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Book
viii, 288 pages : illustrations (some color), maps (some color) ; 25 cm.
Based on Guilliam Forchondt's surviving business documentation in Antwerp and applying an aggregate and data-driven approach, Connecting Art Markets focuses on the role of art dealers in mediating the supply and demand for art, behaving in particular ways as to influence the markets for artworks in which they were strategically invested. Van Ginhoven presents her findings on Guilliam Forchondt's workshop production volumes and transatlantic art trade flows, and evaluates the relationship between the production of paintings in the Southern Netherlands, their local, regional and overseas distribution channels, and the markets for these works in Europe and the Americas during the seventeenth century.
(source: Nielsen Book Data)9789004319745 20170306
Art & Architecture Library (Bowes)
Book
311 pages : illustrations, charts, plans ; 24 cm.
  • La collection privée. Le temps du collectionneur -- Mariemont et la dynastie Warocqué -- La collection privée de Raoul Warocqué -- La constitution de la collection et l'aménagement du château -- Les aspects scientifiques de la démarche de Raoul Warocqué -- L'ouverture au public -- Le projet posthume de Raoul Warocqué -- Enrichir les Musées royaux d'Art et d'Histoire -- Léguer le domaine de Mariemont à l'Etat belge -- Le testament de Raoul Warocqué -- Les motivations de Raoul Warocqué -- Les sources d'inspiration de Raoul Warocqué -- Le passage de la collection privée au musée public. Le temps de l'amateurisme -- La création et les premières années du musée de Mariemont -- La période de-guerre (1917-1918) -- La reprise du domaine de Mariemont par l'Etat belge (1919-1921) -- L'acceptation du legs de Raoul Warocqué -- L'organisation de la gestion publique du domaine de Mariemont -- Le statu quo des premières années du musée de Mariemont (1921-1934) -- Les acteurs du musée de Mariemont -- Les intentions du ministre Jules Destrée -- L'attitude de l'administration des Beaux-Arts -- La position de la Commission administrative du domaine de Mariemont -- La conception de Richard Schellinck -- Les ressources du musée de Mariemont -- Les revenus du domaine de Mariemont -- La question de la dotation -- Les crédits budgétaires -- Les autres revenus -- Les dépenses du domaine de Mariemont -- La création de l'école provinciale d'horticulture -- Le personnel du château de Mariemont -- L'entretien du château -- Le déséquilibre entre les revenus et les dépenses -- Les fonctions muséales remplies à Mariemont -- La présentation -- La conservation -- La préservation -- Les acquisitions -- La recherche -- L'ouverture au public et la communication -- L'accueil des visiteurs -- La communication -- Le musée public. Le temps du professionnalisme -- Vers l'épanouissement du musée de Mariemont -- Le réveil du musée de Mariemont (1934-1939) -- Les heures sombres (1940-1945) -- L'épanouissement de Mariemont (1946-1960) -- Les acteurs du musée de Mariemont -- La conception des conservateurs -- L'attitude du ministère de l'Instruction publique -- La position de la Commission administrative du domaine de Mariemont -- Les ressources du musée de Mariemont -- Les ressources à l'époque de Paul Faider -- Les crédits budgétaires -- Le Patrimoine du domaine de Mariemont -- Les Amis de Mariemont -- Le Fonds commun des Musées -- Les ressources à l'époque de Germaine Faider -- Les crédits budgétaires -- Le Patrimoine du domaine de Mariemont -- Les Amis de Mariemont -- Le Fonds commun des Musées -- Le déséquilibre entre les ressources et les dépenses -- Les fonctions muséales remplies à Mariemont -- La présentation -- La conservation -- La préservation -- Les acquisitions -- La recherche -- L'ouverture au public et la communication -- L'accueil des visiteurs -- La communication -- Les expositions temporaires.
