Jorge amado text (4 risultati)

Hardcover. Condizione: New. Condizione sovraccoperta: Very Good. First English language edition. First English language edition 1984, first printing. Published by Editions d'art Yvon, France. Hardcover with DJ. Condition new, square tight and clean book, no edgewear, sharp corners, no markings of any kind, no names, no underlinings, no highlights, no bent pages. Not a reminder. DJ very good, bright and shiny, two small closed tears, no chips, not clipped. 4to, 202 pages, illustrated throughout with photographs by Alain Draeger. Heavy book mayl require additional postage for international shipping.…

Hardcover. Condizione: Near Fine. Near Fine. First American edition. Review copy. (Publisher's printed review slip laid-in) Close to fine in price-clipped fine dust jacket. (Hint of light foxing at edges. ) Foreward by Jorge Amado. Brazilian Author's FIRST book.

4°, 191 S. + Register der Photographien, Oln. Mit zahlreichen Farbphotographien von Monique und Alain Draeger und Zeichnungen im Text. Zustand sehr gut. /Sehr schöner Bildband über Salvador de Bahia. Text in Englisch HINWEIS: Versand nach Deutschland und die EU (14-täglich) ab Konstanz EU-verzollt: Keine Gebühren für den Empfänger! / IMPORTANT: Shipments to EU-Countries duty-payd from Germany: No fees to the consignee! / IMPORTANTE: Spedizioni verso paesi UE sdoganate dalla Germania: nessuna tassa per il destinatario! Sprache: Deutsch 2100 gr. …

Hardcover. Condizione: Fine. Condizione sovraccoperta: Near fine. First edition. "Salvador"-in this case a first edition copy in fine condition-serves as an excellent introduction to the work of Mario Cravo Neto. Neto was a Brazilian artist who worked in the last part of the 20th century and was best known for his photography. Starting in the mid-1970s, that photography tended to be black-and-white images of staged imagined ceremonies that evoked the bi-racial and multi-cultural people of his native Bahia state in Brazil. But things shifted with this book, "Salvador," in 1999. Here, he moved from black-and-white to rich color film and took his camera out into the streets of the capital of Bahia, Salvador, where he himself lived and grew up. Though some of the scenes could possibly be staged, it is obvious that he wants to share his world-his Salvador-as it is, not as a stylized recreation. At the same time, nothing about the photographs here could be considered "objective," and though they are beautiful, they certainly aren't conventionally pretty in the way that would make the local tourist board happy. Critic Anna Wilkes Tucker noted that, "[T]his is a very personal book.more poetic, and less informative, than might be expected." She stated, for instance, that Salvador originated as a major center for the Portuguese slave trade with Africa, and to this day it has one of the largest black and mixed-race populations in Brazil. Tucker points out that hardly any of the people photographed for "Salvador" are white and none come from the upper classes. Neto makes a point of photographing everyday people but also produces a gallery of the town's intellectuals and artists, as if to point with pride at what this former slave port has produced. He documents the city's artwork itself, too, whether that is various kinds of folk art or the incredible baroque altarpieces in the city's colonial churches. Neto belonged to an artistic family-his father, Mario Cravo Junior, was a famed sculptor and now his son, Christian Cravo, is a photographer himself-and his father's sculptures appear in these sections. The images of churches, especially of the religious statuary, blend in with his photographs of ceremonies and worshipers involved with indigenous and uniquely Brazilian religions which combine African, Christian, and other beliefs, particularly Candomblé, which developed in Brazil in the 19th century. This marked a turning point in Neto's work, which, starting in 1999, took on a new spiritual dimension that focused especially on Brazilian religious expression, and within that especially on Candomblé, until his death in 2009. Our copy is apparently a first printing-there is no date line or any reference to other printings on either the copyright page in the front or the expanded copyright page in the back-and is stated as a first edition. All of the text appears in both Portuguese and in English. It is in fine condition, the only flaw being a gift inscription on the first free end paper in the front. It is bound in sky blue cloth with the title blind stamped in large letters at the bottom of both covers; nothing appears on the spine. The dust jacket is in near-fine condition because of a bit of shelf wear along the edges. The front panel of the dust jacket is covered by a copy of a full-page photograph of a boy holding a large waterbird (a gull?) by the beak and the book title in large gold letters at the bottom. The back dust jacket panel is similar, with a copy of a photograph of small boats tied up in the harbor with the photographer's two surnames elided together at the bottom. Both pictures appear within the textblock. There is very little text in this book-no captions, no table of contents, and only a few short essays, with a list of dates of the dates of the photographs at the end. The large majority of the pages are simply photographs-mostly full page, but a few smaller and a few stretching across two pages-and the only pages with page numbers are the ones with text. None have any markings, tears, or other flaws. Photography by Neto, Mario Cravo (illustratore).…