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Book
320 pages : illustrations (chiefly color) ; 25 cm
  • Vorwort / Bernhard Hahnloser, Katia Guth-Dreyfus, Jacqueline Burckhardt, Roland Wäspe, Chantal Prod'Hom, Paul Tanner, Christian Rümelin
  • Gegenwart, ausschliesslich Gegenwart : die Anfangsjahre der Schweizerischen Graphischen Gesellschaft / Christian Rümelin
  • Unbestimmtheit und Metamorphose : oder die Kollusion der Welten / Carole Haensler Huguet
  • Die 1970er-Jahre in der Schweiz : eine neue Konzeption der Druckgrafik als künstlerische Ausdrucksform der Konzeptkunst / Stéphanie Guex
  • "Der Mensch! / Katharina Holderegger
  • Der Mensch nach wie vor!
  • Der Mensch schon immer!
  • Der Mensch jetzt!
  • Der Mensch in allen Seelenlagen!"
  • Die Echos der Neuen Figuration in den Blättern der Schweizerischen Graphischen Gesellschaft
  • "Männer sind so kompliziert" : der Einfluss der Frauen in der Sammlung der Schweizerischen Graphischen Gesellschaft / Karine Tissot
  • Druckgrafik und Fotografie : eine Vernunftehe / Marco Costantini
  • Big is beautiful : Grafik im Raum / Christian Rümelin
  • No limits : Grenzenlos zeitgenössisch / Roland Wäspe
  • Wenn Savoir-faire zu künstlerischer Freiheit führt : Anmerkungen zu einigen aktuellen Editionen der Schweizerischen Graphischen Gesellschaft / Julie Enckell Julliard
  • Index : Künstlerinnen und Künstlei Druckereien Institutionelle Mitglieder Vorstandsmitglieder
  • Katalog : Editionen der Schweizerischen Graphischen Gesellschaft 2017-1918
  • Anhang
  • Bibliografie
  • Dank
  • Impressum.
Art & Architecture Library (Bowes)
Book
287 pages : color illustrations ; 29 cm
Chiaroscuro woodcuts are among the most immediately appealing of all historic prints, displaying exquisite invention, refined draftsmanship, technical virtuosity, and sumptuous color. Printing two or more woodblocks inked in different tones to create an image, the chiaroscuro woodcut was the earliest, most successful foray into color printing in Europe. Following its invention in Germany, the technique was first adopted around 1516 in Italy where it flourished through the 16th century. This novel art form engaged the interests of the most celebrated artists of the Renaissance, including Titian, Raphael, Parmigianino, and Beccafumi, and underwent sophisticated developments in the hands of such master printmakers as Ugo da Carpi, Antonio da Trento, Niccolo Vicentino, and Andrea Andreani. Featuring more than 100 prints and related drawings, this book incorporates pioneering art historical research and scientific analysis to present a comprehensive study of the subject. Essays trace its creative origins and evolution, describing both materials and means of production. Brimming with full-color illustrations of rare and beautiful works, this book offers a fresh interpretation of these remarkable prints, which exemplify the rich imagery of the Italian Renaissance.
(source: Nielsen Book Data)9783791357393 20180910
Art & Architecture Library (Bowes)
Book
2 volumes : illustrations ; 28 cm.
Art & Architecture Library (Bowes)
Book
135 pages : illustrations (chiefly color) ; 28 cm
Art & Architecture Library (Bowes)
Book
112 pages : color illustrations ; 29 cm
Focusing on the vital role of literature in the development of the artistic practice of Frank Stella (b. 1936), this insightful book looks at four transformative series of prints made between 1984 and 1999. Each of these series is named after a literary work--the Had Gadya (a playful song traditionally sung at the end of the Passover Seder), Italian Folktales, compiled by Italo Calvino, Moby-Dick by Herman Melville, and The Dictionary of Imaginary Places by Alberto Manguel and Gianni Guadalupi. This investigation offers a critical new perspective on Stella: an examination of his interdisciplinary process, literary approach, and interest in the lessons of art history as crucial factors for his artistic development as a printmaker. Mitra Abbaspour, Calvin Brown, and Erica Cooke examine how Stella's dynamic engagement with literature paralleled the artist's experimentation with unconventional printmaking techniques and engendered new ways of representing spatial depth to unleash the narrative potential of abstract forms.
