Stanislas FUMETMareMagnum
573 résultats
Paris, Plon-Nourrit, 1929. In-8 broché de 250 pages. Couvertures prune. Collection Le Roseau d'Or. Exemplaire numéroté sur alfa. Bon état
Fine Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 296 p. Dali ve ben. Sürreal bir hayat. Translated by Baysan Bayar.
As New English Paperback. Pbo. Mint. Demy 8vo. (21 x 13 cm). In English. Color ills. 68, [2] p. Sotheby's. Impressionist & Modern art day sale. London, 23 June 2011. [Auction catalogue].
Paris ,Chez Ducollet 1834. In-8 relié pleine toile verte, pièce de titre rouge. 278 pages. Avec des notes sur la culture des arts, principalement dans les XV et XVIe siècles.
New English Paperback. Pbo. Oblong 4to. (21 x 30 cm). In French and Turkish. 81, [6] p., color ills. Soeur Marie-François Lin. Itineraires en peinture.= Resimde yolculuk. [Exhibition catalogue]. Text by Yann de Lansalut.
Paris, Librairie Hachette et Cie 1919. In-12 broché de 263 pages. Leur art. Ce qu'is n'ont pu détruire : Les tapisseries de Reims. Les ruines. La caricature et la guerre. la nouvelle esthétique des batailles. Peu courant, Très bon état
Very Good Very Good English Original bdg. Dust wrapper. 4to. (32 x 22 cm). In English and Turkish. [224] p., color ills. The art of the Seljuks.= Selçuklu sanati. First Edition.
Fine Turkish Original bdg. HC. 4to. (26 x 21 cm). Edition in Turkish. 192 p., color ills. Kayip Eserler Müzesi: Sanat suçlarinin doruklari. [= Museum of the missing: The high stakes of art crimes]. Translated by Mine Haydaroglu. Preface by Julian Radcliffe. The past few years have been tough on Edvard Munch. First the Norwegian Expressionist's iconic painting The Scream was stolen in 1994. Then it was recovered, and a different version was stolen in 2004. It seems that Munch is getting more than his fair share of attention from thieves, but he's not alone. These days, no artist?s work is safe. The international police agency, Interpol, currently lists as stolen more than twenty-five thousand works of art. This figure includes sculptures, furniture, clocks, and antiquities, as well as paintings. The number of paintings alone is staggering. Rembrandts, Renoirs, Van Goghs, Picassos. You could fill a museum. In Museum of the Missing, journalist Simon Houpt investigates the fascinating story of modern art theft. What started as looting of art treasures by invading armies, including the Nazis during World War II, has exploded into a sophisticated international operation. But grand art thefts are only part of this fascinating story. Houpt takes the reader into the backrooms of Scotland Yard, the FBI, and Interpol as crack art-recovery squads mount surveillance operations and elaborate stings. He also leads readers into a tangled underworld of money laundering, drugs, illegal arms trading, and terrorism?where the stakes for both sides are very high. The stakes for lovers of art are just as high. Many of the world's stolen masterpieces will probably not be recovered in the foreseeable future. Some may never be seen by the public again. Museum of the Missing offers an extraordinary glimpse of these lost treasures.
Payot 1984. In-8 broché de 271 pages. Bon état
Very Good English Paperback. Pbo. In original carton case. [72] color and b/w plates. Signed by artist. Siegfried J. Assmann (1. Februar 1925 in Kirchplatz, Provinz Posen) ist ein deutscher Maler und Bildhauer, der insbesondere im Bereich der Glasmalerei hervorgetreten ist. Siegfried Assmann wohnt und arbeitet in Großhansdorf bei Hamburg. Assmann studierte ab 1947 Malerei, Wandgestaltung und Grafik auf der Landeskunstschule in Hamburg, gemeinsam mit Mitstudierenden wie Horst Janssen, Paul Wunderlich, Siegfried Oelke. Plastische Gestaltung erlernte er im Atelier von Carolus Voigt, bei einem Aufenthalt in Überlingen am Bodensee den Umgang mit farbigem Glas. 1952 hatte Assmann einen ersten großen Erfolg, als er einen öffentlichen Wettbewerb zur Gestaltung eines Bleiglasfensters in der Kreuzkirche in Hamburg-Ottensen gewann. Nach diesem Durchbruch verzeichnete Assmann zahlreiche weitere Aufträge insbesondere im norddeutschen Raum, die sich nicht nur auf sakrale Themen beschränkten, obwohl diese stets ein Schwerpunkt seiner Arbeit blieben. Anfang der 1960er Jahre verlagerte sich seine Tätigkeit zunehmend auf den Bereich der Plastik. So schuf er die Figurengruppe Charon für die 1962 eingeweihte Gedenkstätte in Gudendorf / Dithmarschen.
As New English 20. yuzyil bati resim sanatinda ask olgusu, Sibel Almelek Isman, Arion yayinevi, Ist., 2008. Mint. Paperback. 152 p. Color ills. Large 8vo. (23 x 15 cm). =[The subject of 'love' in the 20th century Western painting art.]. In Turkish.
Fine English Paperback., Very good., 20 x 13 cm, 117 p. "Sanatin görsel dili., SEZER TANSUG, Urart Sanat Galerisi, Istanbul, 1982"
Fine English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 218 p. Çagdas Türk tiyatrosunda ahlâk ekonomi kültür sorunlari, (1923-1970).
