9780094769007 - Celtic Art: The Methods of Construction di Bain, George (37 risultati)

paperback. Condizione: Fair.

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Condizione: Acceptable. paperback 100% of proceeds go to charity! Acceptable reading copy with obvious signs of use, wear, and/or cosmetic issues. Item is complete and remains readable despite notable condition issues.

Soft cover. Condizione: Fine. 28th impression, 2013. Illustrations on black and white plates. Contents: Knotwork Borders (18 plates); Knotwork Panels (22 plates); Spirals (15 plates); Key Patterns (15 plates); Lettering (15 plates); Zoomorphics (23 plates); Plant Forms (7 plates); Human Figures (4 plates); Applications of Celtic Art (40 plates). 163pp 1.01lb 11.2x8.9x0.4in.

Condizione: Very Good. 1776687048. 4/20/2026 12:10:48 PM.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts? Whence the Asiatic origins of the Celtic Art?The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast.

Paperback. Condizione: New. Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts? Whence the Asiatic origins of the Celtic Art?The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: new.

Paperback. Condizione: new. Paperback. Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts? Whence the Asiatic origins of the Celtic Art?The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast. The Pictish School of Celtic art from pagan symbols to monumental sculptures, thoroughly covered and illustrated. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: NEW.

Condizione: New. 1996. New Ed. paperback. The Pictish School of Celtic art from pagan symbols to monumental sculptures, thoroughly covered and illustrated. Num Pages: 164 pages, colour and b&w illustrations. BIC Classification: AFTB; AFTC; AK. Category: (G) General (US: Trade). Dimension: 286 x 224 x 9. Weight in Grams: 462. . . . . .

Condizione: New. pp. 171.

Condizione: New. 1996. New Ed. paperback. The Pictish School of Celtic art from pagan symbols to monumental sculptures, thoroughly covered and illustrated. Num Pages: 164 pages, colour and b&w illustrations. BIC Classification: AFTB; AFTC; AK. Category: (G) General (US: Trade). Dimension: 286 x 224 x 9. Weight in Grams: 462. . . . . . Books ship from the US and Ireland.

Condizione: New. In.

Paperback. Condizione: New.

paperback. Condizione: New.

Paperback. Condizione: Brand New. 174 pages. 11.22x8.90x0.39 inches. In Stock.

Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.

Condizione: New.

Condizione: New. pp. 171.

Condizione: New. pp. 171.

Soft cover. Condizione: Very Good. Twenty-Second Impression. SOFTCOVER. This book deals with the Pictish School of artist-craftsman who cut pagan symbols like the Burghead Bull and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross and the counterparts in the Books of Kells and Lindisfarne, the amazing jewellery conceptions of the Tara and Hunterston Brooches, the Ardagh Chalice and other masterpieces. Illustrated. 163 pp. Small crease to inside cover.(We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical Sciences. academic and scholarly books and Modern First Editions ,and all types of Academic Literature.).

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: new. Paperback. Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts? Whence the Asiatic origins of the Celtic Art?The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast. The Pictish School of Celtic art from pagan symbols to monumental sculptures, thoroughly covered and illustrated. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Condizione: NEW.

Paperback. Condizione: New. Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught.Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible.When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes.The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day.This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne.Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn.Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered.Who were the Picts? Whence the Asiatic origins of the Celtic Art?The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast.