roberto polo gallery (28 Ergebnisse)

hardcover. Zustand: Very Good. . Posted within 1 working day. 1st class tracked post to the UK, Airmail with tracking worldwide. Robust recyclable packaging. Picture is the actual item.

hardcover. Zustand: near fine. Maria Roosen (illustrator). Profusely illustrated in color. 85 pages. Tall 4to, pictorial carboard wrappers. (Brussels): Roberto Polo Gallery, (2015). A near fine copy with slight scratching to rear cover.

Hardcover. Zustand: Good. Hardcover in good condition. No jacket. Published for an exhibition at Roberto Polo Gallery, Brussels from 15th January 2016 to 13th March 2016. Boards are lightly marked and edge-worn. Pages are clean and contents are clear throughout. HCW. Used.

Hardcover. Zustand: Good. No Jacket. Dust jacket missing. SIGNED and inscribed by the author. Shelf and handling wear to cover and binding, with general signs of previous use. Inscribed by author on front title page. Scuffing on cover boards. Clean and unmarked pages. Minor loosening to binding. Secure packaging for safe delivery. signed and inscribed by author.

Zustand: Very good.

Zustand: Very good.

Zustand: Very good.

Zustand: Very good.

in-4, cartonnage éditeur, 108p. Text in english. Catalogue de l'exposition du 28.03.2014 - 18.05.2014. Bon état. NB. Les commandes et questions sont traitées dans les 24h, les expéditions reprendront le 13 juin. Merci.

Brussels, Roberto Polo Gallery, 2012. Petit in-4 carré, rel. d?éditeur demi-toile verte, premier plat illustré, 104 pp. (texte anglais), ill. en couleurs. /94F Neuf, sous blister.

Hardcover. Zustand: Very Good. THERE ARE NO TARIFFS OR CUSTOMS DUTIES ON BOOKS. 'Conversations' by Stephen Snoddy are a series of new monotypes sharing Matisse's lifelong obsession with a visual conversation between inside and outside and often uses the window motif as a formal device to construct work. Snoddy was born in Belfast, NI and currently lives in Manchester. He trained as a painter at Belfast College of Art where he graduated with an M.A. in Very good Art. Sealed in brand new condition.

Zustand: Very good.

Zustand: Very good.

Zustand: Very good.

[Bruxelles], Roberto Polo Gallery, 2012. In-4, rel. d?éditeur demi-toile noire, premier plat ill. en couleurs, non paginé, texte en anglais d?Anne Hustache (traduit par Roberto Polo), ill. à pleine page. Exposition de 33 aquarelles, présentée du 6 juin 2012 au 10 mars 2013. /91D.

HARDCOVER. Zustand: As New. 1st Edition. Extra Large 4to. in cloth backed thick boards, 93pp on stiff art paper, colour plates, etc. Text in English. This copy is signed by Snoddy above his printed name on the title-page . [CONDITION: A well preserved AS NEW unmarked and unread copy ] . __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Hardback, 240x240mm, 104p, 85 colour illustrations, English edition. . ISBN 9789057791468. Closed Doors is an important series of recent paintings by Jan Vanriet (1848), who represented Belgium in the 1979 Bienal de Sao Paolo, 1984 Biennale di Venezia and 1990 International Art Festival of the National Museum of Contemporary Art in Seoul. The Jury of the latter awarded its Special Prize to Jan Vanriet, along with John Chamberlain and Mimmo Rotella. In 2010, the international press acclaimed Jan Vanriet's retrospective exhibition Closing Time at the Royal Museum of Fine Arts of Belgium in Antwerp, which was visited by over 88 000 people. Through a restrained 'narrative' painting, Jan Vanriet explores the essential and universal by reducing forms to signs and symbols, using meaningful colours, carefully constructed lyrical surfaces and scumbling paint, almost as if he were inventing a mysterious calligraphy with his fragile brushstrokes. His style, or as the French art historian and theorist Michel Laclotte wrote, maniera, is above all a path which he has taken to express the themes that have obsessed him since the beginning: man and nature oppressed by a ceaselessly unfolding history. Expo: 22/11/2012 - 24/02/2013. 0 g.

