%{search_type} search results

8,141 catalog results

RSS feed for this result
Book
139 pages : illustrations (chiefly color) ; 24 cm
Art & Architecture Library (Bowes)
Book
286 pages : color illustrations ; 25 x 29 cm
Art & Architecture Library (Bowes)
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
179 pages : color illustrations ; 24 x 29 cm
Art & Architecture Library (Bowes)
Book
334 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.
Art & Architecture Library (Bowes)
Book
94 pages, 1 unnumbered page : illustrations (chiefly color) ; 22 cm.
  • Rembrandt, un graveur en recherche -- Jaco Rutgers (traduction : Jane MacAvock) -- Le duc d'Aumale et Rembrandt -- Catalogue -- Nicole Garnier-Pelle, avec la collaboration de Jaco Rutgers et Laurent Ferri -- Gravures de Rembrandt -- Dessins de Rembrandt ou de son cercle -- Gravures d'élèves de Rembrandt ou d'après Rembrandt -- Photographies de la collection du duc d'Aumale -- Repères chronologiques -- Bibliographie.
"Renommé pour sa peinture, Rembrandt (1606-1669) excellait particulièrement dans le domaine de la gravure à l'eau-forte, où il s'est livré à des recherches infinies, variant lés effets d'ombre et de lumière, ajoutant ou retranchant des détails, et transformant parfois complètement ses compositions. Le musée Condé à Chantilly conserve une des meilleures collections françaises d'épreuves du grand maître hollandais après les grandes institutions parisiennes. Toutes de très haute qualité et provenant des plus grands amateurs (Pierre Mariette, Robert-Dumesnil, etc.), ces eaux-fortes, publiées pour la première fois, ont été réunies dans les années 1860 par Henri d'Orléans, duc d'Aumale (1822-1897), donateur de Chantilly à l'Institut de France."--Page 4 of cover.
SAL3 (off-campus storage)
Book
394 pages : illustrations (some color) ; 25 x 30 cm.
Art & Architecture Library (Bowes)
Book
183 pages : illustrations (some color) ; 29 cm
Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, including examples from lithography?s early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new process and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris around 1815 after the fall of Napoleon?s empire, the art and industry of lithography grew in tandem with the city, as it became Europe?s artistic and urban capital over the course of the nineteenth century. Lithographs played a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.00Exhibition: Zimmerli Art Museum/Rutgers University, New Brunswick, USA (20.1. - 29.7.2018).
Art & Architecture Library (Bowes)
Book
253 pages : illustrations (some color), color maps ; 26 cm
SAL3 (off-campus storage)