(source: Nielsen Book Data)9780300236996 20180828
Art & Architecture Library (Bowes)
Book
139 pages : illustrations (chiefly color) ; 24 cm
Art & Architecture Library (Bowes)
Book
94 pages, 1 unnumbered page : illustrations (some color) ; 21 cm.
  • Géricault -- Le duc d'Aumale et Géricault -- Lee débute - L'Italie -- L'épopée napoléonienne -- Suite anglaise (Londres, 1821) -- Dessins et lithographies à la plume (Londres, 1820) -- Repères chronologiques -- Bibliographie sommaire.
"Figure éminente du romantisme, surtout connu en tant que peintre du cheval, Théodore Géricault (1791-1824) meurt à trente-deux ans, plus jeune que Raphaël ou Watteau, laissant une production lithographique qui compte parmi les plus grands chefs-d'oeuvre du XIXe siècle. Formé par Carle Vernet. Guérin et l'École des beaux-arts, ayant copié les maîtres au Louvre, Géricault échoue au, prix de Rome en 1816, mais se rend à ses frais en Italie. Il introduit dans son oeuvre l'actualité contemporaine : libéral, il montre les souffrances des soldats de l'Empire, critique le régime de la Restauration avec son Radeau de la Méduse (Salon de 1819), s'intéresse à la question de l'esclavage. Durant ses séjours à Londres en 1820-1821, il dénonce dans ses lithographies la réalité sociale des débuts de la révolution industrielle. Les poèmes de Lord Byron inspirent sa production orientaliste, dominée par son amour du cheval. Le musée Condé à Chantilly conserve une collection presque complète de ses lithographies, acquise en 1866 par Henri d'Orléans, duc d'Aumale (1822-1897), donateur de Chantilly à l'Institut de France. "--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
ix, 252 pages, 24 unnumbered pages of plates : illustrations (some color) ; 25 cm
Nineteenth-century Paris is often celebrated as the capital of modernity. However, this story is about cultural producers who were among the first to popularize and profit from that idea. Graphic Culture investigates the graphic artists and publishers who positioned themselves as connoisseurs of Parisian modernity in order to market new print publications that would amplify their cultural authority while distributing their impressions to a broad public. Jillian Lerner's exploration of print culture illuminates the changing conditions of vision and social history in July Monarchy Paris. Analyzing a variety of caricatures, fashion plates, celebrity portraits, city guides, and advertising posters from the 1830s and 1840s, she shows how quotidian print imagery began to transform the material and symbolic dimensions of metropolitan life. The author's interdisciplinary approach situates the careers and visual strategies of illustrators such as Paul Gavarni and Achille Deveria in a broader context of urban entertainments and social practices; it brings to light a rich terrain of artistic collaboration and commercial experimentation that linked the worlds of art, literature, fashion, publicity, and the theatre. A timely historical meditation on the emergence of a commercial visual culture that prefigured our own, Graphic Culture traces the promotional power of artistic celebrities and the crucial perceptual and social transformations generated by new media.
(source: Nielsen Book Data)9780773554559 20180917
Art & Architecture Library (Bowes)
Book
218 pages : illustrations (chiefly color) ; 26 cm
  • Surgissement, mémoire, par Florian Rodari -- Gravures é- lithographies -- Monotypes -- Table des OEuvres -- Remerciements -- Crédits photos -- Astrid de La Forest -- Repères biographiques -- Expositions personnelles -- Expositions de groupe -- Collections publiques -- Bibliographie.
SAL3 (off-campus storage)
Book
286 pages : color illustrations ; 25 x 29 cm
SAL3 (off-campus storage)
Book
224 pages : illustrations (chiefly color) ; 25 x 28 cm
SAL3 (off-campus storage)
Book
xxvii, 439 pages : illustrations (some color) ; 25 cm.
