573 résultats
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., Very good., 20 x 14 cm, [4], 422, [14] p., b/w ills., 1 folding color map. "Semboller ve yorumlarla görünenden görünmeyene, NECMETTIN ERSOY, KAM Ajans, Istanbul, 1990"
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.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 192 p., color ills. 'Scenes from Tsarist Russia: 19th Century Russian Classics from the State Russian Museum Collection, not only presented art lovers with a selection of masterpieces being displayed for the first time in Turkey, but also offered scenes of Russian history through Russian Realist paintings. The masterpieces from the rich collection from the State Russian Museum in St. Petersburg reflected every aspect of life including labour and poverty, the world of children, public festivals, war and death, scenes from bourgeois life, and revolution. In literature, music, and fine arts, the "Russian spirit" is depicted as a world of emotions in which love, sorrow, and death run rampant. After the 1860s, Realist conventions came to dominate the genre scenes. Progressive artists of Russia began portraying the fundamental problems of the period such as social injustice, serfdom (until 1861, peasants were considered as property of landowners in Russia), child labor, subjugation of women, and poverty. Daily life hence became a point of interest in art. In the 1870s and particularly after the 1880s, a more positive attitude came into view; the artists gradually diverged from depicting painful worlds. The public was no longer the victim, but a powerful subject. A tendency to poeticize folklore, as well as the public perception of nature and the universe began to emerge. Social problems were addressed in their entirety; analysis replaced condemnation. The exhibition, which included artists from Repin to Makovsky, Yaroshenko to Shishkin along with many others, presented not only Russia of the period with all its different aspects, but with its themes and characters the exhibition offered audiences a unique experience, one similar to reading the works of the great Russian writers such as Nikolai Gogol and Fyodor Dostoevsky.'.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 192 p., color ills. 'Scenes from Tsarist Russia: 19th Century Russian Classics from the State Russian Museum Collection, not only presented art lovers with a selection of masterpieces being displayed for the first time in Turkey, but also offered scenes of Russian history through Russian Realist paintings. The masterpieces from the rich collection from the State Russian Museum in St. Petersburg reflected every aspect of life including labour and poverty, the world of children, public festivals, war and death, scenes from bourgeois life, and revolution. In literature, music, and fine arts, the "Russian spirit" is depicted as a world of emotions in which love, sorrow, and death run rampant. After the 1860s, Realist conventions came to dominate the genre scenes. Progressive artists of Russia began portraying the fundamental problems of the period such as social injustice, serfdom (until 1861, peasants were considered as property of landowners in Russia), child labor, subjugation of women, and poverty. Daily life hence became a point of interest in art. In the 1870s and particularly after the 1880s, a more positive attitude came into view; the artists gradually diverged from depicting painful worlds. The public was no longer the victim, but a powerful subject. A tendency to poeticize folklore, as well as the public perception of nature and the universe began to emerge. Social problems were addressed in their entirety; analysis replaced condemnation. The exhibition, which included artists from Repin to Makovsky, Yaroshenko to Shishkin along with many others, presented not only Russia of the period with all its different aspects, but with its themes and characters the exhibition offered audiences a unique experience, one similar to reading the works of the great Russian writers such as Nikolai Gogol and Fyodor Dostoevsky.'.
New Turkish Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 71, [1] p., b/w ills. Savas mektuplari, 1919. Andre Breton'un sunus yazisiyla. Translated by Ayse Özkan.
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].
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. Pbo. 4to. In English and Turkish. 63, [1] p., 17 huge color folding plts., color ills. "The book published on the occasion of Sarkis' exhibition entitled ''Interpretation of Cage / Ryoanji'' comprises three sections. The first section features new texts commissioned exclusively for this publication along with photos from Sarkis' works that are mentioned in the essays. Opening with Melih Fereli's comprehensive curatorial introduction that offers an intense journey into the musical and intellectual references of Sarkis' works in the exhibition, this section includes texts by art historian Gabriele Knapstein ("Fleeting Images and Fleeing Sounds: Music in the Work of Sarkis"), editor and translator Mine Haydaroglu (''Conveyed Through Sound and Images: The Element of Chance in Art and in the Work of Sarkis''), and philosopher Elie During (''Blocks of Silence, Stretches of Time: Sarkis' Ryoanji''). The second section brings together the 96 watercolours that form Sarkis' work entitled ''Partition de flûte Ryoanji / Cage selon Sarkis'' while the third consists of a CD that includes a pre-recorded musical interpretation of Sarkis' work by Kudsi Erguner (ney) and Jean-Francois Lagrost (shakuhachi).".
