3 500 résultats
M., Edit. Peninsular, 1951, 33 x 25 cm., tela original con sobre cubiertas en colores, XI - 195 págs. - 4 láminas en colores - láminas con 60 figuras - XCVI láminas - 1 h.
New English Paperback. Pbo. 4to. (30 x 24 cm). Bilingual in English and Turkish. 160 p. Color ills. Works of Turkish painter Cihat Aral (1943- ). Cihat Aral: Retrospective.= Cihat Aral: Retrospektif.
Madrid, Edit. La Fábrica, 2001. Numerosas ilustraciones en color y negro. Página desplegable de Miquel Barceló. 207 p. Gran Folio. Rústica editorial ilustrada. Muy buen ejemplar.
18908Toluca, Instituo mexiquense de cultura, 1992. In-folio, 332 pp., cartonnage éditeur de toile bleue, jaquette originale illustrée.
San Sebastián, San Telmo Museoa, 1989, 35 x 24,5 cm., tela original con sobrecubiertas, 127 págs. con ilustraciones en colores intercaladas en el texto. (Texto euskera-catalán-castellan. Obra editada por el Museo de San Telmo, con motivo de la exposición de Antoni Miró).
., Ediciones Castilla, 1964, 3 tomos, 34 x 24,5 cm., símil piel original, numerosas ilustraciones y láminas a color, 186 págs. + 1 h. = 189 págs. + 1 h. = 5 h. + 402 láminas en blanco y negro + 15 h.
New English Paperback. Pbo. 4to. (30 x 24 cm). Bilingual n English and Turkish. 160 p., color ills and b/w photographs. Fevzi Karakoç Retrospective.= Fevzi Karakoç Retrospektif. [Exhibition catalogue]. Texts by Marcus Graf. TURKISH ART OF PAINTING Modern art Retrospective Exhibition History of art Contemporary art.
Very Good Turkish Original typescript document - letter signed by Jale Yilmabasar. (30,5x21,5 cm). In Turkish. 10 lines. A pair of puncher holes on the left side of the paper. Letter sent to Gültekin Sâmanoglu, (1927-2003), who was a Turkish poet and one of the founders of a very important literary magazine titled 'Hisar' in the Turkish literature. 1 p. She wrote to him that she received the Hisar magazines that he sent. She thanks and she apologizes that she couldn't call him. Yilmabasar is a Turkish painter and ceramicist. She was born in 1939 in Samsun, Turkey. Yilmabaser's career as a ceramic artist began while studying in the United States at Albany Union High School under an AFS scholarship. In addition to ceramics and painting, Yilmabaser also studied ballet for a large portion of her life. After high school, Yilmabaser returned to Turkey, where she studied ceramics at the State Academy of Fine Arts and the Istanbul Graduate School of Practical Fine Arts. She also studied painting and graphic design at Munich Academy. She graduated from the Department of Ceramic, School of Practical Fine Arts in the year 1962. After graduation, she held an internship at the Arzberg Schonwald Ceramic Factory in Germany. Yilmabaser also lectured at the University of Miami for one year in 1964. She served as a professor at Marmara University for many years. Yilmabaser held art exhibitions all over the world. Her first personal exhibition, "Jale's Roosters" was held in 1963." After this, she went on to open and attend exhibitions in Paris, Munich, London, and Moscow, among other places. Because of her work, Yilmabaser was called upon to create many ceramic panels for hotels and institutes worldwide. In 1968, she was awarded a gold medal in the International Ceramic Competition in Italy, In 1969 she received a gold medal at the International Handicrafts Fair in Germany. She was also elected as one of the six best ceramic artists in the world in 1972. In 1998, she received the title "State Artist" from the Ministry of Culture of Turkey. One year later, she opened the most inclusive exhibition of her work, "15 years with Pictures," in which she showed fifteen years of her art and ceramic work This exhibition was held in the Istanbul Atatürk Culture Center.
