorts. During this time, he gained a reputation for "madness" and was always melancholy. He was in several groups throughout Switzerland until 1922, when he went back to Morges to stay. There, he lived off his brother, who had to support the habit for wearing fancy clothes he had picked up in America, and his drinking. Eventually, he was placed under guardianship and sent to a nursing home in Gros-de-Vaud. In 1923, at the age of fifty-two, he was placed in what would now be called a hospice, for elderly men, in Ballaigues. He was not confined there, and often went for long walks in the countryside or to visit his relatives. Despite this freedom, he was unhappy there and generally disliked. He remained there until his death. During the early part of his stay there, he made sketches with pen and pencil in small school notebooks and practiced music in the chapel; sometimes giving lessons. His cousin, Le Corbusier, who had discovered him there in 1927, was impressed with what he saw and helped him acquire better materials for his artwork. By 1937, his hands were crippled with osteoarthritis and he began to use his fingers; dipping them directly into the ink or paint. Meanwhile, Le Corbusier was gathering his works. Through his efforts, exhibitions were held in Hartford (1936), Lausanne (1937) and New York (1939). Soutter's new-found approach, applying ink directly to paper with his fingers, eventually led Le Corbusier to shun the artist, being 'the antithesis to Le Corbusier's architectural emphasis on order.' Soutter died in Ballaigues in 1942, weakened by his repeated refusal to eat, at the age of seventy-one, and was buried by the hospice. His friends and family only learned of his death by reading the obituary in the newspaper. Hermann Hesse wrote a poem about him. In 2008, a square was named after him in his hometown. (Wikipedia) Sprac.

Erste Auflage. 22,5 x 23 cm. Unpaginiert. Ca. 50 Seiten. Softcover/ Kartoniert. Sehr guter Zustand mit minimalen Gebrauchsspuren. Ein Teil des Textblockes ist vom Rücken getrennt. Enthält ein Vorwort von Veith Turske in Deutsch, Englisch und Französisch, den Bericht "Besuch bei James Ensor" von Werner Schmalenbach in Deutsch und Englisch, sowie 25 Arbeiten von James Ensor. Sprache: mehrsprachig.

Zürich, Knoedler (1981). 23 : 22,5 cm bzw. 23 : 16,5 cm. Ca. 250 S. mit 93 ganzseit. teils farb. Abb. + (14),166,(2) S. teils farb. Faksimile. Orig.-Broschur. Zus. in 1 Orig.-Schuber. "Faksimileband auf Vorsatz mit mont., gedrucktem Widmungsblatt von Veith Turske für "Herrn und Frau Curt Burgauer" anlässlich der Eröffnung der Ausstellung. - DABEI: Exposition Louis Soutter (1871 - 1942) un ensemble inédit d'oeuvres maîtresses provenat d'une collection privée des USA. Dessins de la période "maniériste". Planches "au doigt" encre et couleurs. Lausanne, Galerie Alice Pauli, 1968. 16 S. mit 8 Abb. lllustr. OKt. " Sprache: fr, de, en.

Köln, Galerie Veith Turske, 1974 - 1976/77. 23,3 : 33,5 cm. 18 Bl., 21 Bl., 17 Bl., 9 Bl., 16 Bl., 23 Bl., 14 Bl., 16 Bl., 42 Bl. + Orig.-Umschläge. Jeweils mit zahlr. teils farb. Abb. In Orig.-Ringordner mit starken Kartondecken mit Metallecken und schwarzem Leinenrücken mit violettem Aufdruck des Galerienamens. Schönes Exemplar. - Gewicht: 2570 Gr. Sprache: de.