raeburn ben editor (3 Ergebnisse)

Paperback. Zustand: Good. Cleveland, 1964; Fifth printing; illustrated paper covers; tide mark at spine; edge and corner wear; 8vo, 7 3/4" to 9 3/4" tall; interior is clean and unmarked; 346 pages.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Very Good. 1st Edition. Likely First Edition with no additional printings listed. Clean and tightly bound with fine contents. Extremely slight dusting to edges, otherwise fine. The dust jacket shows light rubbing to gloss, edge wear and a red penciled price on the inner flap, remains Very Good.

Wraps. Zustand: Good. Presumed First Edition, First Printing. The format is approximately 8 x 10 inches. About 70 unnumbered pages, More than 20 pages of vivid illustrations, including several fold-out pages. Some foxing and soiling on the cover, some page corners and end papers. Wear to the covers, and a small tear on the back cover, This monograph documents the design, philosophy, and construction of the iconic New York City landmark just after its opening. This classic work provides a historical overview of Frank Lloyd Wright's only museum. The publication details the architect's vision behind the unique organic architecture and the challenges of building the continuous, helical spiral ramp. Ben Raeburn was the publisher of Horizon Press, an independent press based in New York from 1951 to 1984. Raeburn owned Horizon Press, which was known through the mid-20th century for discovering authors in advance of their mass public appeal and publishing works by known authors with limited commercial appeal. The press was also known for "exquisite" book design. Horizon published books by Robert Olen Butler a decade in advance of his 1993 Pulitzer Prize. The press published Donald Newlove's nonfiction when other publishers would not. It became a bestseller. Horizon printed Frank Lloyd Wright's complete works and received Publishers Weekly's 1977 Carey-Thomas Award for publishing an autobiography of Wright. Other Horizon books include selections from Oriana Fallaci, Irving Howe, and Alfred Kazin. Raeburn sold the press in 1984 and it closed soon after. The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum at 1071 Fifth Avenue between 88th and 89th Streets on the Upper East Side of Manhattan in New York City. It hosts a permanent collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. It was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, Hilla von Rebay. The museum adopted its current name in 1952, three years after the death of its founder Solomon R. Guggenheim. It continues to be operated and owned by the Solomon R. Guggenheim Foundation. The museum's building, a landmark work of 20th-century architecture designed by Frank Lloyd Wright, drew controversy for the unusual shape of its display spaces and took 15 years to design and build; it was completed in 1959. It consists of a six-story, bowl-shaped main gallery to the south, a four-story "monitor" to the north, and a ten-story annex to the northeast. A six-story helical ramp extends along the main gallery's perimeter, under a central ceiling skylight. The Thannhauser Collection is housed within the top three stories of the monitor, and there are additional galleries in the annex and a learning center in the basement. The museum building's design was controversial when it was completed but was widely praised afterward. In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house and display the collection. Rebay thought the 76-year-old Wright was dead, but Guggenheim's wife Irene Rothschild Guggenheim knew better and suggested that Rebay contact him. Wright accepted the opportunity to experiment with his "organic" style in an urban setting, saying that he had never seen a museum that was "properly designed". He was hired to design the building in June 1943. He was to receive a 10 percent commission on the project, which was expected to cost at least $1 million. It took him 15 years, more than 700 sketches and six sets of working drawings to create and complete the museum, after a series of difficulties and delays; the cost eventually doubled from the initial estimate. Rebay envisioned a space that would facilitate a new way of seeing modern art. She wrote Wright that "each of these great masterpieces should be organized into space, and only you . would test the possibilities to do so. . I want a temple of spirit, a monument!" Critic Paul Goldberger later wrote that Wright's modernist building was a catalyst for change, making it "socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim." The Guggenheim is the only museum Wright designed; its urban location required him to design it in a vertical rather than horizontal form, far different from his earlier, rural works. Since he was not licensed as an architect in New York, he relied on Arthur Cort Holden, of the architectural firm Holden, McLaughlin & Associates, to deal with New York City's Board of Standards and Appeals. From 1943 to early 1944, Wright produced four differing designs. One had a hexagonal shape and level floors for the galleries, though all the others had circular schemes and used a ramp continuing around the building. In his notes, he indicated that he wanted a "well proportioned floor space from bottom to top-a wheel chair going around and up and down". His original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia. Several architecture professors have speculated that the helical ramp and glass dome of Giuseppe Momo's 1932 staircase at the Vatican Museums was an inspiration for Wright's ramp and atrium.