Fine Fine English Original bdg. Dust wrapper 4to. (28 x 20 cm). In English and Turkish. [viii], 351, [9] p., b/w and color ills. The Ottoman palace women (Women in Turkey).= Osmanli saray kadinlari (Türkiye'de kadin). Ottoman palace women is the third volume of study entitled Women in Turkey, and is a detailed and documentational account of how women of many races, faiths and creeds entered palace service, and of their lifestyles from the humblest to those who attained the coveted position of favourite of wife to the sultan. It was impossible for anyone but the members of the sultan's own household to see and describe the harem of the Ottoman palace. That is why, with rare exceptions, the portrayals of palace officials, female slaves, odalisques, favourites, wives and sultan mothers by foreign artists who visited Istanbul at various times are mere figments of the imagination and as such are interesting testimony to the power of imagination and artistic ability of European painters...".
M., Rayuela, 1977, 28 x 30 cm., tela original con sobrecubiertas, numerosas ilustraciones en negro y color, 271 págs.
Las tres partes en un volumen, 19 x 12,5 cm., cartoné editorial algo rozado, lomo en tela. Todas impresas en Paris, Charles de Mourgues Frères, 1875, LXII págs. + 1 hoja + 356 págs. = VII + 345 págs. = X págs. + 1 hoja + 455 págs.
New New English Original bdg. Dust wrapper. 4to. (29 x 25 cm). In Turkish. 390 p., color ills. Burhan Dogançay. Retrospektif. Texts by Emel Budak, Eleanor Flomenhaft, Phillip Lopate, Thomas M. Messer, Jean-Francois Picaud, Jacques Rigaud, Zeynep Rona, Necmi Sönmez. "Burhan Dogancay: A Retrospective" is the most comprehensive book to date about Turkey's leading contemporary artist. Consisting of 392 pages and over 200 full color illustrations, this retrospective catalog contains articles by noted art authorites as Thomas M. Messer, former director of the Guggenheim Museum, New York, and Jacques Rigaud, former president of the Musee d'Orsay, Paris, amongst others.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 219, [5] p., color and b/w ills. Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. The exhibition "You Tell Me" organized by Istanbul Modern is a cross section of Canan Tolon s artistic practice which spans from the 1980s to today. "You Tell Me" aims to bring Tolon s unique expressive and technical pursuit into view through her works, which range from drawings to photographs and paintings to installations. While bringing together notable examples of the transformations and developments in Tolon s artistic practice, the exhibition also presents re-creations of some of her works that have already secured their place in the history of art. Canan Tolon s artistic practice centers on nature's continual renewal and on architecture as a cultural enterprise. Tolon designs an intellectual and visual world around the resistance between nature and architecture, and the contradiction and consequences borne out of their encounter. Her experimental works always remind one of the border between life and death, as she makes the viewers question whether these images are real or illusion, photographs or paintings. Incorporating natural materials such as grass seed and water in her paintings, Tolon lets nature come to life by setting metal pieces on her canvases and leaving these outside as a means to let weather transform them. For Tolon, traces of time become an important starting point for the development of her paintings. The architectural sections that show vast, endless and abandoned geographies in her compositions remind one of the struggle of humans against nature and the processes of destruction, construction and reconstruction. In these paintings where every little detail is constructed with paint, Tolon depicts the human processes of transforming and reforming nature, and the chaos, conflict and uncertainty caused by these processes in a distressful atmosphere. Without a doubt, Canan Tolon is one of the most original and creative artists of her generation in terms of the richness of the variety of her areas of research and her intellectual breadth. Tolon s works in this exhibition provide us with the opportunity to rethink nature and environment as well as architecture and culture, which impact both the artist and the rest of humanity today.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 315, [5] p., color and b/w ills. Artists in their time.