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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 2 volumes set: (158, [2] p.; 186, [2] p.), color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
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GALIMA PUGAÇENKOVA.
Orta Asya'nin saheserleri: Resim ve minyatür. Translated by Tahsin Parlak, Babek Kurbanov.
New New Turkish Original bdg. Dust wrapper. 4to. (28 x 21 cm). In Turkish. 72 p., color plates. Orta Asya'nin saheserleri: Resim ve minyatür. Translated by Tahsin Parlak, Babek Kurbanov. Central Asian masterpieces: Painting and miniature.
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FRANZ BABINGER, (1891-1967).
Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz.
Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 20 p., iv numerous b/w plates (Tafeln). Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz. A study on Gentile Bellini, (1430-1507), was an Italian painter of the school of Venice. He came from Venice's leading family of painters, and at least in the early part of his career was more highly regarded than his younger brother Giovanni Bellini, the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice, and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice, wealthy confraternities that were very important in Venetian patrician social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.
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Texts by LUCIEN ARKAS, BURCU PELVANOGLU.
Color light vibration: Turkish impressionists.= Couleur lumiere vibration: Impressionnistes Turcs.= Renk isik titresim: Türk izlenimcileri. [Exhibition catalogue]. 12 April - 27 July 2018, Arkas Sanat Galerisi.
New English Paperback. 4to. (28 x 23 cm). In English, French, and Turkish. 237 p., color ills. Color light vibration: Turkish impressionists.= Couleur lumiere vibration: Impressionnistes Turcs.= Renk isik titresim: Türk izlenimcileri. [Exhibition catalogue]. 12 April - 27 July 2018, Arkas Sanat Galerisi. Born in France in the 19th century, Impressionism gradually penetrated Turkish art, and many prominent artists of Turkey produced impressionist artworks, particularly in the second half of the 20th century. The artists of the 1914 Generation, also known as Turkish Impressionists, witnessed the dismemberment of the Ottoman Empire as well as the Second Constitutional Era when urge for Westernization was revitalized. That made them the harbingers of the young Republic of Turkey. Ibrahim Çalli, whose name became the nickname of this generation due to his popularity; Hikmet Onat, Hüseyin Avni Lifij, Feyhaman Duran, Namik Ismail, Mehmet Ruhi Arel and Sami Yetik, quite different from the preceding generation of painters, contributed to the art of painting by diversifying themes and pioneered for the promulgation of this. 'Color, Light, Vibration: The Turkish Impressionists' Exhibition gives the center stage to the artists of the 1914 Generation without losing sight of the artworks of the painters of preceding and following periods. The exhibition thus brings together painters of three generations, showing outstanding examples of Turkish painting during the transition from Empire to Republic. 1000 copies were printed.
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OSMAN SEKERCI.
Islâm'da resim ve heykelin yeri.
Very Good Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. [viii], 106, [1] p., ex-libris of Oral Onur and stamp of a Turkish publishing house on cover. First Edition.
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BERNARD FRIZE.
Togetherless.= Birliktesiz. [Exhibition catalogue]. Translated into English by Çiçek Öztek. Photos by Isil Kaya.
New English Original bdg. HC. Folio. (34 x 24 cm). In English and Turkish. 70 p., ills. Togetherless.= Birliktesiz. Translated into English by Çiçek Öztek. Photos by Isil Kaya. 1000 copies were printed.
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Edited by ILKAY BALIÇ, SÜREYYYA EVREN.
Isle.= Ada. [Exhibition catalogue]. Curated by Basak Doga Temür.
New English Paperback. 4to. (28 x 21 cm). In English and Turkish. 110 p., 93 b/w and color ills. Isle.= Ada. [Exhibition catalogue]. Curated by Basak Doga Temür. ''Isle'' brings together one of Ali Mahmut Demirel's early experimental video works with his latest ''Post-Apocalyptic Utopias'' video series. The book published on the occasion of the exhibition opens with an introductory interview with the artist by Basak Doga Temür, the exhibition's curator, and also features a newly commissioned essay written by critic Selim Eyüboglu. The publication is presented in a special box with front cover finished with a layer of copper. The box comprises, alongside the publication, a set of 30 postcards with video stills from the ''Post-Apocalyptic Utopias'' series. "Here we are, beneath the ethereal veil of the ineffable lie, at the very bottom, lurking under your nightmarish dreams of ghettoized luxury, of comfort sheltered from the dangers of life. No, not here; there: even lower, even below, more inward.".
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CAN AYTEKIN.
Empty house.= Bos ev. [Exhibition catalogue]. Curated by Eda Berkmen. Edited by Ilkay Baliç, Süreyyya Evren.