"A la charnière des me et XXe siècles, les musées de collectionneurs se multiplient un peu partout à l'étranger mais aussi en Belgique. De riches collectionneurs, tirant souvent leur fortune de la révolution industrielle, donnent naissance à des musées en cédant à la collectivité leurs oeuvres d'art et le bâtiment qui leur sert d'écrin. Le musée de Mariemont incarne bien cette catégorie de musées, à laquelle appartiennent par exemple le musée Condé à Chantilly, la Wallace Collection à Londres, les musées Jacquemart-André, Nissim de Camondo ou Cernuschi à Paris, ou encore la Frick Collection à New York. Ce livre revient sur l'histoire du musée de Mariemont. Situé au coeur du Hainaut, le musée doit son existence à la volonté de Raoul Warocaué industriel, homme politique et philanthrope, qui lègue à la Belgique en 1917 son château et les collections d'objets d'art qu'il y a rassemblées. Accepté par l'Etat grâce à l'intervention de Jules Destrée, Mariemont est dirigé dans un premier temps par le secrétaire personnel du bienfaiteur. Vivotant pendant plusieurs années, il est remis en question et fait l'objet de tentatives de démantèlement. C'est Paul Faider, désigné comme conservateur en 1934, qui parvient à légitimer l'institution et à y jeter les bases du musée moderne, entreprise que poursuivra ensuite son épouse Germaine Faider. En examinant l'évolution du musée de Mariemont au travers de ses acteurs, de ses ressources et des fonctions exercées sur le terrain, ce livre montre comment les pouvoirs publics sont arrivés à concilier le testament d'un collectionneur avec les impératifs découlant des missions du musée ; il met en évidence les difficultés qu'ils ont rencontrées dans la gestion d'un tel patrimoine et les solutions qu'ils y ont apportées. Cette analyse du processus par lequel une collection privée se mue en musée public constitue une contribution importante à l'histoire de la politique muséale belge au XXe siècle et à l'histoire des musées en général."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
207 pages, 13 unnumbered pages : illustrations (chiefly color) ; 26 cm
"Sur la page blanche, tout est possible rassemble les plus beaux exemples des illustration d'Elisabeth Ivanovsky pour des livres pour enfants et pour adultes, mais aussi des études de nature et des travaux réalisés à la Cambre, pour la plupart inédits."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
xi, 183 pages, 8 unnumbered pages of plates : illustrations (some color) ; 25 cm
  • Table of Contents Introduction Chapter One: The Pose and the Posture Chapter Two: Role-Playing and Acting Chapter Three: Aesthetic Performances Conclusion Selected Bibliography Index.
  • (source: Nielsen Book Data)9781409427759 20170306
Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.
(source: Nielsen Book Data)9781409427759 20170306
Art & Architecture Library (Bowes)

5. A2RC architects [2016]

Book
432 pages : illustrations (chiefly color) ; 26 cm
Features 256 pages of spectacular designs - Breathtaking full-colour photography showcased in a chic, modern format Brussels-based architecture firm A.2R.C is renowned for its steadfast dedication to the continuing urbanisation of the city of Brussels. Critical of attempts over the years to 'modernise' Brussels, A.2R.C's aim is to pursue the reintegration of the city by offering full architectural services for the transformation and readaptation of notable buildings. A.2R.C's expertise extends to new construction, particularly large-scale, mixed-use urban ensembles, and it also has a reputation as one of Europe's most experienced firms in newly built and renovated theatre buildings. This book explores the work of a firm dedicated to the future of one of Europe's most historic and beautiful cities. SELLING POINTS: * A.2R.C 's expertise extends to new construction, particularly large-scale, mixed-use urban ensembles, and it also has a reputation as one of Europe's most experienced firms in newly built and renovated theater buildings * Showcases breathtaking full-colour photography showcased in a chic, modern format, accompanied by detailed plans * Features a wide range of projects, mixed-use, cultural buildings, public and urban spaces etc * Will appeal to all architects, landscape and interior designers, and urban planners 400 col.
(source: Nielsen Book Data)9781864701579 20170313
Art & Architecture Library (Bowes)
Book
303 pages : illustrations (some color) ; 30 cm
Art & Architecture Library (Bowes)
Book
176 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
278 pages : illustrations (some color), facsimiles, portraits (some color) ; 24 cm.
Art & Architecture Library (Bowes)
Book
184 pages : illustrations (some color) ; 29 cm + 1 audio disc (digital ; 4 3/4 in.) Sound: digital; 1.4 m/s.