= Sanatçi ve zamani. [Exhibition catalogue]. Edited by N. Can Kantarci. Prep. by Levent Çalikoglu. Istanbul Modern's collection exhibition, "Artists in Their Time", focuses on how artists position their work and themselves within the concept of time. It suggests a conceptual field for examining, and reconciling, the links between an artist's time and societal, cultural, natural and universal time. It unites artists from very different periods, geographies and disciplines around common themes. "Artists in Their Time" takes as its starting point the words of Ahmet Hamdi Tanpinar (1901-1962), one of Turkey's foremost intellectual and literary figures: "I am neither within time nor completely outside of it." Tanpinar's views about time illuminate the process by which artists come to terms with the relationship of their work with the past, the present and the future. Accordingly, this exhibition groups together works of art from distinct geographies, periods and disciplines that share the same emotions with respect to a variety of themes: the intersecting responses of abstract art from different periods; the role of materials and studios in the production of art; the transformation from landscapes and still lifes to the present conception of nature; the search for identity; attraction to the Higher and the spiritual; existential questioning; body politics; feminist approaches; the complex problems imposed by the new urban culture; the struggle against war, death and destruction; life stories from Istanbul, a metropolis defined by water and embracing the sea; and efforts to understand the people of Anatolia.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 133 p., color ills. Guests: Artists and craftspeople.= Misafirler: Sanatçilar ve zanaatkârlar. Edited by N. Can Kantarci. Opening on February 26, the exhibition "Guests: Artists and Craftspeople" is the first exhibition to be organized within the scope of Istanbul Modern's International Artist Residency Program. The project will contribute greatly to the promotion of Turkey abroad and is supported by the Innovative and Creative Istanbul Financial Support Program of the Istanbul Development Agency (ISTKA). In a first for Turkey, the program is arranging for artists from all over the world to collaborate with craftspeople in Istanbul under the auspices of a museum. "Guests: Artists and Craftspeople", the first exhibition of Istanbul Modern's International Artist Residency Program, will be open to the art-loving public from 26 February onwards. The exhibition invites viewers to think about Istanbul's centuries-old craft heritage through contemporary lens. The exhibition's press conference was attended by Oya Eczacibasi, Chair of the Board of Istanbul Modern, Dr. Fatih Piskin, Deputy General Secretary of the Istanbul Development Agency (ISTKA), exhibition curators Öykü Özsoy and Ümit Mesci, and participating artists and craftspeople. With the aim of enhancing the global visibility of Istanbul, the program has invited artists to collaborate with masters in a variety of traditional crafts ranging from wood carving and carpet weaving to metal spinning and quilt making. "Guests: Artists and Craftspeople" features the works of 10 international artists who have been inspired by the crafts of Istanbul. From Baku to London, Mexico City to Copenhagen: Participating artists focus on the themes of craft and tradition in their production processes or work with different materials and techniques. They have also participated in international biennials and exhibitions and their works are featured in the collections of leading museums and art institutions worldwide. The participating artists are: Faig Ahmed (Baku), Rana Begum (London), Benji Boyadgian (Jerusalem), Rodrigo Hernández (Mexico City), Servet Koçyigit (Amsterdam), Outi Pieski (Utsjoki and Numminen), Randi & Katrine (Copenhagen), Wael Shawky (Alexandria and Philadelphia), and Jorinde Voigt (Berlin). In addition to the new works created by reinterpreting traditional production techniques from a contemporary perspective, the exhibition showcases the artists' research and production processes in Istanbul, the resources in the city that inspired them and with which they interacted, as well as information about the craftspeople they worked with. Inviting the viewer to think about Istanbul's long-established craft heritage, the exhibition also includes historical objects that shed light on the cultural richness of Istanbul. These were borrowed from the Harbiye Military Museum and the Istanbul Metropolitan Municipality's Libraries and Museums Directorate. Curated by Öykü Özsoy and Ümit Mesci of Istanbul Modern's Curatorial Staff, the exhibition "Guests: Artists and Craftspeople" will be on view until August 23. (Ist. Modern Museum).
