9780300196351 - From Still Life to the Screen: Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London (The Association of Human Rights Institutes ser... (20 resultados)

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.

Condición: New. Explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In this text, the author considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. Series: The Paul Mellon Centre for Studies in British Art. Num Pages: 288 pages, 55 colour images + 101 black-&-white illustrations. BIC Classification: 1DBKESL; 3JF; ACQ; AFH. Category: (G) General (US: Trade). Dimension: 199 x 262 x 25. Weight in Grams: 1218. . 2013. First Edition. Hardcover. . . . .

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

First Edition. Fine cloth copy in a near-fine, slightly edge-torn dust-wrapper. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 280 pages : illustrations (some colour) ; 27 cm. Notes; Includes bibliographical references (pages 255268) and index. Subjects; Consumer goods. Printing. London. Social life and customs. 17th century. Early modern England. British history. Material culture. Urban history. Paper history. 3 Kg.

Condición: As New. Unread book in perfect condition.

Condición: new.

Condición: New. Explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In this text, the author considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. Series: The Paul Mellon Centre for Studies in British Art. Num Pages: 288 pages, 55 colour images + 101 black-&-white illustrations. BIC Classification: 1DBKESL; 3JF; ACQ; AFH. Category: (G) General (US: Trade). Dimension: 199 x 262 x 25. Weight in Grams: 1218. . 2013. First Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardback. Condición: New. From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in "raree-shows" and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art.

Hardcover. Condición: New.

Hardcover. Condición: new. Hardcover. From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseurs fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in raree-shows and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art Explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In this text, the author considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

First Edition. Fine cloth copy in a near-fine, slightly edge-torn dust-wrapper. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 280 pages : illustrations (some colour) ; 27 cm. Notes; Includes bibliographical references (pages 255268) and index. Subjects; Consumer goods. Printing. London. Social life and customs. 17th century. Early modern England. British history. Material culture. Urban history. Paper history. 1 Kg.

Condición: New.

Hardcover. Condición: Brand New. 288 pages. 10.25x8.00x1.00 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condición: new. Hardcover. From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseurs fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in raree-shows and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art Explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In this text, the author considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condición: new. Hardcover. From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseurs fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in raree-shows and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art Explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In this text, the author considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardback. Condición: New. From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in "raree-shows" and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art.