Tuchman maurice editor (7 Ergebnisse)

Soft cover. Zustand: Very Good. No Jacket. L A C M of Art, Los Angeles, 1980. Pictorial soft cover. Book Condition : Very good. clean unmarked copy. Appears little read. Heavy book may incur extra postage. Book will be sent by UK postal service. Inventory #JES019515.

Zustand: Good. 8vo. Soft Cover. 162 pp. Fair, B&W and color plates. Cover and spine are torn in some places. Pages a bit sunned.

Paperback. Zustand: New. As new.

Softcover. Zustand: Near Fine. First Edition. Softcover in glossy illustrated wraps. First edition. Near fine condition. Published to accompany a 1965 exhibition at the Los Angeles County Museum of Art's Lytton Gallery. Slight wear at spine and inked signature of former owner on endpage. Some color plates, most in black and white. Square 8vo. 252 pp.…

Trade Paperback. Zustand: VG (+). First Edition. Square orientation. "The great epoch of the spiritual which is already beginning, or, in embryonic form, began already yesterday. . . provides and will provide the soil in which a kind of monumental work of art must come to fruition." [Wassily Kandinsky] From the collection of Sanje (Frank) Elliott, Buddhist mentor, artist, and friend to many. Condition notes: 435 numbered pp; TPB. Pages: clean, bright, tight, black eps and edgestain, color frontis; slightly cocked, ghosts to front edge. Cover: black mat wraps, gilt titles front/spine; light edge/shelfwear, corners slightly thumbed, shallow crease to front near head, several small light ghosts front. Heavy.…

Zustand: Good. 4to. Soft Cover. 162pp. Very Good. Black and White and Color Plates. Ex libris, barcoded to Robert Diebenkorn Foundation.

Wraps. Zustand: Very good. Presumed First Edition, First printing. The format is approximately 8.5 inches by 11 inches. 288 pages. Illustrations. Illustrated front cover. The cover has slight wear and soiling. This is an exhibition catalogue. This exhibition is funded in part by a grant from the National Endowment for the Humanities, by an indemnity from the Federal Council on the Arts and Humanities, and by an grant from the Shubert Foundation. Los Angeles County Museum of Art and Hershhorn Museum and Sculpture Garden Smithsonian Institution Washington D.C. The contents include a Foreword, Lenders, Contributors, Essays, Notes to the Reader, Catalogue, Supplemental Checklist, Chronologies, and Selected Bibliography. This catalogue includes a suite of insightful essays. This exhibition included information on Avant-Garde architectural influences. The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism. The influence of the Russian avant-garde on recent developments in Western art is now undisputed. Without Kazimir Malevich's Black Square on White Background (1915), his later Suprematist composition White on White, Rodchenko's series of Black Pictures (1917/18), and his primary-colored triptych (1921), the evolution of non-representational art by artists such as Yves Klein, Barnett Newman, and Ad Reinhardt would be inconceivable. the same applies, for example, to works of American minimal art by Donald Judd and Carl Andre, which can be traced back to the materiality and functionality of early sculptures by Tatlin and Rodchenko. The founding of the National Academy of Arts in 1923, promoted by Lunacharsky, and the associated journals were primarily intended to promote exchange with Western countries. This was reflected above all in the establishment of the Soviet pavilion at the Paris Exhibition of Applied Arts in 1925 and in a major exhibition of contemporary French art in Moscow in 1928. The politicized Western art influenced by the Russian avant-garde also had an impact on Russia, as demonstrated by the exhibition of revolutionary art from the West in Moscow in 1926.…