New Turkish Paperback. Pbo. 4to. (27 x 24 cm). In Turkish. 400 p., color and b/w ills. The Sabanci University Sakip Sabanci Museum (SSM) hosts works by the French sculptor Auguste Rodin. The exhibition titled "The Master Sculptor Rodin in Istanbul" comprises 203 artworks selected from the collection of the Rodin Museum in Paris. The exhibition features the artist's bronze, plaster and marble sculptures, archival photographs, many drawings as well as some pieces from his collection of antique-style statues. Among nearly 100 sculptures that will be exhibited by SSM, which aims to promote wider public appreciation of the art of sculpture through the works of a renown master sculptor, are Rodin's masterpieces like The Thinker, The Kiss, The Burghers of Calais, The Monument to Balzac and The Walking Man. In addition to 18 statues and many other diassembled-assembled pieces drawn from The Gates of Hell, on which Rodin worked for long years but could not succeed to complete, 20 antique-style statues from Rodin's special collection are displayed at the exhibition. The bronze horse statue, after which the Horse Mansion was named and which has been saluting the Bosphorus since 1952, has been replaced with the Monument to Victor Hugo for the first time on the occasion of the exhibition. The statue of the renown poet, writer and thinker Victor Hugo made by Rodin is 1.85 m in height and 2.85 m in width. The photographs and sketches exhibited along with the other works enable visitors to track the artist's journey from his early works to his most famous masterpieces, and also shed light on the artist as a sketcher and a collector. The bilingual exhibition catalogue, which was prepared in Turkish and English, and whose texts were compiled by Samih Rifat, briefs on Rodin's life and artistic journey. The exhibition also proposes a set of events such as conferences, sculpture workshops and training programs for the kids. The exhibition, which is sponsored by Akbank and held in cooperation with the Rodin Museum in Paris and the French Cultural Center, will be open until September 3, 2006. The Artist - Born in Paris on November 12, 1840, François-Auguste-René Rodin discovered sculpture after he attended La Petite École, a special school for drawing and mathematics, and began to improve his drawing skill. He rented his first workshop in 1864 and met Rose Beuret, aged 20. In 1871, he exhibited his works in Belgium for the first time. In 1875, he started to work on a life-size human body, which he called The Bronze Age. In 1882, he sculptured the figures of Adam, Eve and the Thinker. After a while, he met Camille Claudel who soon became his mistress and biggest rival. In 1883, he created his Monument to Victor Hugo, and was commissioned by the City Council of Calais to sculpture the Monument to the Burghers of Calais two years later. The following year, he completed The Kiss. In 1888, the state commissioned The Kiss in marble for the Universal Exhibition. In 1889, he exhibited together with Claude Monet, the famous French painter and one of the founders of impressionism. In 1895, he bought the Villa des Brillants in Meudon and started to build up his collection of paintings and antique statues. The Rodin Pavilion was inaugurated at the Alma Square in Paris on the occasion of the Universal Exhibition of 1900, and a major exhibition of Rodin took place in Prague in 1902. In 1904, the first exhibition of a large-scale plaster of The Thinker took place at the International Society in London, then a bronze version of it at the Salon de Paris. The Thinker was placed in front of the Panthéon in 1906, which was later taken to Hôtel Biron (now the Rodin Museum) in 1908. The French National Assembly decided to establish the Rodin Museum in the Hôtel Brion in memory of the artist who handed over his collections to the state through three successive donations. On January 29, 1917, Rodin married Rose Beuret. Rose died on February 14, Valentine's Day. Die
New New English Original bdg. Dust wrapper. 4to. (29 x 23 cm). Edition in English. 248 p., color ills. Bazaar painters: Ottoman figurative arts 2. Edited by Tülün Degirmenci, M. Sabri Koz. Coining the phrase 'bazaar painters' in a 1985 article, Metin And enriched our art history terminology with a new concept as well as offer a glimpse into the world of these artists: how they worked, what they drew, where their works are today and how they contribute to our study of history of art and culture. He continued to promote and popularise their work through books and articles published until 2007, at times repeating earlier content as required. Bazaar painters and their work were not initially identified as a distinctive genre; Franz Taeschner, the first researcher to publish a selection, felt no need to refer to them as anything other than 'miniatures'. Challenging this trend, Metin And set about the immensely difficult task of obtaining pictures of bazaar painting albums from four corners of the globe in order to illustrate a prolific series of essays and books.The second volume of Ottoman Figurative Arts, Bazaar Painters consists of twelve articles published between 1985 and 2007, a comprehensive introduction by Tülün Degirmenci, and a concise album. The pictures and inscriptions Metin And chased enthusiastically all his life are but the echoing footsteps of a book, one that was either never written, or somehow got lost before it could be published.
