ANDRADE RIBEIRO DE OLIVEIRA, Myriam.MareMagnum
Alex Pinna.MareMagnum
Alex Pinna. The way to get lost.
Softcover, 65pp. 22x22cm., ills., very good copy.
Bookshop Erik Tonen Books · Antwerpen, BE10,00 €
5 605 résultats
Universidade de Sao Paulo, 1985, 32 x 23 cm., cartoné editorial con fotografía en colores, 71 págs., incluso ilustraciones intercaladas en negro y láminas en colores + plano plegado + 2 hojas.
Lleida, Ajunt. Lleida, 1995. Nombroses il·lustracions en color i negre fora text. 4t major. Rústica editorial. Molt bon exemplar. Llibre en català i francès.
Softcover, 65pp. 22x22cm., ills., very good copy.
IN 8. BR [BE]. 48 PP. 16 ILL EN NOIR. [BE]
Booklet, Octavo, 9pp. plish language, translation of essay by Dominique Carre in English.
Bound, black cardboard, illustrated dustjacket in colour, 245 x 315mm., 223pp., profoundly illustrated in colour and b/w. ISBN 9788861309876. In 1984 Alexander Rukavishnikov was awarded the Silver Medal from the French Academy of Arts for his sculptural composition of John Lennon. This book places Rukavishnikov?s work into the social context of contemporary Russia and explores his approach to a number of themes and techniques. Book is in good condition.
148 Illustrationen in Schwarzweiß.
Softcover, pages : 352.Format : 23X30. Langue : Francais et anglais Edition bilingue / Bilingual edition: English / French. ISBN 9782954497372. Alexandre BIGOT, chimiste et ceramiste par Helene Bedague I/ Ceramiques artistiques de la chimie a la ceramique la collaboration avec les sculpteurs la collaboration avec les orfevres la collaboration avec les architectes ornements et grande decoration les cheminees II/ Ceramiques architecturales les architectes facades et decoration le religieux
- Edition du Mont-Blanc, Genève 1944, grand in 4 (27x33cm), Un Vol. broché, couverture rempliée. - Un des 950 ex. sur papier swiss thick, après 100 ex de luxe. Etude de l'oeuvre et recensement, illustré de beaux hors-texte photo. Dédicace en frontispice : La république de Genève reconnaissante à son grand artiste Alexandre Cingria. Rempliage de la couverture inférieure détachée. Très bon état. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures. [ENGLISH DESCRIPTION ON DEMAND]
- Publicationes Herakliton, Barcelona 1955, 13x18cm, agrafé. - Edition originale bilingue espagnole-française. Plaquette illustrée de 8 reproductions d'oeuvres d'Alexis Hinsberger. Envoi autographe signé d'Alexis Hinsberger à un couple d'amis. [ENGLISH DESCRIPTION ON DEMAND]
Valencia, Diputación Provincial, 1996, 24,5 x 21,5 cm., cartulina editorial, ilustraciones intercaladas y láminas, la mayoría en colores, 186 págs.
Barcelona, Galeria Joan Gaspar, 1993. 46 p. Petit 4t. Rústica editorial il·lustrada. Molt bon exemplar. Catàleg de l'exposició celebrada entre maig i juny de 1993 a la Galeria Joan Gaspar de Barcelona i entre setembre i novembre de 1993 a la Galerie Dreiseitel de Köln. Text en català i alemany
Barcelona, Galeria Maeght, octubre - novembre 1993. 40 p. Foli. Cobertes originals. Molt bon exemplar. 1a edició. Primera edició. 1st edition. First edition
Hardcover, 229 pages, Francais, 290 x 240 mm, tres bon etat, . ISBN 9782804703134. « Au commencement, il y a un artiste. Et une femme. Et de la glaise. Et puis viennent des poses et des dessins et des modelages. Et au bout de tout cela, une transmission. Et donc un mystère. Car le modèle s'en va, la sculpture s'en vient, mais pour un moment. Elle va quitter l'artiste, elle aussi. [...] Je crois, oui, qu'en nous offrant ses sculptures, Alfred Blondel nous partage une histoire, il nous livre un étonnement, il nous communique une admiration et, surtout, il nous passe le relais. » Gabriel Ringlet
Book shows light shelf wear to covers only. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 350 pages with a great many b&w photos, many full-page. Contents include: Perseus arming, Icarus, Behind the rider sits dark care, Tomb of the Duke of Clarence, etc.
IN 4. BR [BE]. 224 PP. ENV 230 ILL EN NOIR ET EN COULEURS. [BE]
IN 8 CARRE. BR [BE]. 80 PP. ENV 70 ILL EN NOIR ET EN COULEURS. [BE]
IN 4. CART [BE]. 80 PP. 60 PPL EN NOIR. [BE]
GRAND IN 8. CART [BE]. 42 PP. 22 ILL DONT 3 EN COULEURS. [BE]
GRAND IN 8. CART [BE]. 44 PP. 22 ILL DONT 3 EN COULEURS. [BE]
As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
Very Good Very Good English Paperback. Dust wrapper. Demy 8vo. (21 x 15 cm). In Turkish. Color and b/w ills. 64 p., 32 color plates. Ali Çelebi.
Torino, Fratelli Pozzo, 1967, 33 x 24'5 cm., tela original con sobrecubiertas, numerosas ilustraciones, la mayoría a toda página, 98 págs.
Paperback, 270x230mm, 216 pages, 192 colour illustrations, French edition Fine! . ISBN 9789061533290. Alors qu'elle avait entame sa carriere de sculpteur au lendemain de la guerre en adoptant un style figuratif classique, Alina Szapocznikow a reconceptualise la sculpture en tant qu'empreinte non seulement de la memoire, mais egalement de son propre corps. Interrompue par la mort prematuree de l'artiste en 1973 a l'age de 47 ans, sa carriere effective ne couvre pas deux decennies, pourtant, Szapocznikow nous laisse en heritage des objets provocants qui evoquent le surrealisme, le nouveau realisme et l'art pop. Moulages de fragments de corps en polyester teinte, souvent metamorphoses en objets quotidiens tels des lampes ou cendriers, formes obtenues a partir de polyurethane liquide solidifie, assemblages complexes qui peuvent incorporer des photographies, vetements ou pieces d'automobile : les ouvres fascinantes de l'artiste resonnent dans la culture actuelle d'une facon tout aussi merveilleusement idiosyncratique que lors de leur creation. Celebre en Pologne, Szapocznikow y a exerce une grande influence des les premices de sa carriere, le moment est venu de reexaminer sa place dans l'histoire de l'art. Alina Szapocznikow, Sculpture Undone 1955-1972, nous offre une vue d'ensemble tres complete de l'oeuvre importante de cette artiste au moment ou elle suscite un interet international grandissant. Richement illustre par plus de 150 planches en couleurs, ce catalogue presente des essais rediges par les commissaires de l'exposition ou sont abordes des aspects cruciaux de la pratique de l'artiste et de l'histoire de sa reception. Il inclut egalement une chronologie complete, permettant d'explorer en profondeur les liens qui unissent sa vie et son art. Alors qu'elle couvre l'une des periodes les plus riches et les plus complexes du xxe siecle, la production de Szapocznikow fait echo a de nombreux aspects de l'evolution artistique et ideologique de son temps en une ouvre sculpturale a la fois fragmentee et transformative, sensuelle et pensee, realisee de maniere ludique et chargee politiquement.Expo: WIELS Contemporary Art Center, Brussels: 10/9/2011 - 8/1/2012 Travelling to the MOMA, New York
