SÜLEYMAN SAIM TEKCAN.MareMagnum
CATALOGO.MareMagnum
A CENTURY OF MODERN DRAWING FROM THE MUSEUM OF MODERN ART, NEW YORK.
25x19. 52p. + CXXIV láms. Algo subrayado. Anotaciones anterior poseedor. Fotogr.
Libreria Fernandez Javier · Espagne6,00 €
3 372 résultats
New English Paperback. Pbo. 4to. (27 x 24 cm). 111 p. In Turkish. Color and b/w ills. 1000 copies were printed. Tekcan's biography: 1940 Born in Trabzon 1963 Graduated from the Painting Department of Ankara Gazi Education Institute. Studied at the Painting Department of Istanbul State Academy of Fine Arts (Miamr Sinan Univeristy) and completed his competense in arts education at the faculty of the same university. 1968-1975 Work as a member of the academic staff at Atatürk Education Faculty 1970-1971 Carried out research in Germany on printmaking education 1975 Joined the staff of Mimar Sinan University Fine Arts Faculty 1985 Professorship. Was appointed to the Chair of the Graphic Art Department the same year 1987 Two-month Original Prints Seminar in Sarajevo Arts Academy 1991 Original Print Seminar at Ankara Bilkent University 1991 Two conferences in Bonn, Germany, named ¿12 Artist in Turkish Graphic Art¿ and ¿ A cross-section of Contemporary Turkish Painting¿ 1994-1995 Dean of the Fine Arts Faculty of Mimar Sinan University as well as the Head of Graphic Arts Department. 1996 Established the Fine Arts Faculty of Yeditepe University which began its educational activities in Büyükada and was the Dean during its first year. 2006 IMOGA-Istanbul Museum of Graphic Arts, Founder and Chairman. 2007 Established the Fine Arts Faculty of I¿¿k University and is the Dean of the Faculty. 2008 Chairman of 1.st International Printmaking Biennial Organization Committee."
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 24 cm). In Turkish. 302 p., color ills. 50. yilinda Akbank resim koleksiyonu. Collection of the Turkish paintings of Akbank.
Köln, Edit. Erzblischöfliches Diozesan, 1976. Kunst und Frommmigkeit im Spatmittelalter und ihr Weiterleben. Algunas láminas ilustradas en b/n. 208p. 8º. Rústica editorial ilustrada algo deslucida. Buen ejemplar. Book in german. Exposición sobre el rosario.
M., Plus Ultra, 1953, 24'5 x 17 cm., cartoné original, 49 págs. - 70 láminas - 2 h.
València, Edit. Gen. Valenciana, 1989. Nombroses il·lustracions en color i negre. 218 p. Foli. Rústica editorial il·lustrada. Lleu resta de doblec inferior. Molt bon exemplar.
New English Paperback. Pbo. 4to. (28 x 23 cm). In Turkish and Italian. [xxv], 125 p. Many folding color plts. [Behçet] Safa. La luce fu su loro leggera.= 1960-1990. Isik vurur üzerlerine hafifçe. 5 Nisan - 5 Mayis 2011 Galeri Tantekin. Translator: Meryem Mine Çilingiroglu. Curated by Jale Durna, Mehmet [Tantekin].