New English Paperback. 4to. (28 x 21 cm). In English and Turkish. 144 p., 131 color ills. Empty house.= Bos ev. [Exhibition catalogue]. Curated by Eda Berkmen. Edited by Ilkay Baliç, Süreyyya Evren. Can Aytekin's exhibition ''Empty House'' comprises the artist's new series by the same name as well as a selection from his previous five series produced from 2005 onwards. The book published on the occasion of ''Empty House'' opens with an introductory overview by the exhibition's curator Eda Berkmen, followed by newly commissioned texts by writer and scholar Nusret Polat, and Ender Keskin. The publication includes full colour images of all exhibited works by photographer Hadiye Cangökçe. Aytekin works at the Painting Department of Mimar Sinan Fine Arts University, Engraving Studio.
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KOMET [COSKUN GÜRKAN].
Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay.
Fine English Paperback. 4to. (34 x 24 cm). In Turkish. 260 p., color ills. Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay. 2000 copies were printed. A very heavy volume.
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KOMET [COSKUN GÜRKAN].
Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay.
New English Paperback. 4to. (34 x 24 cm). In Turkish. 260 p., color ills. Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay. 2000 copies were printed. A very heavy volume.
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IVAN MARCHUK.
Ivan Marchuk. Imaginary details.= Düssel detaylar.= Bidlunniu mrii. [Exhibition catalogue].
New New English Original bdg. Dust wrapper. 4to. (Folio. (33 x 27 cm). In English, Turkish, and Russian. 336 p., color ills. Ivan Marchuk. Imaginary details.= Düssel detaylar.= Bidlunniu mrii. [Exhibition catalogue]. Exhibition catalogue for Ukrainian painter Ivan Marchuk's exhibiton taking place between March 9 - 20 May, 2018 at the Folkart Gallery in Izmir.
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Edited and curated by R. BARIS KIBRIS.
Intersecting worlds: Ambassadors and painters. Ambassadors portraits and art patronage of ambassadors from the 17th to the 19th century with works selected drom Suna and Inan Kiraç Foundation Collection. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (28 x 24 cm). In English. 181 p., color and b/w ills. Since its earlier periods, The Ottoman Empire has established intense relations with European states. Urged by curiosity and a certain degree of fear at times, the West's efforts, on the other hand, to be acquainted with and understand this government of immense military power and source of political authority, emerged as a political exigency. Undoubtedly, the encounter of markedly different cultures bore the most enduring fruit within the realm of arts. Wars, the increase of trade as a means for mutual prosperity, and conflicts of status were the most significant factors behind the intense traffic of diplomacy. Sprawled across a vast geography, the Ottoman Empire welcomed more ambassadors than it sent to other countries, and particularly until the 19th century; these ambassadors were embraced, per Ottoman tradition. In turn, western ambassadors were prompted by the need to document the cities, particularly Istanbul, social structure, customs, administrative and military organization of the Ottoman Empire; apart from the reports they drafted upon their return, they also took advantage of the gifts and paintings they carried along. Often presumed to be true-to-life visual documents, such paintings thus became the most evident expressions of respectability and social status, and attained a special place and meaning, partly due to their potential to address the masses. The works that ambassadors commissioned to artists they added to their retinue en route to the East or to their local counterparts they encountered during service, evolved into books with engravings or collections decorating the walls of European chateaus, and served as source material for works by other artists, thus generating a large visual repertoire on the Ottoman world. Ottoman ambassadors sent to European countries were subjects of monumental portraits painted by leading European artists of the period, immortalizing these historic visits. This selection from the Suna and Inan Kiraç Foundation Orientalist Painting Collection, not only allows us to travel across the meandering paths of diplomatic history under the guidance of art, but it also introduces us to intriguing personalities. Ambassadors and painters continue to communicate with us through a silent yet equally rich and colourful language of expression, presented in their reports and letters, and share with us their respective periods, worldviews, travels and experiences, as well as the ceremonies they joined. Listening to their extraordinary tales, it is impossible not to be enraptured by the splendor and elegance of a lost age. Often used as one of the clearest indications of status and identity in western art since Antiquity, portraits also served a similar purpose for ambassadors. Furthermore, documenting the physiognomy of ambassadors through portraiture was also regarded as a precautionary measure against espionage. Portraits were painted of European ambassadors sent to the Ottoman Empire as high-level officials that have attained great respectability; artists to which these portraits were commissioned strived to reflect not only the physiognomy of the ambassadors, but the power and authority of the state and the ruler they represented. The Ottoman State's political, military, commercial, and cultural relations with European states gained momentum from the 18th century onwards. In turn, the visits Ottoman ambassadors paid to western countries accelerated the spread of the Turquerie fashion of the period. While portraits of Ottoman ambassadors painted by renowned artists of the countries to which they were assigned served to honor the Ottoman Sultan and his representative, they also nurtured the West's penchant for exoticism. There is no doubt that the ever-changing trends, fashions, as well as the purpose of diplomatic visits and political relations were reflected in the portraits. For example, while Kozbekçi M
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ADOLPHE THALASSO.
