Isbn: 9780810944893 - defining edges, new look at picture frames [o/p] (18 risultati)

Condizione: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Hardcover. Condizione: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. 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.

Condizione: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condizione: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

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.

Condizione: good. Signs of wear and consistent use.

hardcover. Condizione: Good. Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Oversized.

Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Near Fine. 1st Edition. Near fine book and jacket.

hardcover. Condizione: Fine copy in fine dust jacket. 1st. Square 4to, 136 pp., Foreword by Adam Gopnik. Profusely illustrated (illustratore).

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. Clean crisp copy inscribed to Ann & Bob with Heart drawing dated 1/26/04. DJ is price-clipped. Signed by Author(s).

Hardcover. Condizione: As New. Condizione sovraccoperta: As New. 1st Edition. Harry N. Abrams hardcover in dust jacket, 2002, 1st edition, unused and carefully stored, No remainder marks or "shelf wear" (as New/as New). We will add a custom fitted mylar cover, bubble-wrap the book and ship it in a BOX with delivery confirmation/tracking.…

Hardcover. Condizione: VG/VG. Tan boards with black and gray lettering. White and color-illustrated dust jacket with black and gray lettering. 136 pp. 95 illustrations, 65 in full color. "Using a completely original approach to the subject, Bailey examines more than fifty works of art - some famous masterpieces and some little-known works - to learn how their frames, many of them designed or made by the artists themselves, relate to the pictures they surround. The use of traditional frames is discussed in exquisite detail, even those that diminish the pictures they are supposed to enhance. It is not surprising that certain artists - among them Michelangelo, Ingres, Church, Degas, van Gogh, Klimt, Whistler, Matisse, Seurat, and Mondrian - designed frames for their own pictures. Klee, Miro Kahlo, Dali, Calder, and Hockney incorporated actual frames into the works themselves."-Jacket.…

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. First Edition; First Printing. Stiff unmarked book in crisp dust jacket; about new; 9.3 X 9.1 X 0.8 inches; 136 pages.

Condizione: New. Satisfaction Guaranteed or your money back.

Hardcover. Condizione: Brand New. 130 pages. 9.25x9.25x0.75 inches. In Stock.

Hardcover. Condizione: New. The choice of a frame affects the way we view a work of art in multiple ways, even when we are not aware of it. In this stimulating and truly original book, W. H. Bailey, an artist, designer, and frame consultant, shows how the frame is a vital part of viewing pictures and integral to their presentation. He shatters preconceived notions of borders and changes the way we see and understand art. Bailey examines 56 paintings-including some well-known masterpieces-to explore how their frames, many designed by the artists themselves, relate to the pictures they surround. As The New Yorker writer Adam Gopnik says in his foreword: "Bailey views the act of framing not as a decorative act but as a meaningful one. . . a vindication of the purely visual, of seeing as a form of thought. A frame can be like a superior detective, come to force the picture to confess its real intentions, saying, as detectives will: 'Come out, come out! You're surrounded!'".…