Fine English Paperback., Fine., 20 x 14 cm., 272, [32] p., b/w and color ills., "Sanattan güncel yasama.", Nazan Ipsiroglu, Pan Yayincilik, Ist., 1998.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 173 p. Articles on Turkish painting art and Turkish history of art. Sanatin icinden.
Fine English Paperback., Very good., 20 x 13 cm, 117 p. "Sanatin görsel dili., SEZER TANSUG, Urart Sanat Galerisi, Istanbul, 1982"
New Turkish Paperback. Demy 8vo. (22 x 14 cm). In Turkish. 94 p., b/w ills. Sanatimizda bir dönemeç: 50'li yillar, Ankara. Üç sanatçi anlatiyor: Ahmet Oktay, Ilhan Usmanbas, Lütfü Günay.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [4] p., b/w ills. Exhibition brochure of Celal Esad Arseven. Sanat yolunda bir yüzyil, Celâl Esat Arseven. Yapi ve Kredi Bankasi Kültür ve Sanat Hizmetlerinden, Sergi: 71. [Exhibition brochure].
Fine English Paperback., Fine., 20 x 14 cm., [6], 147 p., "Sanat ve toplum.", Sabahattin Güllülü, Atatürk Üniversitesi, Erzurum, 1994.
Fine English Papernack. Pbo. Demy 8vo. (22 x 14 cm). In Turkish. 312 p. Sanat ve estetik kuramlari.
Fine English Paperback., Very good., 24 x 17 cm, 534 p. "Sanat ve edebiyatta temel kavramlar., YAKUP ÇELIK, Nehir Yayinlari, Istanbul, 2002"
Very Good English Paperback. Pbo. Mint. Cr. 8vo. (19 x 12 cm). In Turkish. Fourth Edition. 133 p. B/w ills. Dictionary of terms of art. Sanat terimleri sözlügü.
Very Good English Original cloth bdg. Demy 8vo. (21 x 14 cm). In Turkish. 2 volumes set (890 p.), b/w plts. Sanat terimleri ansiklopedisi. 2 volumes set. [Encyclopedic dictionary on art terms].
Fine English Paperback., Very good., 28 x 19 cm, 106 p., b/w ills. "Sanat Tarihinde Dogudan Batiya Ünsal Yücel Anisina Sempozyum Bildirileri, SANDOZ KÜLTÜR YAYINLARI, Sandoz Kültür Yayinlari, 1989"
New Turkish Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 100, [4] p. Sanat tarihi: Siradisi bir disiplin. Sosyolog, küratör Ali Akay Istanbul'da ve Paris'te gerçeklestirdigi bu söylesilerde sanat tarihinin önde gelen isimleriyle konusuyor. Jean Baudrillard: "Bireyin kimligi, burjuva olsun, hümanist olsun, Aydinlanmadan gelen bir kimlik degil; sentez bir kimlik." Georges Didi-Huberman: "Sanat Tarihi, Su Tuhaf Disiplin." Stephen Wright: "Sanat üretilmis kendine özgülükler olarak degil, kendi özgülüklerin üretilme biçimi olarak algilanmalidir." Hubert Damisch: "Beni ilgilendiren sanat tarihi degil, sanat üstüne neyin sorgulanacagi." Edward Lucie-Smith: "Ingilizce yazilmis yayinlarda çagdas sanatin tarihi rehin alindi." Nicolas Bourriaud: "Bir taraftan gelenekselcilige, bir taraftan da globallesmenin getirdigi tektiplesmeye karsi direnis yeni bir modern ruh yaratiyor." Uwe Fleckner: "Warburg üzerine degil, Warburg ile birlikte çalismak istiyorum."
New English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 187 p. A study on ontology of art. Sanat ontolojisi.
Near Fine Near Fine English Original bdg. with original dust wrapper. Near fine. 4to. (28 x 20 cm). 288 p. Color and b/w ills. In Turkish. Sanat egitimcisi Prof. Ülker "Okçuoglu" Muncuk'a armagan.
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.