Very Good Turkish Paperback. 4to. (27,5 x 20 cm). In Turkish. 32, [30] p., color and b/w ills., serigraph and mimeograph printing on paper and fabric, 1 folded plate (Ismail Saray's photo). This very interesting and rare book includes the texts on the first 32 pages. Some texts were translated from English and French languages by Sükrü Aysan, Nazli Damlaci, and Faruk Ulay. Articles in the first 32 pages: Kavramsal sanat [i.e. Conceptual art] by Sükrü Aysan.; Felsefenin sonu sanatin baslangici [i.e. The end of philosophy and the beginning of art] by Joseph Kosuth.; Kavramsal sanat üzerine paragraflar [i.e. Paragraphs on Conceptual Art] by Sol Lewitt.; Kavramsal sanat üzerine tümceler [i.e. Sentences on Conceptual Art] by Sol Lewitt.; Not, by Bernar Venet.; Giris notu, by Joseph Kosuth, and Inekleri düzene sokmak için bir yöntem [i.e. A Method For Sorting Cows] by Robert Morris. They're the first and the earliest translations (and for some only) in Turkey on the Conceptual Art. The Definition of Art Group is an original Conceptual Art approach. Conceptual Art was founded to research the structure and nature of art. Conceptual artists question the structure of art through a progression of work that refers to the concept of art. What is being considered is a work or an idea directed towards the analysis of all the facets of and contradictions within the concept of art. Sol LeWitt said, "this type of art is related to all intellectual processes". Impressionism and Cubism gave the first formulas for questioning art. Later, as a result of Duchamp's systematic operations about art's boundaries, function, language, and its being, art again became an intellectual process. Today, the subject of art itself and its place in the universe has reached a stage where its effort is directed towards understanding existence. The stages of this change make twentieth-century art history. Only an art audience informed about the development of art can comprehend contemporary work. To be able to understand today's artistic endeavors, it is necessary to make a conceptual history of art. Pure Conceptual Art by taking this situation to its extreme point, accepts no other audience or observer than the ones actively participating in the making of the work. Thus, art transforms into a state as serious as a science that needs no audience. When using the term, Conceptual Art or its more characteristic name, Analytical Art, in referring to a specific period in the history of Conceptual Art as an approach to art, one is speaking of art that has completely eliminated the production of objects and all plastic art forms. But if one considers the broader understanding of conceptualism, within our twentieth-century art, in addition to the side that verifies by analyzing itself, there is also a logical and philosophical dimension directed towards the comprehension of its structure. In other words, a strongly intellectual art continues its hegemony today. In our time, art without an idea can not be effective. (Source: Official site of Sanat Tanimi Toplulugu). In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an article bearing the same name which was appeared in a proto-Fluxus publication An Anthology of Chance Operations. Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism," in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt maintained, to merit the label concept art, work had to be an object-critique of logic or mathematics via linguistic paradox, a quality which is absent from subs... The use of pure Turkish language in this book is pointed to and this book was printed for an exhibition held between 'March 22 - April 5, 1980'. Printed to only 200 copies and all copies were numbered. This is 49 no. (49/200). Extremely r
Fine Turkish Contemporary blues cloth bdg. Set in four volumes. Roy. 8vo. )24 x 17 cm). In Turkish. 47 issues complete set. Rare complete set of the legendary literary magazine, whose publication life was interrupted periodically due to financial problems of Cemal Süreya, one of the most important names of the poetry movement called "Ikinci Yeni" [i.e. The Second New]. Every issue is a special issue that has a large part of a poet and author. The publication survived between June 1966 and June 1970, and a total of 47 issues were published during this period. Unlike the first period, the magazine became one of the most important literary magazines of those years. Sureya sold the car she brought from Paris for the magazine. Due to financial difficulties and March 12, its broadcast life has come to an end. In 1980 the magazine was reprinted quarterly. During this period, only two issues were published and no more were published due to the September 12 Coup d'Etat. Süreya stated that he named the magazine "Papyrus" in his letter dated 22 December 1959 to one of his friends, Nedret Gürcan, because "the ancient Egyptians wrote their first writings on the leaves of the grass called papyrus growing on the banks of the Nile." (Wikipedia).
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 64 p., color ills. [Painter's Istanbul].= Ressamlarin Istanbul'u. 18 Mart - 11 Nisan 2009. [Exhibition catalogue]. 1000 copies were printed.