Hardback, 267x210mm, 88p, 39 colour illustrations, English edition . ISBN 9791092599107. Bert Timmermans I Exorcising the Metropolis is composed of eight series totalling forty-three works, forty in mixed media on cardboard, and three in serigraphy and mixed media on aluminium, all created from 2013 to 2015. One work, independent from the aforementioned series, is in serigraphy on paper. The exhibition is accompanied by an 88-page illustrated hardback catalogue featuring an interview of the artist conducted by the Belgian audio-visual expert, writer, journalist and film director, Henri Roanne-Rosenblatt, Dean of the Office of the Royal Belgian Film Archive and member of the Union of Film Critics. Bert Timmermans, born in 1976, is a Belgian artist, art historian, archivist, historian and author living and working in Antwerp. He received his doctoral degree in art history from the Catholic University of Leuven. His practice is rooted in the tradition of pioneering early twentieth century cultural theorists and archival image archeologists Aby Warburg and Walter Benjamin, who studied the nexus between iconology and media, image and history. Timmermans? art deals with the stratification of history, its memory and amnesia, along with all of its replete as well as void spaces, and how these metamorphose reality. He is fascinated with the concept of time and how it re-dimensions reality by depositing and removing strata on and from the collective memory. The stratification and removal of media from the pictorial surface, construction and de-construction, are at the heart of Timmermans? creative process. It is about adding, deleting and re-contextualising visual information. He telescopes the past through the present. Unlike his illustrious precursors Kurt Schwitters, John Heartfield, Alexander Rodchenko, Robert Rauschenberg, Roy Lichtenstein and Andy Warhol, Timmermans assembles archival, historical, not contemporary images. 0 g.

Hardcover ,95pages, Illustrated. ISBN 9791092599121. Stephen Snoddy, Looking Out consists of approximately fifty paintings in acrylic, gouache, monotype, and watercolour on paper mounted on blockboard. The exhibition is accompanied by a 98-page illustrated catalogue, featuring an essay by Richard Cork, the innovative British art historian, author, broadcaster, critic, and curator. Stephen Snoddy was born in Belfast, Northern Ireland, in 1959. He lives and works in Manchester. Snoddy graduated from the Belfast School of Art. Despite his undeniable artistic talent, for twenty years, Snoddy has pursued a career as Director of important British museums and contemporary art centres: the BALTIC in Gateshead, where he was the Founding Director; Milton Keynes Gallery; Southampton City Art Gallery; and The New Art Gallery Walsall. In 2012, inspired by the discovery of sixty-four monoprints, which he had created thirty years earlier, Snoddy assiduously resumed his artistic activity. Snoddy is stimulated by a passion for pictorial renewal: he incessantly seeks new shapes and structures to enrich the language of abstract painting. Particularly fascinated by the work of Henri Matisse and Richard Diebenkorn, as well as the Minimalism of Brice Marden and Mark Rothko, Snoddy invites us to consider structure as the absolute key to contemplate visual art. His compositions are determined by a high standard of exactingness in what is a complex conceptual process ? one that must be, neither purely formal, nor totally accidental. The painting must evolve naturally, organically, and by subtle gestural mastery. Snoddy?s paintings ? although mostly modest in format ? nevertheless possess great breath. By using layers of paint to create pentimento, he applies delicate glazes, thus avoiding impasto, and resulting in exceptionally lyrical surfaces. Divulging a passionate and yet methodical will to play on permutations of lines and geometric shapes, Snoddy?s paintings thus generate multiple possibilities. Alternating between vertical and horizontal compositions, the artist invites the viewer to observe the relationship between his canvases and discern the slight variations from one to the other. Snoddy?s paintings work as polyptychs and series, according to specific architectural structures and clearly defined colour schemes. Fascinated by architecture, Stephen Snoddy meticulously treats proportions and the disposition of pictorial elements. The finished work springs from an intelligent balance between line, shape and space. 0 g.

Hardback, 168 pages, 29.5 x 24 cm, EN. ISBN 9781907363108. The Music Boy exhibition at the New Art Gallery Walsall is the artist's first in the United Kingdom. A 168-page hardback, illustrated catalogue featuring extensive essays by Andrew Graham-Dixon and Martin Herbert, as well as a foreword by Charlotte Mullins was published on the occasion. The exhibition is titled after a quadriptych of paintings depicting the artist's grandmother and his uncle playing an accordion.Jan Vanriet's work mainly concerns the memory of history and the construction of pictorial surface. As Martin Herbert writes: "Vanriet builds up his paintings in layers, and the strata of underpainting have, in his case, a polyvalent quality. In some cases they form glazes that gift the paintings with an internal glow; in others, the half-visible ghosts of earlier paintings both reaffirm the idea that something is being held back, and situate Vanriet's paintings as a carefully wrought, crafted statement that has gone through stages in order to reach a conclusive point, like a phrase honed through multiple careful edits." Jan Vanriet's mother, father and uncle participated in the Resistance movement and were deported by the Nazis. His parents met in the Mauthausen concentration camp and their stories and memories of the Second World War and its aftermath continue to permeate his paintings. Themes of love, loss, identity, destiny and disappearance pervade his work. And yet Vanriet says: "The starting point may be my family, but I see it as a universal story. I don't want the themes to be too narrow, too close to me, because they should go wider than that. If not, it is only anecdote and I have not painted well enough." 0 g.