New English Paperback. Roy. 8vo. (24 x 17 cm). In English, Turkish, Uzbek, and German. 335 p. Kurtulus yolunda: A work on Central Asian literature in a Turkish-Uzbek mixed language. Edited, translated and linguistically revisited by A. Sumru Özsoy, Claus Schönig, Esra Karabacak with contribution from Ingeborg Baldauf. The basis of this book is a text from 1930s written in a mixture of the Uzbek and Turkish language, the first and so far only evidence of this phenomenon. The manuscript deals with a number of Central Asian Turkic poets of the early 20th century. In this book not only the content is analyzed, but the focus lies on the examination of the language it is written in. In addition to the manuscript and the textual analysis the book comprises notes on the historical events of the period of time covered in the manuscript and comments on several of the poets and their backgrounds.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). [xv], 243 p., iv color, 106 b/w plates. Development of the Turkish ceramic art in Anatolia. Anadolu'da Türk çini sanatinin gelismesi.
Fine English Paperback. Oblong large 8vo. (23 x 24 cm). In English and Turkish. [36] p., color ills. Signed and inscribed by the artist as 'Coskun Sensoy'a saygilarla'. Dated 2.10.1992. Semiha Berksoy was a Turkish opera singer and painter. Berksoy started her acting career in the role of Semiha in the first Turkish sound movie Istanbul Sokaklarinda directed by Muhsin Ertugrul in 1931. She was cast in operettas in Istanbul theaters early in her career. She sang in the first Turkish opera Özsoy in 1934 (commissioned by Kemal Atatürk, composed by Adnan Saygun). She was honored as the First Turkish Opera Singer and awarded the opportunity to go to Berlin Music Academy for further training. She started her international singing career in 1934, performing in Turkey, Germany, and Portugal, becoming known as a Wagnerian soprano. In 1939, for the 75th birthday of Richard Strauss in Berlin, she sang the role of Ariadne in Ariadne Auf Naxos, becoming the first Turkish prima donna to perform on stage in Europe. Back in Turkey, she worked with Carl Ebert helping him in his efforts to create the Turkish State Opera and Ballet. This initiative leads to the creation of the Experimental Stage of the Ankara State Conservatory 1940. She retired from the Istanbul Opera in 1972. She was decorated with the "Atatürk Opera Award" at the 50th-anniversary ceremonies commemorating the introduction of women's rights to vote and to be elected. She received the title of "State Artist" in Turkey in 1998. Following her retirement, she remained active mostly as a theater artist. Four years preceding her death, at the age of 90, she appeared in a dramatic scene singing Liebestod in Robert Wilson's opera The Days Before: Death, Destruction and Detroit III at the Lincoln Center in New York City (1999).
Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. [xv], [1], 365, [3] p. Cumhuriyet'in kültür ve sanat kronolojisi. Art chronology of Republican Turkey. A study on Turkish history of art.
New English Paperback. Demy 8vo. (22 x 16 cm). In English. 104 p., ills. The visit, (2009-2017). "Just like walking is a form of thinking, writing is also a form of thinking leaving its trace. Usually, I experience the process of imagining and creation of work as a mental flow. It's been a while since I undertook the trial-and-error phase at the workshop. I tackle this phase in a zone I call "Kabine [The Cabinet]", something you will read more about later on. The exhibition venue becomes my workshop. These zones take on value as temporary places for implementation. I am standing in an area allocated to me for an exhibition. I chose this spot, which rarely happens, and it is still empty. I work hard, trying to turn the emptiness into a warmer, a more personal place. The transformation starts as I slowly place my art objects here and there. I take every opportunity to spend some more time in this spot surrounded by my work. Then, I take off, leaving them there to the eyes of the outside world.". Reprint of the 1840 Edition.
Very Good English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In English and Turkish. 11 p. text in Turkish; 11 numerous b/w ills.; 11 p. text in English; 1 p. bibliography. Isa Bey Mosque.= Isa Bey Camii. Translated into English by Adair Mill.
New Turkish Paperback. Large 8vo. (22 x 16 cm). In Turkish. 76 p., ills. Sarkis. Sari punctum. Photos by Cemal Emden. Text by Cem Ileri.
New English Paperback. Large 8vo. (22 x 16 cm). Edition in English. 76 p., ills. Sarkis. Yellow punctum. Photos by Cemal Emden. Text by Cem Ileri. [EDITION in ENGLISH].
Plurigraf Italia 1980, petit In-4 broché, couverture illustrée, non paginé. Nombreuses reproductions noir et blanc et 104 en couleurs. Bon état.
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
New English Paperback. Pbo. 4to. (30 x 21 cm). In Turkish. 227 p., color and b/w ills. Sanat dünyamiz. Üç aylik kültür ve sanat dergisi. No: 92 Yaz 2004. Kuram sanatin pesini birakmaz! Söylesi: Jordi Savall. Tartisma: Sanat neden, nasil tahrip ediliyor? Ugur Kökden: Kadin'in resimdeki yeri. Atölyeden: Ilhan Berk. Metin And: Méliés'in karikatür çizerligi.
New English Paperback. Pbo. 4to. (30 x 21 cm). In Turkish. 250 p., color and b/w ills. Sanat dünyamiz. Üç aylik kültür ve sanat dergisi. No: 93 Güz 2004. Kirpi Tilki'ye karsi: Schönberg, Stravinski. Söylesi: Güven Turan. Söylesi: Nevhiz. Tiraje'nin yeni resimleri. Ahmet K. Gören: Abdülmecid Efendi A. Sait Aykut: Siyah Kalem'in cinleri. Nazif Topçuoglu'ndan "Okuyanlar". Fatma Tülin'in "Seftali çekirdekleri". Türk resminde köylü temasi. Fluxus ve [Joseph] Beuys. Atölyeden: Gülizar Çepoglu.