L'art Ottoman. Les peintres de Turquie.
Fine French Paperback. 4to. (29 x 21 cm). In French. 76, [3] p., b/w plates. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
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YÜKSEL ARSLAN.
Arslan. Texts by Ferit Edgü.
Fine Turkish Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [80] p., 8 folding pages and many b/w ills. First and Only Edition. Critics of painting of Arslan by Edgü. Includes many Arslan's beatiful contemporary illustrations. Arslan. Texts by Ferit Edgü.
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JOHN ASH.
Turkey, the other guide: Western and Southern Anatolia.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English. 346 p., b/w plates. Turkey, the other guide: Western and Southern Anatolia. Turkey, The Other Guide is an unusual guide. Written by one of Britain's most acclaimed poets, John Ash, it goes beyond any guide ever written on Turkey. Here you find not only a master of his words, but also a large amount of comprehensive information on different regions and historical sites of Turkey. Composed of different tours made around the country, from Bithynia to Cappadocia, this book offers the reader a good insight on the history and culture of the land which embraced many civilizations from the Hittites to the Byzantine Empire, still full of Islamic art of the Seljuks and the Ottomans.
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SEMRA GERMANER, ZEYNEP INANKUR.
Constantinople and the orientalists.
Very Good English Paperback. Pbo. 4to. (29 x 24 cm). In English. 331 p., b/w and color ills. Constantinople and the orientalists. Since the publication of our earlier study; 'Orientalism and Turkey', we have been exploring the ramifications of Orientalism in the Ottoman capital of Istanbul itself, or as it was generally known in the nineteenth and early twentieth century: Constantinople. The present study, documented by both visual and written records, including memories, reveals not only the ways in which Istanbul was perceived and portrayed by European artists in the nineteenth century, but it also tries to represent the contemporary city as it truly lived and breathed. In the present work, the reader will discover the identity of Western artists whose works pictorially limned the Ottoman capital, their favorite subjects ¿the harem, the bath, the coffeehouse, and the slave market- and the nature of their interpretation of these subjects.
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Edited by JEAN-LUC MAESO.
Landscapes of water from the Arkas Collection.= Paysages d'eaux de la Collection Arkas.= Arkas Kolekksiyonu'ndan su manzalari. [Exhibition catalogue]. 20 September - 29 December 2017.
New English Paperback. 4to. (28 x 23 cm). In English, French, and Turkish. 201 p., color ills. Landscapes of water from the Arkas Collection.= Paysages d'eaux de la Collection Arkas.= Arkas Kolekksiyonu'ndan su manzalari. [Exhibition catalogue]. 20 September - 29 December 2017. The paintings chosen for this exhibition emphasize the importance of landscape painting in the art of the Western world. This selection, dating from the first half of the 19th century to the second half of the 20th century, features some of the most prominent artists of European landscape painting. The 90 works from the Arkas Collection, most of which are being shown for the first time, illustrate the flourishing artistic scene that prevailed when Paris was the capital of art. The 19th century was one of innovations and revolutions, both historically and artistically. Landscape painting had begun to be recognized as an independent artistic genre in the first half of the 19th century. Until that period, artists preferred to paint in studios. Then, breaking with the strictures of academicism, they began to experiment with plein air (outdoor) painting. During this period, when art itself was being redefined, artistic movements were evolving according to the pictorial tradition. Nature was represented through diverse modes of expression and new artistic movements came into being, such as the Barbizon School, Impressionism, Symbolism, Post-Impressionism, Fauvism and Expressionism. Landscapes of Water "reflects" the historical evolution of the pictorial medium over the course of the 19th and 20th centuries. Here you will find the remarkable works of Eugéne Boudin, Jean-Baptiste Camille Corot, Maurice de Vlaminck, Francis Picabia, Henry Lebasque, and Hippolyte Camille Delpy, among others. They invite the viewer on a fabulous odyssey through diverse geographic areas, from the banks of the Seine and the Scottish lakes to the summits of the Alps, by way of the warm light of the Mediterranean, the North Sea and the rivers of Europe. 1000 copies were printed.
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DR. ELISABETH SGALITZER.