Art & Architecture Library (Bowes)
Book
303 pages : illustrations (some color) ; 27 cm
"Emile Verhaeren (Sint-Amands, 1855 - Rouen, 1916) fut à la fois un poète et un écrivain d'art. Tout au long de sa vie, il a joui d'une renommée internationale. Verhaeren suivit pas à pas les différentes étapes du développement de l'avant-garde belge, défendant multiples aspects de celui-ci, tels le naturalisme et l'engagement social, l'impressionnisme et le néo-impressionnisme et le symbolisme. Verhaeren, tant dans ses textes poétiques que dans ses écrits d'art, met en mots ses émotions, ses passions et ses combats artistiques. A l'occasion du centenaire du décès d'Émile Verhaeren, le Musée des Beaux-Arts de Gand organise l'exposition Le Regard de Verhaeren, un hommage à celui qui fut l'un des principaux acteurs du paysage culturel belge et européen vers 1900."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
147 pages : illustrations (chiefly color) ; 28 cm
Art & Architecture Library (Bowes)
Book
240 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
112 pages : illustrations (chiefly color) ; 26 cm
Hans Memling was one of the most important, prolific and versatile painters active in 15th-century Bruges, and one of the leading artists of the Early Netherlandish School. Commissioned by Abbot Jan Crabbe, one of Memling's most signifcant and erudite patrons, the triptych of the Crucifi xion - in particular its wings, with their complex and meticulously conceived background landscapes and the convincing realism of the portraits - ostentatiously demonstrate Memling's skills and ambitions. Completed around 1470, the triptych was dismembered in the 18th century. Two panels from the altarpiece are among the finest paintings owned by the Morgan Library& Museum, New York, where they are on permanent view in Pierpont Morgan's Study. The exhibition brings together the scattered elements of the famous triptych, reuniting the Morgan inner wings with the central panel now owned by the Musei Civici in Vicenza, Italy, and the outer wings from the Groeningemuseum in Bruges, Belgium. Hans Memling: Portraiture, Piety, and a Reunited Altarpiece accompanies the first museum exhibition to explore the reconstructed masterpiece in context. It has long been observed that the donor portraits are the most outstanding aspect of the Crabbe Triptych, especially the portrait of Anna Willemzoon in the left wing, an extraordinary image of old age, and representative of the merging of the sacred and secular realms that is often present in the work of Memling and his contemporaries. Memling was notable as a painter of portraits, and his work in this field revolutionized portrait painting across Europe. To present the artist's extraordinary ability to capture a likeness, a number of his independent portraits will be examined, including the Morgan's compelling Man with a Pink. The volume also highlights links between panel painting and manuscript painting in 15th-century Flemish art, drawing connections, for example, between the grisaille Annunciation on the outer wings of the altarpiece and the grisaille figures that decorate so many manuscripts painted in Bruges during Memling's lifetime. Underscoring this great artist's impact, the book also examines Early Netherlandish drawings from the Morgan's collection, works ranging from the early compositional studies and fi gure drawings to a group of portrait drawings made in the generation after Memling and under his influence.
(source: Nielsen Book Data)9781911300083 20161128
Art & Architecture Library (Bowes)
Book
239, 63 pages : illustrations (chiefly color) ; 25 cm
Art & Architecture Library (Bowes)
Book
103 pages : illustrations (chiefly color) ; 24 cm.
Art & Architecture Library (Bowes)

16. James Ensor [2016]

Book
174 pages : illustrations (some color) ; 30 cm
James Ensor (1860-1949) produced one of the most unusual bodies of work at the turn of the twentieth century. Marked by psychological complexity, contradictions and sheer eccentricity, his works - featuring such bizarre subject-matter as dressed-up skeletons and macabre carnival masks - have continued to baffle and intrigue in equal measure. Ensor was born in Ostend and barely left his home town during his lifetime; his family, however, ran a curio shop filled with an array of exotic objects including parrots, a monkey and masks from around the world, which perhaps in part influenced the imagery of his mature work. In this volume, essays explore Ensor's life and legacy, while Luc Tuymans's comments on his selection provide a dictinctive picture of James Ensor, who has been such a major influence on Expressionism and Surrealism.
(source: Nielsen Book Data)9781910350454 20170911
Art & Architecture Library (Bowes)
Book
385 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
158 pages : illustrations (some color) ; 20 cm
  • My ogre book : suite of poetic tales, 1957 / Marcel Broodthaers - Shadow theater , 1973-1974
  • Midnight, 1960.
Art & Architecture Library (Bowes)
Book
255 pages : color illustrations ; 32 cm
Studio Job redefines the applied arts for the contemporary age. Job Smeets and Nynke Tynagel's collaboration creates highly expressive work where the physical potential of the materials they use-often bronze or laser-cut marquetry-is pushed to the limit, with an approach more in keeping with that of traditional guilds than industrial design. Studio Job: Monkey Business includes furnishings, sculptures, exhibitions, commissioned interiors, and the designers' own home, tracing the past five years of Studio Job's creative vision. Opulent, intricate, and ironic, the work of Studio Job combines an extraordinarily high level of craftsmanship with extreme ornamentation. Studio Job draws from the traditional and the topical, the organic and the artificial. With design inspired by illuminated manuscripts and more than 200 sketches, concept renderings, and photographs, Studio Job: Monkey Business is the ultimate expression of two of the most influential designers working today.
(source: Nielsen Book Data)9780847848300 20160619
Art & Architecture Library (Bowes)
Book
96 p. : col. ill. ; 28 cm
Art & Architecture Library (Bowes)