Fine Fine English Original bdg. Dust wrapper 4to. (28 x 20 cm). In English and Turkish. viii, 215 p., color and b/w ills. with a long illustrated chapter titled "A pictorial account of Istanbul women through the centuries". Detailed accounts of the women of Istanbul, the capital of the Ottoman Empire, their daily lives, their place in society, their dress, and their customos and traditions, often illustrated with fascinating pictures, have been given by many, mostly European writers, travelers and diplomats. They include Edmondo de Amicis, Chalcondile Athenien, W. H. Bartlett, Djeval, D'Ohsson, De Ferrario, Lewis, Hobhouse, Texier, Tournefort, et alli. A small number of Ottoman writers also give accounts of Istanbul women. They include Fazil Hussein Enderuni (1759-1811), Abdullah-al Buharî (18th century), and Osman Hamdi Bey (1842-1910). The works of both foreign and Ottoman writers are generally masterfully illustrated by artists and engravers of many nationalities.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 251 p., color ills. Seker Ahmed Pasa, 1841-1907. [Exhibition catalogue]. Prep. by Ömer Faruk Serifoglu, Ilona Baytar. Texts by Enis Batur, et alli. Contents: Seker Ahmed Pasha: So close yet still a mystery. ENIS BATUR; (Seker) Ahmed Pasa'yi yazmak, (1841-1907), AHMET KAMIL GÖREN; Basyaver Seker Ahmed Pasa ve sarayin yabanci konuklari. GÜLSEN SEVINÇ KAYA; Seker Ahmed Pasa üzerine yeni görüsler ve belgeler. ILONA BAYTAR; Catalogue.; Photos.; Texts.; Bibliography, and Index.
New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English. 331 p., b/w and color ills. Constantinople and the orientalists. Since the publication of our earlier study; 'Orientalism and Turkey', we have been exploring the ramifications of Orientalism in the Ottoman capital of Istanbul itself, or as it was generally known in the nineteenth and early twentieth century: Constantinople. The present study, documented by both visual and written records, including memories, reveals not only the ways in which Istanbul was perceived and portrayed by European artists in the nineteenth century, but it also tries to represent the contemporary city as it truly lived and breathed. In the present work, the reader will discover the identity of Western artists whose works pictorially limned the Ottoman capital, their favorite subjects ¿the harem, the bath, the coffeehouse, and the slave market- and the nature of their interpretation of these subjects.
Retrato original hecho con rotulador y firmado con una dedicatoria autografa del propio A. Gironella al pintor Gonzalo Perales en la portadilla del libro. Esta fechado en Mexico el 31 de enero de 1979.
34,5x25. 181p. 202p. 2 Vols. Láms. Col. Peinture, Couleur, Histoire. Enc. Tela ed. Sobrecubierta.
35x26. 181p. 202p. 2 Vols. Láms. Col. Peinture, Couleur, Histoire. Enc. Tela ed. Sobrecubierta.
