celtic art methods construction von bain george: Bücher (31 Ergebnisse)

Zustand: acceptable. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:0094618305.

Zustand: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:0094618305.

Zustand: acceptable. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.

Zustand: Gut. Zustand: Gut | Seiten: 164 | Sprache: Englisch | Produktart: Bücher.

Zustand: Good. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Good. Ships from the UK. Used book that is in clean, average condition without any missing pages.

Zustand: Good. [New ed.]. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Zustand: Good. 1 Edition. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Good. Used book that is in clean, average condition without any missing pages.

Paperback. Zustand: Gut. 168 p. In good condition. - RETROSPECTION over the past quarter of a century, when the author first commencée! to apply, for experimental purposes, some of the knowledge of the methods of construction used by the ancient Celtic Artists, that he had then acquired, to the Art Curriculum of the Schools of an area where he was Supervisor of Art, shows that such an opportunity greatly helped him in the production of this book. The ready response of ail pupils from infants to higher secondary and evening art schools was remarkable. -- To the so-called backward pupils, those who had not been taught how to look and those who had failed to understand how to look at three- dimensional things so that they could be represented by copying the visual facts, the Celtic methods brought the joys of création and permitted the exercising of individual tastes in arrangements, rhythms, colours and uses, often awakening interests in the ordinary representa- tional forms of art that had chief place in examinations. Some of the results from the schools of that period may be seen in the two full-page illustrations in the section dealing witli modem application of Celtic Art. -- The coopération, enthusiasm, untiring energy and taste of Miss Jane Lundie, a teacher of needlework and embroidery, made possible the production of beautiful works by individual and communities of pupils, who, by the conditions that then existed in the Scottish Schools, were mainly girls waiting until they reached the âge of 14 to be freed from school. -- The author's real interest in Celtic Art began after he had been many years in Art colleges, including a few in the Royal College of Art, London, as a National scholar in draw- -- ing and painting. During the whole of his Art student period the study of Celtic Art was dis- tasteful to most Art students, for no instructions could be given. The only way was to attempt to copy an example, so that by comparison no " mistakes " could be found by the teacher, whose knowledge of the subject was merely that of ability to classify it with other Arts by general appearances. Original designs were considered impossible and were rarely attempted. Adapta-tions by copying was the only use. -- That such is still the attitude to this great native art of Britain and Ireland in the System of Art teaching under the guidance of the Education Depajtments of England, Scotland and Northern Ireland requires no fumishing of proof by the author of this book, unless to State, that the only opposition during the past quarter of a century to his self-imposed attempt to spread a knowledge of the Celtic Art culture amongst the peoples of Britain and Ireland, has been from a few holders of Art College diplomas, that had allowed them to become recognised as teachers of Art. Resenting the introduction of the study of a form of Art of which they knew nothing, except the few copies of fragments that they had been compelled to do for historic ornament examination purposes, they sum up the attempt to make a modem use of the principles of the construction methods of the Celtic Artists, of which they hâve no knowledge, as useless for " it can only be done by copying." ISBN 9780094618305 Sprache: Englisch Gewicht in Gramm: 520.

Original publisher's sewn paperback, ornamental front- & backcover, 16th printing [1951], 4to: frontispiece, 164pp., hundreds of illustrations & plates, table of contents [Knotwork borders - knotwork panels - Spirals - key patterns - lettering - zoomorphics - plant forms - human figures - applications Celtic art]. Very fine copy.

Taschenbuch. Zustand: Neu. Neuware - Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts Whence the Asiatic origins of the Celtic Art The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: New. In.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Taschenbuch. Zustand: Neu. Neuware - The construction principles of Celtic art were re-discovered in the middle of the 20th century by George Bain. Until his writing, the intricate knots, interlacings, and spirals used in illuminating The Book of Kells and in decorating craftwork and jewelry seemed almost impossible, 'the work of angels.' In this pioneering work, George Bain shows how simple principles, no more difficult than those used in needlecraft, were used to create some of the finest artistic works ever seen. He also explains how you can use these principles in re-creating artifacts and in creating your own Celtic designs for art and craft work or even for recreational use.Step-by-step procedures carefully introduce the simple rules and methods of Celtic knot work and the well-known designs from the great manuscripts and stone work. Later chapters build up to complex knot work, spiral work, and key pattern designs, with special coverage of alphabets and the stylized use of animals, humans, and plants. Altogether over 225 different patterns are presented for your use, with hundreds of modification suggestions, 110 historical and modern artifacts showing designs in use, a great number of letters including six complete alphabets and 25 decorative initials, and a number of animal and human figures used in the original Celtic works.Artists, students, craftspeople, even children can work with these patterns and instructions for creating dynamic designs for use in leather work, in embroidery and other needle work, in metalwork, jewelry making, card design, borders, panels, illuminations, and in countless other ways. Mathematicians will find a great deal of pleasure in the geometric principles on which the patterns are based. Art historians and others interested in studying Celtic art will find a great number of outstanding art works and the best presentation in English for understanding Celtic design.

Paperback. Zustand: Brand New. 1st edition. 160 pages. 11.75x9.00x0.25 inches. In Stock.

Zustand: Good. Good condition. 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.

Paperback. Zustand: Brand New. 174 pages. 11.22x8.90x0.39 inches. In Stock.

Paperback. Zustand: Brand New. 1st edition. 160 pages. 11.75x9.00x0.25 inches. In Stock.

kartoniert; flexibler, weisser, violett/grün bedruckter Einband / Anz. Seiten: 163 / 23,7 x 29,6 cm / mit zahlreichen, schwarzweissen Abbildungen auf Tafeln / Zustand: gut, leichte Gebrauchsspuren; Einband etwas berieben und gebräunt, Schnitt leicht gebräunt, am Hinterdeckel kleinere Etikettenrückstände Sprache: de.

Zustand: Very Good. 1972. hardcover. Fine in fine dust wrapper, showing light age and shelf wear, remains very good. . . . .

Zustand: Very Good. NY: Dover Publications, Inc., 1973. 4to Paperback. 160pp. B/W plates. Very Good book. Barbara Mertz's signature on front endpage. Barbara G. Mertz Rev Trust custom bookplate on front inside cover. This book formed part of Barbara G. Mertz's personal library at her home in Frederick, Maryland. (calligraphy, design, crafts) Inquire if you need further information.

Zustand: Good. 1982. Mini-book Edition 1982. 32 pages. Blue paperback book with pictorial cover. Pages and binding are presentable with no major defects. Minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. Paper cover has mild edge wear with light rubbing and creasing. Some light marking and tanning.

Zustand: Good. Good condition. (Celtic Knots) 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.