barr alfred editor (20 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. B/w And Color Illustrations (illustrator). Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.4.

Hardcover. Zustand: Good. No Jacket. B/w And Color Illustrations (illustrator). Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.4.

Hardcover. Zustand: Fair. No Jacket. B/w And Color Illustrations (illustrator). Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less 1.4.

Hardcover. Zustand: Good. No Jacket. B/w And Color Illustrations (illustrator). Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.4.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 4.55.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 4.55.

Zustand: Fair. Acceptable condition. No Dust Jacket Former Library book. Rebound.

Paperback. Zustand: Very Good. The Museum of Modern Art / The Chicago Art Institute, 1957 January 1957 Binding: Trade Paperback.

Paperback. 115p., illus. Good condition, backstrip worn & chipped.

First edition. Very good in wraps, with some light soiling to soft white covers.

Zustand: Good. Good condition. (Pablo Picasso, Exhibition Catalogs) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. 1st Edition. First Edition,1986. Clean and tightly bound in white cloth with blindstamped cover image. The contents are unmarked except for a small spot on the margin of the last page, remains Near Fine. The dust jacket shows slight rubbing to the gloss only. International shipping may require added postage charges.

First edition. Softcover. 115 pages. Exhibition catalog for a show that ran May 22 through September 8, 1957 at The Museum of Modern Art and then October 29 through December 8, 1957 at The Art Institute of Chicago. Features a preface by Barr. Includes numerous black and white illustrations and a few in color. An about very good copy in wrappers with bumping to the corners and some other light wear. Internally a clean copy.

Zustand: Good. Penguin Modern Painters series Location:50 32 plates in black and white and color corner creased 50.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. Tipped In Color Plates, B/W Illustrations (illustrator). 1st Edition. 239 Pp. Black Cloth Spine, Gilt, Patterned Boards. First Printing. Near Fine In Near Fine Dj Priced $15.00. Small Name Label On Front Free Endpaper.

Wraps. Second Edition [stated]. [2], 115, [1] p. illus. (part col. ) 25 cm. From Wikipedia: "Alfred Hamilton Barr, Jr. (January 28, 1902 August 15, 1981), known as Alfred H. Barr, Jr., was an American art historian and the first director of the Museum of Modern Art in New York City. From that position, he was one of the most influential forces in the development of popular attitudes toward modern art; for example, his arranging of the blockbuster Van Gogh exhibition of 1935, in the words of author Bernice Kert, was "a precursor to the hold Van Gogh has to this day on the contemporary imagination." Barr graduated from the Boys' Latin School of Maryland. Barr received his B.A. in 1923 and his M.A. in 1924 from Princeton University, where he studied art history with Frank Jewett Mather and Charles Rufus Morey. In 1924, he began doctoral work at Harvard, but left after completing PhD course requirements to pursue teaching. He would not be awarded the PhD until 1946. Barr was hired as an associate professor to teach art history at Wellesley College in 1926, where in the same year he offered the first-ever undergraduate course on modern art, "Tradition and Revolt in Modern Painting." This course was notable not only for the novelty of its subject-matter but also for its unconventional pedagogy: Barr referred to all nine students in the class as "faculty", making them each responsible for mastering and teaching some of the course content. Although, per its title, the course ostensibly focused on painting, Barr thought a broad understanding of culture was necessary to understand any individual artistic discipline, and accordingly, the class also studied design, architecture, film, sculpture, and photography. There was no required reading aside from Vanity Fair, The New Yorker, and The New Masses, and the numerous class trips were not to typical locations of art-historical interest. For example, on a trip to Cambridge, the class passed over the wealth of Harvard's museums to experience the "exquisite structural virtuosity", in Barr's words, of the Necco candy factory. In 1929, Barr was awarded a Carnegie Fellowship, which he intended to use to complete the requirements for his PhD by writing a dissertation during the following academic year on modern art and Cubism at New York University. But greater ambitions obliged him to shelve that intention when Anson Conger Goodyear, acting on the recommendation of Paul J. Sachs, offered Barr the directorship of the newly founded Museum of Modern Art. Assuming the post in August 1929 aged only twenty-seven, Barr's achievements in it accumulated quickly; the Museum held its first loan exhibition in November, on the Post-Impressionists Van Gogh, Cezanne, Gauguin, and Seurat. Perhaps Barr's most memorable and enduring accomplishment in his directorial capacity was the Picasso retrospective of 1939 1940, which caused a reinterpretation of the artist's work and established the model for all future retrospectives at the Museum. According to Sybil Gordon Kantor in her book Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art, Frank Crowninshield art critic, journalist and editor of Vanity Fair, was one of Barr's mentors and one of the founding trustee members of the Museum of Modern Art along with several others. In 1943, Museum of Modern Art president Nelson Rockefeller, to whom Barr had been personal art advisor for many years, dismissed Barr as director of the Museum, though he was allowed to stay on as an advisory director (working with his successor Rene d'Harnoncourt); later Barr was given the title Director of Collections. By the time Barr left MoMA in 1968, modern art would be considered as legitimate an art-historical field of study as earlier eras such as the Renaissance. He was elected a Fellow of the American Academy of Arts and Sciences in 1952. In recognition of Barr's legacy as an art historian and first director of MoMA, the College Art Association established the Alfred H. Barr Jr. Award for m.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.9.

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less 1.9.

Hardcover. Reprint edition; Third edition. Octavo, 271 pages. In Good minus condition with a Good minus dust jacket. Ex-library with usual markings, including call number label on spine, library stamps to endpapers, library pocket on rear pastedown. Spine is white and tan with black print. Dust jacket in mylar; light edge wear, smudging/shelf wear, library label on rear panel, taped to boards. Boards in tan cloth with red print. Light wear to spine caps and corners. Illustrated: b&w frontispiece and plates. NOTE: Shelved in Netdesk Column R. 1397169. FP New Rockville Stock.

Hardcover. Zustand: Brand New. 193 pages. 9.21x6.38x0.87 inches. In Stock.