André calas (16 Ergebnisse)

Softcover. Zustand: Très bon. Ancien livre de bibliothèque. Edition 2016. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2016. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Softcover. Zustand: Très bon. Ancien livre de bibliothèque. Edition 2016. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2016. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Softcover. Zustand: Très bon. Ancien livre de bibliothèque. Edition 2016. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2016. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Zustand: Gut. 1. 1. Auflage 24,5 x 17,5 cm XVI, 335 Seiten. Hardcover, Pappeinband, mit den üblichen Bibliotheks-Markierungen, Stempeln und Einträgen, innen wie außen, siehe Bilder. Etwas gebräunt und angestaubt. Innen sauber, leicht gebräunt. NATO ASI Series. Series H: Cell Biology, volume 58. Proceedings of the NATO Advanced Research Workshop on Recent Advances in Neuroctochemical Metholds held in Seillac, France, September 26-28, 1990. With plenty diagrammes and figures. DX-K82|11875BB Sprache: Englisch Gewicht in Gramm: 750. …

tapa blanda. Zustand: Bien. Historia.(93) Historia y Vida. Madrid. 1972. 22 cm. Encuadernación en tapa blanda de editorial. Los españoles pintados por sí mismos . Cubierta deslucida. (=3409473=) HF26.

Paperback. Zustand: Brand New. 378 pages. French language. 9.37x6.69x0.71 inches. In Stock.

Zustand: New. In English.

Couverture souple. Zustand: bon. R200106046: 1955. In-4. Broché. Etat d'usage, Tâchée, Agraffes rouillées, Papier jauni. 32 pages augmentées de quelques photos et illustrations en noir et blanc,dans le texte. Texte sur 2 colonnes. . . . Classification Dewey : 70.49-Presse illustrée, magazines, revues. …

Couverture souple. Zustand: bon. R200106048: 1955. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 32 pages augmentées de quelques photos et illustrations en noir et blanc,dans le texte. Texte sur 2 colonnes. . . . Classification Dewey : 70.49-Presse illustrée, magazines, revues. …

Zustand: New. Proceedings of the NATO Advanced Research Workshop on Recent Advances in Neurocytochemical Methods held in Seillac, France, September 26-28, 1990The great strides made in the field of morphological methods during the past decades have perhaps found thei.

Paperback. Zustand: Brand New. reprint edition. 351 pages. 9.50x6.10x0.90 inches. In Stock.

Taschenbuch. Zustand: Neu. Neuware - The great strides made in the field of morphological methods during the past decades have perhaps found their most spectacular expression in the functional exploration of the nervous system. In comparison with other tissues, nerve tissue displays three kinds of specificity : structural, because of the unique organization of the neuronal networks ; chemical as shown, for example, by the informative molecules exchanged between the nerve cells, and of course functional, thanks to the particular metabolic and electrophysiological characteristics of the neurons. Although for a long time the structural properties of the nervous system were generally considered to constitute the only field to which morphological techniques could be applied, we are to-day justified in believing that they can also explore the nerve tissue through its specific chemical and functional aspects, thanks to the development of immunocytochemistry and in situ hybridization, to the elaboration of the deoxyglucose method, to the use of voltage or ion sensitive dyes, and to the progress made in the application of in vivo techniques like PET. These methods have evolved so fast, the technical and fundamental problems they raise are so numerous and stimulating, and the importance of the complementary data they provide is so obvious, that we thought it was a good time to organize a new meeting between distinguished specialists in the neurocytochemical field.…

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Hardcover. Zustand: As New. Zustand des Schutzumschlags: Near Fine. 1st Edition. 1 volume (multiple pagination): illustrations in black and white and colour ; 32 cm. Issued in a slip case. Contains facsimile editions of issues 9 to 13 of the magazine Minotaure.

16°. 80 S. mit 13 Abbildungen. Originalleinenband, Rücken und Deckel bedruckt 'Donati'. 1. und einzige Ausgabe des frühen, ungewöhnlichen Katalogs der Ausstellung des aus Italien stammenden Künstlers, nunmehr Surrealisten (1909-2008), der 1947 mit Breton u.a. die berühmte Surrealisten-Ausstellung in New York organisiert hatte. Mit Faksimile einer Ansichtspostkarte von Breton aus Haiti. Eines von 2000 Exemplaren. - Leichte Gebrauchsspuren, etwas locker.…