Very Good Turkish Paperback. Cr. 8vo. (20 x 15 cm). In Turkish. 35 p., 32 b/w plates. Foxing on the cover. Otherwise a good copy. Nazmi Ziya Güran, (1881-1937), was a Turkish Impressionist painter and art teacher. He was born in Istanbul. He did manage to obtain some private tutoring from Hoca Ali Riza then, following his father's death in 1902, he quietly enrolled at the Academy. He studied with the Italian Orientalist painter, Salvatore Valeri and the sculptor Osgan Efendi, but had some difficulty adapting to the school's conservative teaching methods and came into conflict with Osman Hamdi Bey, the Director. A meeting with the French painter Paul Signac, who visited Istanbul while sailing around the Mediterranean, may have influenced his desired style. The conflicts continued and, in 1907, when he submitted his final exam pictures, he found his graduation delayed by a year. Bedri Rahmi Eyuboglu was a Turkish painter and poet. His first one-man show was in Bucarest at the Hasefer Gallery in 1935. The exhibition was organized by his future wife Ernestine. They were married in Istanbul in 1936. Bedri Rahmi was a very prolific artist; he painted frescoes at the "Lido restaurant" in Istanbul (1943), a large panel at the Ankara Opera House (1946). First and Only Edition. OCLC 909450866.
Acuarela original firmada por esta pintora franco-suiza, fechada a la vuelta el año 1939, 37 x 27,5 cm.
Acuarela original firmada por esta pintora franco-suiza, fechada a la vuelta el año 1939, 31 x 40 cm.
Very Good Turkish Paperback. 4to. (28 x 20 cm). 11 p.; 8 p. b/w plates; 2 color serigraphic plates. Scarce first and only edition of this first study on Turkish postwar and contemporary artist Orhan Peker (1927-1978), including two fine serigraphic prints. The text is written by Adnan Benk (1922-1998), who was Parissienne Turkish translator and author. One of 500 copies. Orhan Peker used all the opportunities of tachism and painting in design, drawing, and color paintings that he dealt mainly with horses, carriages, still live, and birds. There was a craft "Pentur" paint texture in his paintings. Not in OCLC.
London, Smith and Son, 1833, 26,5 x 17,5 cm., tela original, retrato + XX págs. + 1 hoja + 326 págs. + 1 hojas y 6 láminas grabadas. (Ejemplar intonso).
London, Smith and Son, 1837, 26'5 x 17'5 cm., tela original, retrato - LXV págs. - 1 h. - 486 págs. - 1 h. - carta facsímil plegada y 6 láminas grabadas. (Ejemplar intonso).
London, Smith and Son, 1835, 26'5 x 17'5 cm., tela original con leve desgarro en la parte superior del lomo, retrato - VII págs. - 1 h. - 573 págs. - 1 h. y 5 láminas grabadas. (Ejemplar intonso).
London, Smith and Son, 1829, 26'5 x 17'5 cm., tela original con desgarro en la parte superior del lomo, retrato - XXX págs. - 2 h. - 412 págs. y 6 láminas grabadas. (Ejemplar intonso. Este tomo I comprende noticias biográficas y obras de Gerard Doe, Peter Van Stingelandt, Francis Van Mieris. William Van Mieris, Adrian Ostade, Isaac Ostade y Philip Wouwermans).
25x19. 52p. + CXXIV láms. Algo subrayado. Anotaciones anterior poseedor. Fotogr.
New English Paperback. In publisher's special slip-case. 4to. (29 x 21 cm). In English, Italian, and Turkish. 127, [1] p., color ills. A city in search if its history: Istanbul and an artist, Timur Kerim Incedayi.= Una citta sulle orme della Storia, Istanbul e un pittore, Timur Kerim Incedayi.= Tarihin izinde bir kent, Istanbul ve bir ressam, Timur Kerim Incedayi.[Exhibition catalogue]. Edited by Amelie Edgü. Texts by Ahmet Oktay, Murat Ural, Maurizio Calvesi. One of 2000 copies.
Magnífica obra con papel muy limpio y amplios márgenes. Firma anterior propietario en margen inferior de la portada.
As New English Paperback. Pbo. Mint. 4to. (31 x 24 cm). In English. 176 p. A history of Turkish painting.
New English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. 104 p. Color and b/w ills. A journey over the Ottoman rainbow. Contemporary Turkish art with an Ottoman inspiration.= Osmanli gökkusaginda yolculuk. Osmanli esiniyle çagdas Türk sanati. [Exhibition catalogue]. Translated by Robert Bragner. Photographs by Ugur Ataç, Aydin Coskun.