  • Acknowledgments List of Illustrations Abbreviations Introduction Revelatory Playthings: The Religious Origins of the Interactive Print 1 Handling Religion 2 Folding Triptychs 3 Dials and the Printed Host Anatomy of the Reformation: Nosce Antichristum 4 Anatomies both Normal and Deformed 5 Bodily Shame 6 Indecent Exposure to the Anatomically Incorrect Instrumentle auff Papir: Georg Hartmann of Nuremberg and the Printed Scientific Instrument Trade 7 Georg Hartmann as Interactive Printmaker 8 Instrument Printmaking before Hartmann 9 Hartmann as Collaborator Consumption and Exploitation: The International Expansion of the Interactive Book 10 Conspicuous Consumption and Private Presses 11 Lotteries, Gaming, and the Public Reaction 12 Liftable Skirts and Deadly Secrets Afterword: A User's Guide to Art? Bibliography Index.
  • (source: Nielsen Book Data)9789004340138 20180430
Suzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science. Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions-part text, part image, and part sculpture-engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.
(source: Nielsen Book Data)9789004340138 20180430
Green Library
Book
65 pages : color illustrations ; 21 cm.
SAL3 (off-campus storage)
Book
223 pages : illustrations (chiefly color) ; 30 cm
  • 1. Foreword by Axel Ruger, director Van Gogh Museum * 2. Van Gogh's collection of Japanese prints: from commodities to a study collection and utopian ideal, Louis van Tilborgh * 3. The Van Gogh Museum's collection of Japanese prints: an analysis, Chris Uhlenbeck * 4. Popular Collectibles in Van Gogh's Time: Japanese Crepe Prints, Shigeru Oikawa * 5. A selection of 130 Japanese prints from the Van Gogh Museum collection.
  • (source: Nielsen Book Data)9780500239896 20181001
In the winter of 1886-87, during his stay in Paris, Vincent van Gogh bought 660 Japanese prints at the art gallery of Siegfried Bing. His aim was to start dealing in them, but the exhibition he organized in the cafe-restaurant Le Tambourin was a total failure. However, he was now able to study his collection at ease and in close-up, and he gradually became captivated by their colourful, cheerful and unusual imagery. When he left for Arles, he took some prints with him, but the core remained in Paris with his brother Theo. Although some prints were later given away, the collection did not disperse. This book reveals new analyses of the collection, now held in the Van Gogh Museum, given as a long-term loan from the Vincent van Gogh Foundation. The authors delve into its history, and the role the prints played in Van Gogh's creative output. The book is illustrated with over 100 striking highlights from the collection.
(source: Nielsen Book Data)9780500239896 20181001
Art & Architecture Library (Bowes)
Book
8, 282 pages : illustrations (some color) ; 27 cm
East Asia Library

16. Kunisada no shunga [2018]

Book
191 pages : illustrations (some color) ; 29 cm.
East Asia Library
Book
179 pages : color illustrations ; 24 x 29 cm
Art & Architecture Library (Bowes)
Book
333 pages : illustrations ; 16 x 22 cm.
  • Einleitung
  • Johann Wilhelm Baur
  • Melchior Küsel
  • Publius Ovidius Naso vita
  • Die Metamorphosen
  • Illustrationen Metamorphosen
  • Literaturverzeichnis
  • Titel der Radierungen
  • Lister der Götter
  • Bildteil.
SAL3 (off-campus storage)
Book
199 pages : illustrations (chiefly color) ; 29 cm
  • Einleitung : "Wenn du es nur sehen könntest" : (Wolf Eiermann)
  • Kurze Geschichte des Handkolorits in der Druckgraphik : (Wolf Eiermann)
  • Farbwelten des Wissens : das Handkolorit in den wissenschaftlichen Illustrationen der Frühen Neuzeit : (Claudia Steinhardt-Hirsch)
  • Aquarellist oder Kolorist, Künstler oder Handwerker? Das Illuminieren im Ranggefüge der Kunst : (Wolf Eiermann)
  • Der kolorierte Kolorierer : Druckgraphiken von und nach Antonio Tempesta mit hinzugesetzten Farben : (Eckhard Leuschner)
  • Katalog
  • Glossar
  • Traktate zur llluminirkunst in Auswahl
  • Literaturverzeichnis
  • Namensregister.
SAL3 (off-campus storage)
Book
400 pages : color illustrations, portraits ; 31 cm
Art & Architecture Library (Bowes)