8vo. (230 x 154 mm). [3 unnumbered leaves, one large and fold-out]. Title to front cover, verso and interior of folding flap with text 'Europe' by James Thrall Soby, page (also to interior of wrapper) with 'Catalogue' with artist, title and date of each work, leaf of white paper with the text 'America' by Nicola Calas recto, verso with blank leaf with notes here with numerous signatures (see below), following fold-out spread with monochrome reproduction photograph by George Platt Lynes of the participating artists (see also below), recto and verso also with the text 'America' concluding on the inner rear wrapper. Original publisher's pale yellow printed wrappers with folding flap, titles to front cover in green, later green board slipcase. [PROVENANCE: Margaret and Alfred Barr; acquired from Barr's estate by Thomas Walther; private collection Berlin]. Margaret and Alfred Barr's presentation copy of the catalogue for the exhibition they had done so much to enable, signed by all of the participating artists and by the gallerist Pierre Matisse. Pierre Matisse's presentation is in black ink to the foot of the blank 'Notes' leaf bearing the signatures of the participating artists: 'THIS IS A SPECIALLY SIGNED COPY FOR MARGARET AND ALFRED BARR / Pierre Matisse / NEW YORK MARCH 3d 1942'. The copy is signed in various colour inks by all of the participants: Marc Chagall (blue ink), Pavel Tchelitchew (turquoise), Ossip Zadkine (red), Eugene Berman (purple), Yves Tanguy (umber), Fernad Léger (red), Max Ernst (blue), André Masson (red), André Breton (turquoise), Amedée Ozenfant (blue), Kurt Seligmann (umber), Piet Mondrian (blue / black), Roberto Matta Echaurren (sepia) and Jacques Lipchitz (green). It is significant that Margaret Scholari Barr, known as Marga, is listed first in the presentation by Pierre Matisse, as from 1940 she had taken charge of the ongoing operations to help artists and writers fleeing Europe. Each individual required 'a visa from the State Department, an affidavit of financial support, an affidavit of moral sponsorship vouching that he or she was in imminent danger and would not be inimical to U.S. interests, biographical sketches and letters of reference proving identities and the above, and at least $400 for ocean passage'. In conjunction with Curt Valentin (himself a beneficiary of the Barrs' help), Kay Sage (she married Yves Tanguy, another beneficiary in 1940), Kay Boyle and the Emergency Rescue Committee. Although no exact list of all of those who benefited from the help of the Barrs and the ERC remains extant, the majority of those who exhibited in 'Artists in Exile' did and the present catalogue represents a remarkable testament to their work, their efforts and their humanity. The exhibition - perhaps an unlikely one given the range of participants and their differing outlooks, temperaments and sympathies - was held at Pierre Matisse, 41 East 57th Street, New York from 3rd - 28th March, 1942; each of the artists contributed one work undertaken after their arrival in the US, those by Masson and Lipchitz were courtesy of the Buchholz Gallery. 'Pierre Matisse did not run after publicity, but there were times when publicity ran after him. That is what happened in March 1942 when the Pierre Matisse Gallery in New York opened a show called 'Artists in Exile'. The title came fraught with pathos. So did the timing . The word 'exile' had sharp teeth . As he wrote to his father . 'I stayed in town to hang the exiles' show today, instead of tomorrow. I took this precaution because all the exhibitors are right here in town. You know what they are like. They'd insist on giving me advice, and making sure that their own painting had a very goood place . They number fourteen in all, and I got them together for a group photograph. As most of them didn't speak to one another when they were in France, I was afraid there would be trouble when they were all thrown together . '. (Pierre Matisse quoted by John Russell). 'In no sense were they a band of brothers. But they did all agree to huddle together before the camera . Given the variety of age, instinct, outlook, nationality, and relative achievement that was in question, the show was necessarily the equivalent of alphabet soup. It was not likely that the fourteen artists in question would ever again be in the same room at the same time. Not only were they a tight fit in the space available, but solidarity was minimal. And yet, for an uneasy quarter of an hour, along with other unlikely conjunctions, André Masson sat next to Piet Mondrian, and Marc Chagall sat between Max Ernst and Fernand Léger. There was zero eye contact. Unsmiling, they sat stiff and still and stared straight ahead.' (James Russell). ' . as the situation became increasingly desperate across the Atlantic [i.e. in Europe] in the 1930s, European artists, scholars, and arts workers began reaching out to MoMA for help. Working in concert with the Emergency Rescue Commitee (ERC), a group of New York-based activists, MoMA staff, including director Alfred H. Barr Jr. and his wife, art historian Margaret Scholari Barr, who led the initiative at the Museum, helped their peers in Europe secure the papers and funds necessary to immigrate to the US . Scholari Barr made 'rescue' operations her full-time occupation in these years . Artists including André Breton, Marc Chagall, Max Ernst and Piet Mondrian were able to relocate here through the aid of the Barrs and the ERC.' (MoMA catalogue). 'Sometimes doing more than the government was willing to do, MoMA was the final hope for many. The Barrs took advantage of their contacts and MoMA?s reputation to turn the museum into a literal protector and defender of modern art.' (Christina Eliopoulos). [see Christina Eliopoulos' 'In Search of MoMA?s ?Lost? History: Uncovering Efforts to Rescue Artists and Their Patrons', MoMA, 2016; see John Russell's 'Matisse: Father and Son', New York, 1999, pp. 201 - 203].…