Hardback, 294x240mm, 116p, 68 colour illustrations, English edition, Fine copy. Including an index. ISBN 9791092599039. Karel Dierickx's existential radicalism will always keep him aloof from the current generation of Flemish painters, but over the years the aristocratic appeal of his aloofness has grown. It is the detachment, the integrity of someone who is such an integral part of the great painting tradition that he no longer needs any environment, a school or trend. He has enough work in the time and space around him. It is the breath of a body of work that is self-sufficient in the iconographic space of its own intimacy, while simultaneously recognisable as a human living space. It is the freedom of the old master who has reached the moment about which Paul Klee says: 'Drawing is taking a line out for a walk.' It is the freedom of the old Henri Matisse: the hand knows its way through the complex paths of painting laid down through the centuries, yet settled in its own existence. Freedom and rigour, a room filled with light and reflection, and work that spreads out towards the window. An artist could not ask for more. (Stefan Hertmans) 0 g.

Hardback, 295x240mm, 112p, 64 colour illustrations, English edition, Fine copy. Including an index. ISBN 9791092599022. Roberto Polo Gallery toont met trots de uitzonderlijke werken van de Belgische schilder Marc Maet (1955-2000). Deze ontuitgegeven tentoonstelling, 'The aftermath', omvat schilderijen uit zijn laatste creatieve periode, namelijk de tien jaar die voorafging aan zijn dood. Met Philippe Vandenberg en Fik van Gestel, wordt Marc Maet beschouwd als een opmerkelijke vertegenwoordiger van de nieuwe schil? derkunst in Belgie. 0 g.

Hardback, 270x260mm, 122 pages 79 colour illustrations, English edition. NIEUW ISBN 9791092599053. Expo: 20/11/2014 - 1/2/2015, Roberto Polo Gallery, Brussels. 'There is another, larger impulse behind all of this layering and gaming and interfusing, I think. Art that merely tells, or that merely codifies for easy unpacking, is not art, and tends to be dead on arrival. For art to live - 'living' is an odd concept to apply to the inanimate, but it does, and you know it when you see it - it has to partake of that aforementioned density: in Mannaers's case, that adds up to a body of work that mirrors a life lived, and continues to live in itself. That makes for somewhere you can go when you do have the existential blues, and that might banish them through smartness and sympathy. And in Mannaers's case, it makes for an art that says: I understand you have things inside you that you can't, won't, turn into words: me too. Feeling too, wordless too, I made something that approximates, though wouldn't pretend to specify, the shape of one of those things. (The hot purple electricity zapping between two proxy figures in White Night (P. 47), for example.) Come in, and let's be alone together. from Martin Herbert, Yes, No: On Werner Mannaers, in: The Scent of Mimosa 0 g.

Oblong hardcover met origineel buikbandje(gescheurd) 177 pages full Illustrated. ISBN 9789401412339. Bert Danckaert took the eighty-six photographs in this book across eighteen cities on four continents between 2007 and 2013. Depending on the spectator's empathy, Danckaert's photographs may be read on formal or documentary levels, or both. He turns ordinary, often unrecognizable fragments of urban reality into extraordinary works that reveal a profound knowledge and understanding of the history of modern art, especially its painterly, narrative, conceptual and constructivist currents. Inge Henneman, former curator of the Museum of Photography in Antwerp and professor of the history of photography at the Royal Academy of Fine Arts in the same city, wrote of his work: Bert Danckaert's bizarre cityscapes deal with the paradox of non-figurative simplicity, as well as with the complexity of meaning and metaphor. His 'urban still-lives' breathe a kind of strangeness that can only emanate from the familiar. 'Found' sidewalks, walls, and 'street furniture' refer more to minimalist art than to the conventions of documentary photography. In his absurd compositions, a recognizable and banal reality appears as a stage set, props and trompe l'oeil included, while the actors are absent . 0 g.

Zustand: Used - Very Good. VG hardback. First Edition. Catalogue exhibition, with colour illustrations. Signed by artist on title page. A very nice bright, clean copy Used - Very Good. VG hardback.

Hardcover. First Edition. 24 x 28cm near fine hardback exhibition catalogue featuring the works of Miquel Navarro, Juan Garaizabal and Francisco Caparros with full page colour reproductions plus text in Spanish and English. Near fine. No dust jacket, as issued.

Zustand: Very good.

Zustand: Very good.