bournazel diane (21 risultati)

Couverture souple. Condizione: Très bon. de Bournazel Diane (illustratore). Une histoire fantastique aux confins du Limousin. Le tome 2, superbe mise en page.

Couverture souple. Condizione: Très bon. de Bournazel Diane (illustratore). Une histoire fantastique aux confins du Limousin. Le tome 1, superbe mise en page.

Al Manar, 2018, 82 p., broché, illustrations de Diane de Bournazel, bon état.

Broché. Condizione: Bon état. in-8 Description :Notes sur la page de faux-titre. Langue : Français Nb de volumes : 1.

Condizione: Très bon. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

Condizione: Bon. Attention: Ancien support de bibliothèque, plastifié, étiquettes. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

Condizione: Bon. Attention: Ancien support de bibliothèque, plastifié, étiquettes. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

Condizione: Très bon. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.

Editions Al Manar (Collection poésie du Maghreb), 2007. Un volume broché (11x15,5 cm), 90 pages. Avec des dessins dans et hors texte de Diane de Bournazel. Bon état. Livres.

Condizione: Used: Acceptable. Occasion - Etat Correct - Livre de bibliothèque, tampons présents - Les bourlottes (2008) - Grand Format.

Condizione: Used: Acceptable. Occasion - Etat Correct - Livre de bibliothèque, tampons présents - c est comme ca chez moi les vacances (2005) - Grand Format.

Condizione: Used: Acceptable. Occasion - Etat Correct - Livre de bibliothèque, tampons présents - c est comme ca chez moi le soir (2005) - Grand Format.

Condizione: Used: Acceptable. Occasion - Etat Correct - Ancien livre de Bibliothèque, Couvert, Page de gar - c est comme ca chez moi les vacances (2005) - Grand Format.

Condizione: Used: Acceptable. Occasion - Etat Correct - Livre de bibliothèque, tampons présents - Les Larmes d'Emma (2004) - Grand Format.

The largest and most elaborate of Diane de Bournazel's recent books, Rondes de nuit explores the possibilities and mysteries of the night, both from the human perspective of sleep, rest and dreaming, as well as the unseen life of the natural world in darkness and the infinite expanses of the night sky. At the centre of every page is a circular void, corresponding with depictions of the full moon at either end of the book, which can be seen in every opening. Each circular hole is illuminated to form a rebus or mandala, sometimes reminiscent of the visionary medieval manuscripts of the contemplative mystic, Hildegard of Bingen (notably Scivias and Liber divinorum operum). Elsewhere, figures float in space (one can be rocked back-and-forth as a moveable part) or participate in an eternal dance of life (and death). Lest we should see this as an evocation of the books of a distant past, a tiny floating space station against the night sky reminds of the artist's contemporaneity. Large square 4to (255 × 230 mm), 16 unnumbered pages, on handmade paper, all in pen and ink, fully illuminated in gouache colours, with paper-cutting and and collage, within cut and illuminated borders, one moveable part Bound by Armelle Guégant in decorative boards and matching with paper onlays, lettered in manuscript, slipcase.

'Nightfalls' - a tumbling exploration of the nocturnal adventures of the mind and of the porous boundary between the real and imaginary worlds. (175 × 165 mm), pp. [16], each leaf fully illuminated by hand, mixed media with ink, watercolour and collage. Bound by Armelle Guégant in decorative marbled boards (paper by Marianne Peter), manuscript labels, matching slipcase.

The French expression, Entre chien et loup refers to the twilight hours when it is hard to tell the difference between dog and wolf, but it also expresses the liminal spaces between the familiar and the unknown, or the tame and the wild. It denotes also the uncertain emotional territory between hope and fear, expressed playfully by Diane de Bournazel in the labyrinthine paths drawn across the pages of this unique artist's book. As always with De Bournazel, words are scarce and 'Là' 'Tu sais', 'Je m'interroge' and 'encore' provide the extent of the text here. pp. [16], asymmetrically cut, with pages from c. 160 mm at the largest to 105 mm at smallest plus endpapers, each leaf fully illuminated by hand, mixed media with ink, watercolour and collage. Marbled paper boards with manuscript labels, folding paper etui.

Conventional politics is rarely expressed in De Bournazel's work, which tends to explore more universal experience. But occasionally it emerges, if only by allusion. Created in a particularly turbulent year in French culture and politics Assemblée générale bears a couple of teasing red and blue brush strokes on the cover label. Inside, however, the Assemblée générale envisaged by the artist feels like an interior politics rather than any played out in the machinery of the French state - densely populated, variegated and unsettling. (210 × 105 mm), pp. [20], each leaf fully illuminated by hand, mixed media with ink, watercolour and collage. Bound by Armelle Guégant in decorative marbled boards (paper by Marianne Peter), manuscript labels, matching slipcase.

Fatrasie is a twenty-first century visual interpretation of a rare and highly distinctive medieval poetic form of satirical nonsense verse. In the Fatrasie form, early French rhymers subjugated meaning to the rhythm of repeated sounds and syllables and yet were able to hide piquant criticisms of prevailing power structures within their verses. It is a particularly apt title among Diane de Bournazel's unique artist's books, which frequently conceal their narratives and meanings within the artist's dense iconography.Diane de Bournazel (b. 1956) creates books as 'poems without words' in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful 'reading' and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:'Poésie sans paroles.Il s'agit bien de ça.Mettre en images le monde et l'arrière monde,Comme un poète mais sans mot dire'.De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled 'Fenêtres sur le rêve' (2024) written to introduce the artist's first major Paris exhibition. Following a deep consideration of the artist's visual world he concludes: 'The reading of Diane de Bournazel's work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them'. (262 × 165 mm), pp. [14], each leaf fully illuminated by hand, mixed media with ink, watercolour and collage. Bound by Armelle Guégant in decorative marbled boards (paper by Marianne Peter), manuscript labels, matching slipcase.

Nuit pleine, while characteristic of De Bournazel's astonishing unique books, also signals new directions. A profound black occupies many of the spaces between the teeming figures inhabiting each page, and on close examination they emerge from this darkness through negative spaces. The pages mirror several of her recent panel paintings where figures are revealed from blackness in the same way. Nuit pleine seems to explore a more contemporary scene than many of her books and among the the hybrid figures we surely find protesters among the crowds with placards, flags and even a cellphone. Angular structures in the puzzle-like backgrounds suggest an urban rather than rural scene, and yet timeless figures of mermaids, jesters and death itself anchor the book in a cyclical timeless continuum.Diane de Bournazel (b. 1956) creates books as 'poems without words' in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful 'reading' and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:'Poésie sans paroles.Il s'agit bien de ça.Mettre en images le monde et l'arrière monde,Comme un poète mais sans mot dire'.De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled 'Fenêtres sur le rêve' (2024) written to introduce the artist's first major Paris exhibition. Following a deep consideration of the artist's visual world he concludes: 'The reading of Diane de Bournazel's work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them'. (255 × 200 mm), pp. [18], each leaf fully illuminated by hand, mixed media with ink, watercolour and collage. Bound by Armelle Guégant in decorative marbled boards (paper by Marianne Peter), manuscript labels, matching slipcase.

Al Manar, 2011. 33 x 25 cm, en feuilles non paginé sous couverture rempliée, sous étui d'éditeur. Exemplaire en très bel état. Édition originale, un des 20 exemplaires numérotés sur vélin d'Arches enluminé par Diane de Bournazel, dont une aquarelle sur double page. Signé au colophon par l'auteur et l'artiste. Livres.