Gilboa raquel (19 risultati)
- Brossura
Da: Powell's Bookstores Chicago, ABAA, Chicago, IL, U.S.A.Powell's Bookstores Chicago, ABAA
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 14,01
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Paperback. Condizione: Used-Like New. Clean copy. May have remainder mark.
- Brossura
Da: Powell's Bookstores Chicago, ABAA, Chicago, IL, U.S.A.Powell's Bookstores Chicago, ABAA
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 14,01
EUR 4,39 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Paperback. Condizione: Used-Very Good. Pbk. 4to. Some shelf-wear. Profusely illus. Else bright, clean copy.
- Brossura
Da: HPB-Emerald, Dallas, TX, U.S.A.HPB-Emerald
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Molto buono
EUR 15,90
EUR 3,29 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.
- Brossura
- Prima edizione
Da: Arundel Books, Seattle, WA, U.S.A.Arundel Books
Contatta il venditoreVenditore con 5 stelleMembro dell’associazione: CBA
Condizione: Usato - Ottimo
EUR 14,45
EUR 5,04 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Trade Paperback. Condizione: Fine. First Edition. A fine copy of the first edition paperback.
- Brossura
Da: Better World Books Ltd, Dunfermline, Regno UnitoBetter World Books Ltd
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Buono
EUR 14,14
EUR 5,87 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Condizione: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
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Da: WeBuyBooks, Rossendale, LANCS, Regno UnitoWeBuyBooks
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Buono
EUR 15,03
EUR 12,65 spedizioneSpedito da Regno Unito a U.S.A.Quantità: Più di 20 disponibili
Condizione: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.
Altre immagini- Brossura
- Prima edizione
Da: Lost Horizon Bookstore, Santa Barbara, CA, U.S.A.Lost Horizon Bookstore
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Buono
EUR 22,58
EUR 6,14 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Softcover. Condizione: Good. First edition. 11'' X 9 1/2''. 208pp. Illustrated. General wear to covers.
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Da: Majestic Books, Hounslow, Regno UnitoMajestic Books
Contatta il venditoreVenditore con 4 stelleCondizione: Nuovo
EUR 26,38
EUR 7,63 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 3 disponibili
Condizione: New. pp. 220 200 Illus.
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Da: PBShop.store UK, Fairford, GLOS, Regno UnitoPBShop.store UK
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 25,80
EUR 8,95 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 15 disponibili
PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
- Brossura
Da: Rarewaves.com USA, London, LONDO, Regno UnitoRarewaves.com USA
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 38,87
Spedizione gratuitaSpedito da Regno Unito a U.S.A.Quantità: 19 disponibili
Paperback. Condizione: New. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time. Apart from…his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects - the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that "a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for 'an Epstein' and his kind of 'content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture.
- Brossura
Da: Grand Eagle Retail, Bensenville, IL, U.S.A.Grand Eagle Retail
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 40,97
Spedizione gratuitaSpedito in U.S.A.Quantità: 1 disponibili
Paperback. Condizione: new. Paperback. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time.…Apart from his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects - the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that "a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for 'an Epstein' and his kind of 'content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, Epstein did not fit neatly into the artistic categories of his time. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Brossura
Da: Revaluation Books, Exeter, Regno UnitoRevaluation Books
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 26,38
EUR 17,60 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 2 disponibili
Paperback. Condizione: Brand New. 252 pages. 11.25x9.55x0.80 inches. In Stock.
- Brossura
Da: Books Puddle, New York, NY, U.S.A.Books Puddle
Contatta il venditoreVenditore con 4 stelleCondizione: Nuovo
EUR 46,21
EUR 3,50 spedizioneSpedito in U.S.A.Quantità: 3 disponibili
Condizione: New. pp. 220.
- Brossura
Da: THE SAINT BOOKSTORE, Southport, Regno UnitoTHE SAINT BOOKSTORE
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 28,54
EUR 27,22 spedizioneSpedito da Regno Unito a U.S.A.Quantità: Più di 20 disponibili
Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.