10. Abraham de Bruijn [2017]

Book
2 volumes : illustrations ; 28 cm.
Art & Architecture Library (Bowes)
Book
123 pages, 111 unnumbered pages : illustrations (some color) ; 30 cm
Art & Architecture Library (Bowes)
Book
332 pages : illustrations (chiefly color) ; 29 cm
The American Dream: From Pop to present presents an overview of the development of American printmaking since 1960, paying particular attention to key figures such as Jasper Johns, Robert Rauschenberg and Andy Warhol. The 1960s was a period of change in the production, marketing and consumption of prints and the medium attracted a new generation of artists whose attitude towards making art had been conditioned by the monumentality and bold, eye-catching nature of popular imagery in postwar America, from advertising billboards to drive-in movies. Artists used to working on large canvases and huge sculptures created prints of an unprecedented ambition, scale and boldness in state-of-the-art workshops newly established on both the East and West coasts. Prints also became a means for expressing opinions on the great social issues of the day, from civil rights to the overt and covert role of government. This has continued, with feminism, gender, the body, race and identity, all topics represented in prints in a variety of stylistic approaches across the decades. The changing nature of American society provides a core element of the narrative, with prints offering a fascinating insight into contemporary thinking and attitudes.
(source: Nielsen Book Data)9780500239605 20170530
Art & Architecture Library (Bowes)
Book
261 pages : illustrations (chiefly color) ; 30 cm
  • Clavé : le graveur et son époque / Tomàs Llorens -- Clavé l'expérimentateur / Céline Chiva-Castex -- Clavé, ou, La poésie des échanges artistiques / Aude Hendgen.
"Antoni Clavé (1913-2005) fait partie des grands peintres graveurs du XXe siècle qui ont trouvé dans la gravure une pratique complémentaire de celle de la peinture et la sculpture. Ce catalogue raisonné s'ajoute aux ouvrages de référence de Roger Passeron (1977) et de la Sala Gaspar (1984) en réunissant, autour des oeuvres précédemment publiées, des oeuvres inédites redécouvertes, les dernières estampes réalisées par l'artiste, ainsi que les ouvrages de bibliophilies. Ce catalogue se veut un outil définitif pour les amateurs autant qu'une plongée au coeur d'un oeuvre gravé en corrélation permanente avec les oeuvres peint et sculpté, révélant ainsi la démarche créatrice globale de cet artiste singulier qui a occupé une place à part dans l'histoire de l'art français et espagnol de la seconde moitié du XXe siècle."--Page 4 of cover.
SAL3 (off-campus storage)
Book
127 pages : color illustrations, portrait ; 28 cm
  • Vorrede und Dank / Hannelore Fisher
  • Einführung / Annette Seeler
  • Die Vorgeschichte
  • Historienmalerei und ihre Bedeutung für Käthe Kollwitz
  • Der Auftraggeber : die "Verbindung für historische Kunst"
  • Losbruch : Zwischen Historie und Moderne oder die künstlerische Reformation um 1900
  • Der historische Stoff : Wilhelm Zimmermanns Geschichte des Grossen deutschen Bauernkriegs
  • Exkurs : Martin Luther und die Bauern
  • Die Dramaturgie : der Zyklus Bauernkrieg und seine Entwicklung als Bilderzählung
  • Ausklappseiten : der Zyklus Bauernkrieg auf einen Blick
  • Die Initialzündung : Aufruhr (1899) und das fünfte Blatt Losbruch (1902-03)
  • Das erste Blatt : die Pflüger (1901 bis Januar 1906)
  • Das zweite Blatt : Vergewaltigt (1901-02?-1907)
  • Das vierte Blatt : Bewaffnung in einem Gewölbe (1902 bis Frühjahr 1906)
  • Das dritte Blatt : Beim Dengeln (1902-03? und 1904-05)
  • Das sechste Blatt : Schlachtfeld (1903-07)
  • Das siebente Blatt : die Gefangenen (1908)
  • Bestandsliste des Käthe Kollwitz Museum zum Zyklus Bauernkrieg
  • Begriffserklärung, Glossar
  • Käthe Kollwitz : Leben und Werk
  • Literaturverzeichnis
  • Leihgeber.
Art & Architecture Library (Bowes)
Book
263 pages : illustrations (chiefly color) ; 30 cm
East Asia Library
Book
309 pages : color illustrations ; 24 cm
Art & Architecture Library (Bowes)
Book
xiii, 232 pages : illustrations ; 22 cm.
  • Acknowledgements.- List of Tables/Figures.- Chapter 1: Beginnings.- Chapter 2: Scandal.- Chapter 3: Production.- Chapter 4: People.- Chapter 5: Trade Networks.- Chapter 6: The Physical Marketplace.- Chapter 7: The Shops.- Chapter 8: Satiric Stock.- Bibliography.- Index.
  • (source: Nielsen Book Data)9783319499888 20170724
This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis - a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
(source: Nielsen Book Data)9783319499888 20170724
Art & Architecture Library (Bowes)
Book
135 pages : illustrations (some color) ; 29 cm
  • Essais -- Camille Pissarro et l'invention de l'estampe originale -- Camille Pissarro et l'estampe impressionniste -- Les timbres des éditions posthumes -- Catalogue -- Pontoise, 1872-1883 -- Éragny, 1884-1903 -- Les Baigneuses, 1894-1895 -- Rouen, 1883-1903 -- Les Portraits.
"Camille Pissarro et Edgar Degas ont inventé l'estampe impressionniste. C'est à l'aube des années 1860 que Pissarro grave ses premières eaux-fortes. En 1873, à l'initiative du docteur Gachet, il renoue avec la gravure en compagnie de Guillaumin et de Cézanne. Puis, à partir de 1879, Degas l'initie aux encrages en couleurs. Dès lors, par la multiplication des états d'un même motif, Pissarro va faire de la gravure un outil d'expérimentation. Cette possibilité constitue une découverte qui le prépare alors à ses célèbres séries urbaines et portuaires. Il nomme ses gravures des "Impressions gravées". Avec son oeuvre gravé, Pissarro prend place dans l'histoire de l'art aux côtés des plus grands peintres-graveurs de tous les temps, Rembrandt, Goya et plus tard Picasso."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
xix, 293 pages : illustrations ; 23 cm.
  • Acknowledgments Introduction 1. Supports for Prints and Drawings 2. Conservation Problems Related to the Paper Support of Prints and Drawings 3. Conservation Problems Related to the Materials and Techniques of Prints 4. Conservation Problems Related to the Materials and Techniques of Drawings 5. Item-Level Collection Protection: Envelopes, Sleeves, Folders, Enclosures, Mats, Boxes, Frames, and Furniture 6. Preventive Conservation for Prints and Drawings 7. Basic Paper Conservation Procedures Glossary Appendix 1: How to Make Starch Paste and Methyl Cellulose Adhesive By Katherine Sanderson Appendix 2: Suppliers of Paper Conservation Materials and Equipment Compiled by Catherine Lukaszewski About the Author Index.
  • (source: Nielsen Book Data)9781442239708 20170206
The 2nd edition of The Care of Prints and Drawings provides practical, straightforward advice to those responsible for the preservation of works on paper, ranging from curators, facility managers, conservators, registrars, collection care specialists, private collectors, artists, or students of museum studies, visual arts, art history, or conservation. A greater emphasis is placed on preventive conservation, a trend among collecting institutions, which reflects the growing recognition that scarce resources are best expended on preventing deterioration, rather than on less effective measures of reversing it.
(source: Nielsen Book Data)9781442239708 20170206
Art & Architecture Library (Bowes)
Book
422 pages : illustration (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)