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CEZANNE'S CARD PLAYERS. [Paul Cezanne.]
Ireson, Nancy and Barnaby Wright (editors, catalogue). Nancy Ireson; Barnaby Wright; Aviva Burnstock; Charlotte Hale; Caroline Campbell; Gabriella Macaro; Laure-Caroline Semmer (contributors). Paul Cezanne, 1839-1906. Courtauld Gallery.
Lingua: Inglese
Editore: London: The Courtauld Gallery in association with Paul Holberton Publishing, 2010., 1900
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Da: David Hallinan, Bookseller, Columbus, MS, U.S.A.David Hallinan, Bookseller
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 12,84
EUR 6,56 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
160 pages. Paperback: H 26cm x L 21.5cm. Paper covers lightly rubbed. Some foxing to text block's top edge and upper fore-edge. Interior leaves are clean. Binding is firm. "Cezanne's Card Players: An Introduction" by Nancy Ireson and Barnaby Wright; "Cezanne's Development of the Card Players" by Aviva Burnstock, Charlotte Hale,…Caroline Campbell and Gabriella Macaro; "Cezanne's Card Players: Art Without Anecdote" by John House; "He Painted" by Richard Shiff; Catalogue on pages 92-151. Published as the accompanying catalog for an exhibition held at the Courtauld Gallery, London, October 21, 2010 to January 16, 2011 and the Metropolitan Museum of Art, New York, February 9 to May 8, 2011. ISBN 9781907372117.
Altre immagini- Brossura
Da: Lacey Books Ltd, Cirencester, Regno UnitoLacey Books Ltd
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Molto buono
EUR 42,29
EUR 29,33 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Paperback. Condizione: Very Good. 2014 Archetype Publications large format paperback edition. Light reading wear else very good condition. Contents: 1. Pieter Brueghel as a copyist after Pieter Bruegel by Christina Currie and Dominique Allart, 2. Copies of prototypes by Quentin Massys from the workshop of his son Jan: the case o…f the Butter Madonna by Maria Clelia Galassi, 3. An unpublished copy of Hieronymus Bosch's Temptation of Saint Anthony by Catheline Perier-D'Ieteren, 4. Emulating van Eyck: the significance of grisaille by Noelle L.W. Streeton, 5. Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function by Eva de la Fuente Pedersen and Troels Filtenborg, 6. Copies and versions: discussing Holbein's legacy in England. Technical examination of copies of Holbein portraits at the National Portrait Gallery by Sophie Plender and Polly Saltmarsh, 7. A technical study of portraits of King James VI and I attributed to John de Critz the Elder (d.1642): artist, workshop and copies by Caroline Rae and Aviva Burnstock, 8. Michiel van Mierevelt, copy master: exploring the oeuvre of the Van Mierevelt workshop by Anita Jansen and Johanneke Verhave, 9. The Assumption of the Virgin by the studio of Peter Paul Rubens from the National Gallery of Art in Washington: between master's piece and student's copy by Julia Burdajewicz, 10. The problem of the portrait copies painted by Rubens in Madrid, 1628-29 by Jeremy Wood, 11. After Raphael: the Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome by Peter Black, Erma Hermens and Helen Howard, 12. Materials as markers: how useful are distinctive materials as indicators of master or copyist? by Libby Sheldon and Gabriella Macaro, 13. Joseph Booth's chymical and mechanical paintings by David Saunders, 14. The Strawberry Girl: repetition in Reynolds's studio practice by Alexandra Gent, Rachel Morrison and Rica Jones.