- Brossura
Da: Marcus Campbell Art Books, London, Regno UnitoMarcus Campbell Art Books
Contatta il venditoreVenditore con 4 stelleCondizione: Usato
EUR 48,34
EUR 22,29 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Paperback. Condizione: Good in wraps. 24 x 29cm 208pp good paperback. Sir Jacob Epstein KBE was an American and British sculptor who helped pioneer modern sculpture. He was born in the United States, and moved to Europe in 1902, becoming a British subject in 1910. Works shown in black and white reproduction.
Lingua: Inglese
Editore: Paul Holberton Publishing Ltd, 2009
- Brossura
Da: The Private Library, London, Regno UnitoThe Private Library
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Molto buono
EUR 58,01
EUR 23,47 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloSoft cover. Condizione: Very Good. This detailed catalogue explores the early artistic years of Jacob Epstein, highlighting his development and influences from 1880 to 1930. It provides insights into his formative experiences that shaped his revolutionary approach to sculpture, emphasizing his impact on modern art movements. Fro…m the library of John Russell Taylor.
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Da: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 67,60
EUR 32,45 spedizioneSpedito da Australia a U.S.A.Quantità: 1 disponibili
Paperback. Condizione: new. Paperback. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time.…Apart from his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects - the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that "a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for 'an Epstein' and his kind of 'content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, Epstein did not fit neatly into the artistic categories of his time. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Brossura
Da: Rarewaves.com UK, London, Regno UnitoRarewaves.com UK
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 35,29
EUR 76,27 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 19 disponibili
Paperback. Condizione: New. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Epstein did not fit neatly into the artistic categories of his time. Apart from…his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects - the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that "a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for 'an Epstein' and his kind of 'content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture.
Editore: -Paul Holberton Publishing -, 2013
Da: Paul Brown, Ramsgate, Regno UnitoPaul Brown
Contatta il venditoreVenditore con 4 stelleCondizione: Usato
EUR 19,34
EUR 28,39 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloFirst edition first printing 2013. 252 pages. Illustrated in black and white throughout. Paperback. Fine. As an American living in England, a conscious Jew who utilized Christian symbols, a skillful modeler who introduced direct carving into England, and a modernist who eventually came to dislike abstraction for its own sake, Ep…stein did not fit neatly into the artistic categories of his time. Apart from his still widely admired naturalistic bronze portraits, Epstein's oeuvre remains poorly understood and his reputation is dominated by his famous Rock Drill from before World War I. As this book shows, Epstein remained an avant-garde artist throughout his life, even if he ignored modernist dogma as well as man-in-the-street prudery. Gilboa's text reveals the man in all his genius, interpreting many works in the light of Epstein's personal circumstances. In an atmosphere of polarized attitudes to art and polite anti-Semitism at the end of the 1920s growing rather less polite thereafter, the outsider Jew Epstein deliberately became estranged from London's art world. He responded to society's attitude towards him in a series of bold projects- the monumental Genesis (1930) and Primeval Gods (1931-32); the smaller carvings Chimera and Elemental (1932); Behold the Man (1934-35); Consummatum Est (1938-39); Adam (1938) and Jacob and the Angel (1940); the bronze Lucifer (1944-45) and again a carving, Lazarus (1947). One cannot ignore the symbolic names of these sculptures. The discussion in this book will reveal that in each case the name has a definite relation to the sculpture's theme and essence, as well as to the personal concerns of the sculptor. Almost all of these sculptures that Epstein produced from the 1930s aroused a public outcry, causing one critic to state that"a new carving by Mr. Epstein - good, bad or indifferent - can still steal the headlines when criminal assault, private or political, is out of season". It was only during the 1950s, following the trauma and emotional shock of World War II, that new requirements for the expression of ideas and emotions rather than for mere forms with which to play renewed the demand for `an Epstein' and his kind of `content' sculpture, mainly in public commissions. Epstein, by then in his seventies, was flooded with work, and his sculpture - which employed Christian imagery to convey universal ideas of consolation and hope to a war-weary England - became newly relevant, gaining him the status of grand old master of English sculpture. We are specialists in Artists Monographs, Catalogues and Illustrated items. All items are as described and dispatched within 24 hours in a secure package. We are professional booksellers with over 38 years experience, you may order with confidence. Other titles by this artist maybe in stock, please ask for our list or link.
