Jane havell (6 Ergebnisse)

Paperback. Zustand: Brand New. 3rd revised edition edition. 228 pages. 9.84x7.48x0.71 inches. In Stock.

hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. edge wear on the jacket and book. general usage markings. all pages are intact and presentable. heavy, may require extra postage. [SK]. Our orders are shipped using tracked courier delivery services.

Large Paperback. Like New.

Hardcover, 128 pages, ENG. edition, 280 x 205 x 20 mm; in very good condition, illustrated dustjacket; blue cloth with goldcoloured imprint ; illustrated in colors. ISBN 9781857590319. This gem of a museum, housed in a graceful seventeenth-century lake-side mansion in The Hague, has a fine collection of Dutch and Flemish art. King William I gave the collection to the Dutch state after it was returned from France, and the house and its contents were officially opened as a museum in 1822. Among its treasures are self portraits by Rembrandt as well as The anatomy lesson of Dr Nicolaes Tulp, Vermeer's View of Delft (recently restored), and paintings by Holbein, Rubens, Frans Hals and Van Dyck. Also present are some of the finest examples of landscape and still life paintings to have been produced in the Dutch Golden Age. 1060 g.…

Zustand: gut. Bitter Truth : Avant-garde Art and the Great War In englischer Sprache. pages.

Hardcover, 336 pages, ENG, 295 x 250 x 30 mm, dustjacket, In very good condition!, 330 b&w illustrations, 70 colour plates, index. ISBN 9780300057041. "It is unspeakable, godless, hopeless. I am no longer an artist interested and curious. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on forever. Feeble, inarticulate, will be my message, but it will have a bitter truth." - Paul Nash, 1918, at Passchendaele. The trauma of the First World War had an immensely powerful effect on the painters, sculptors, and printmakers who participated in it. They produced an extraordinary range of striking images that conveyed the immediacy and horror of their experiences and feelings. This arresting book is the first to bring together and examine the full international array of images spawned by the Great War. Richard Cork shows how avant-garde artists from Europe, Russia, and the United States challenged the recruiting posters and other propagandist views of the struggle by producing art that reflected the degradation of the trenches. The conflict was anticipated before hostilities began by the visionary and apocalyptic work of painters such as Meidner and Kandinsky. Chagall, Nevinson, Hartley, Beckmann, Kirchner, and other artists were quick to define war's essential tragedy with objective, expressionist, or allegorical art that alluded to their own wartime experiences. The harshest images of war were made in the latter stages or after the Armistice, when artists such as Dix had time to consider their participation in the war. Ironically, the post-war years also witnessed the redemptive work of Spencer and Brancusi, who after the Armistice produced monumental affirmations of brotherhood, fortitude, and love. This lavishly illustrated book will accompany a major exhibition of art from World War I, to be held at the Altes Museum in Berlin from June 4 to August 28 and at the Barbican Art Gallery in London from September 29 to December 11, 1994. 1980 g.…