Wilmerding john edited by (6 resultados)

paperback. Condición: very good. 333 pages; 8 1/2 x 11 1/2" Published in conjunction with the exhibition "William M. Harnett". Inked out sticker on spine with clear tape over it and reinforcing spine; bookplate on inside front cover. Shipping will be extra for this heavy book, please inquire.

PAPERBACK. Condición: VG. LARGE PAPERBACK FORMAT.

Wrappers. Condición: Fine Condition. 333 pp., 223 illustrations 52 in full color. Paperback exhibition catalogue. Text in English. Published on the occasion of the exhibition from The Metropolitan Museum of Art, New York NY March 14-June 14, 1992, The Amon Carter Museum, Fort Worth TX July 18-October 18, 1992, The Fine Arts Museums of San Francisco, San Francisco CA November 14, 1992-February 14, 1993, and the National Gallery of Art, Washington DC March 14-June 13, 1993. Book.…

Paperback. Condición: Very Good. 330 pages, illustrations (some colour); 24 x 29 cm. Originally published: to coincide with an exhibition held at the National Gallery of Art, February 10 to June 15, 1980. Firm binding, clean inside copy. Spine slightly bowed. Large softcover. Richly illustrated with colour plates. *** "In the third quarter of the nineteenth century some of the most beautiful and compelling of all American paintings were executed in a style now called luminism, for its depiction of the radiant effects of light and atmosphere. Many were by Frederic Edwin Church, perhaps the crucial artist of the period. In this lavishly illustrated book, John Wilmerding and eight other scholars explore the nature and implications of the luminist movement and its relationship to American political and cultural history. This work was first published in 1980 by the National Gallery of Art in conjunction with a major exhibition under the same title." - Publisher. *** CONTENTS: Introduction, by John Wilmerding; THE EYE OF THE MIND: OVERVIEW OF LUMINISM: On defining luminism, by Barbara Novak; Design and measurement in luminist art, by Lisa Fellows Andrus; Luminism and the American subline, by Earl A. Powell; The luminist movement: some reflections, by John Wilmerding; OPPOSITION AND BALANCES: COLLATERAL VIEWS OF LUMINISM: Church and luminism: light for American elect, by David C. Huntington; Luminism in context: a new view, by Theodore E. Stebbins, Jr.; Luminist drawings, by Linda S. Ferber; "New eyes" : luminism and photography, by Weston Naef; White light in the wilderness: landscape and self in nature's nation, by Albert Gelpi. Size: Oblong. Collectible.…

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Fine. 1st. Cloth, xvi, 333 pages, illustrations (some colour); 31 cm. Published in conjunction with an exhibition organized by the Metropolitan Museum of Art, Amon Carter Museum, and Fine Arts Museums of San Francisco, and held at the Metropolitan Museum of Art from March 14 to June 14, 1992 and at three other museums through June 13, 1993. Firm binding, clean inside copy. Age toning, top edge lightly soiled. Dust jacket protected in a mylar cover. OVERSIZE! No priority/international, except by arrangement. Richly illustrated with colour plates. *** "In his short but productive career, William Michael Harnett (1848-1892) became the great American master of trompe-l'oeil still-life painting. His works, popular with the public long before they were appreciated by the art critics, 'fool the eye' with their convincing, sharp-edged definition of form and careful rendering of materials. This volume provides the first thorough examination of Harnett's career and its significance for the history of American art. Twenty-two essays by a roster of leading scholars examine three major areas: Harnett's relationship to his contemporaries, among them painters, patrons, critics, and the general public; his formative training and experiences; and the meaning of his themes for the audience that supported him. These essays discuss not only Harnett's own technical skill and artistic development, but also the aesthetic issues of illusionism and trompe l'oeil, Harnett's relationship to other painters working in a similar vein, and the implications of his subject matter. Ultimately, the essays help to resolve the question of how Harnett's technically skillful imitations of real objects fit the definition of 'art' and what his popularity says about the culture in which he worked and lived. Each of the editors has written an essay for this volume; other contributors include Henry Adams, Maria Chamberlin-Hellman, Nicolai Cikovsky, Jr., Elizabeth Jane Connell, William H. Gerdts, Elizabeth Johns, Judy L. Larson, David M. Lubin, Chad Mandeles, Roxana Robinson, and Paul J. Staiti. The forty-nine works reproduced in full color and arranged chronologically provide the first comprehensive survey of Harnett's work. A bibliography, chronology, and thorough index add to the reference value of this handsome volume." - Publisher. *** CONTENTS: Approaches to still-life painting. "Sordid mechanics" and "monkey-talents": the illusionistic tradition, by Nicolai Cikovsky, Jr.; Illusionism, trompe l'oeil, and the perils of viewership, by Paul J. Staiti; Permanent objects in a changing world: Harnett's still lifes as a hold on the past, by David M. Lubin; A study in contrasts: the work of Harnett and La Farge, by Henry Adams; The patrons of the artist: emblems of commerce and culture, by Doreen Bolger; The artist's public face: lifetime exhibitions and critical reception, by William H. Gerdts; Harnett enters art history, by Elizabeth Johns; Elements of artistic development. Burin to brush: Harnett as an artisan, by Paul Raymond Provost; The artist and American art academies, by Maria Chamberlin-Hellman; Notes of change: Harnett's paintings of the late 1870s, by John Wilmerding; Common objects of everyday life, by Roxana Robinson; The artist's working methods, by Jennifer Milam; Harnett and photography, by Douglas R. Nickel; The late years, by Jennifer Hardin; The major themes. Permanent perishables: the artist's fruit paintings, by Thayer Tolles Mickel; "The best index of American life." newspapers in the artist's work, by Laura A. Coyle; "Job lot cheap": books, bindings, and the old bookseller, by Andrew Walker; Commodified displays: the bric-a-brac still lifes, by Sylvia Yount; Grave counsel: Harnett and Vanitas, by Chad Mandeles; Literary references in Harnett's still-life paintings, by Judy L. Larson; After the hunt, by Elizabeth Jane Connell; Harnett and music: many a touching melody, by Marc Simpson; Chronology, by Thayer Tolles Mickel. Size: 4to.…

Hardcover. Condición: Fine. Near Fine. First Edition. Quarto. 333pp. 223 illustrations, including 52 in full color. Fine in near fine dustwrapper with light fading on front panel near the spine.