Portrat und Mehransichtigkeit in der Plastik ausserhalb des Mittelmeerkreises.= Akdeniz havzasi disindaki kavimlerin plâstik eserlerinde portre ve birkaç cepheden görünüs.
Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In Turkish with a short abstract in German. [vi], [3], 112, [1] p., v numerous b/w plates (Tafeln). Portrat und Mehransichtigkeit in der Plastik ausserhalb des Mittelmeerkreises.= Akdeniz havzasi disindaki kavimlerin plâstik eserlerinde portre ve birkaç cepheden görünüs.
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Edited by EKREM KAHRAMAN.
Van Gogh sarisi. Vincent Van Gogh'un pesinde modernizmin izinde.
New Turkish Original bdg. HC. Large roy. 8vo. (22 x 19 cm). In Turkish. 680 p., color ills. Van Gogh sarisi. Vincent Van Gogh'un pesinde modernizmin izinde. Van Gogh's yellow. On traces of modernism with Vincent Van Gogh.
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MEHMET CEMAL TOLLU, (1899-1968).
Talimgâh'tan Güzel Sanatlar'a, 1921-1923. Prep. by Servet Avsar.
New Turkish Paperback. Cr. 8vo. (20 x 14 cm). In Turkish. 164 p. Talimgâh'tan Güzel Sanatlar'a, 1921-1923. Prep. by Servet Avsar. Memoirs of painter Cemal Tollu between the years of 1921-1923.
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CEM DINLENMIS.
Cem Dinlenmis. Attn: Block residents.= Blok sakinlerinin dikkatine. [Exhibition catalogue]. 18 May - 16 June, 2018.
New English Paperback. Pbo. Oblong large Roy. 8vo. (22 x 22 cm). [22] p. In Turkish and English. 500 copies were printed. Fully color ills. Cem Dinlenmis. Attn: Block residents.= Blok sakinlerinin dikkatine. [Exhibition catalogue]. 18 May - 16 June, 2018.
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PHILIPP SCHWEINFURTH.
Grundzüge der Byzantinisch-Osteuropäischen Kunstgeschichte.
Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 51 p., 15 numerous b/w plates (Tafeln). Grundzüge der Byzantinisch-Osteuropäischen Kunstgeschichte. Essentials of Byzantine-Eastern European history of art.
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O. VOLK / SCHEYERN.
Franz Dölger - Bibliographie, 1919-1951. [Separatum Byzantinische Zeitschrift Begründet von Karl Krumbacher, Sonderdruck aus Band 44-1951).
Very Good German Paperback. Some markings. A reading copy. Roy. 8vo. (24 x 17 cm). In German. 50 p. Franz Dölger - Bibliographie, 1919-1951. [Separatum Byzantinische Zeitschrift Begründet von Karl Krumbacher, Sonderdruck aus Band 44-1951). Dölger war ein deutscher Byzantinist. Dölger war von 1931 bis 1963 Herausgeber der Byzantinischen Zeitschrift. Er hatte damit eine maßgebliche Rolle im Wissenschaftsbetrieb seines Faches inne. Dölger war der Begründer der byzantinischen Diplomatik als Teildisziplin der Byzantinistik. Neben zahlreichen Einzelstudien, die in zwei Sammelbänden zusammengefasst wurden, war seine Bearbeitung der byzantinischen Kaiserurkunden beispielhaft. Dölger gelang es in fünf Bänden mit Regesten von 3555 Urkunden erstmals die Regierungs- und Verwaltungstätigkeit der byzantinischen Kaiser umfassend zu dokumentieren. Aus den Schatzkammern des Heiligen Berges bot erstmals eine breite Information über die Urkundenarchive der Athosklöster. Im Jahre seines Todes erschien das gemeinsam mit Karayannopulos erarbeitete Handbuch zur Diplomatik der byzantinischen Kaiserurkunde. Dieser Sonderdruck enthält 747 Materialien von ihm, die von ihren Untertanen klassifiziert sind. Dölger was a German Byzantinist. He is most notable for his crucial contributions to Byzantine diplomatics, and as the chief editor of the journal Byzantinische Zeitschrift from 1931 to 1963. A member of the Bavarian Academy of Sciences and Humanities, he received honorary doctorates from the universities of Athens, Thessaloniki and Sofia. In 1962, he was awarded the Order Pour le Mérite. This reprint contains 747 materials by him which are classified by their subjects.
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Edited by TANIA BAHAR, BEGÜM AKKOYUNLU ERSÖZ.
Chagall. Life and love. Prints, drawings and paintings.= Chagall. Yasam ve ask. Baski, desen ve resimler. [Exhibition catalogue]. Curated by Meira Perry Lehmann - Michael Bromberg.
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 191 p., color and b/w ills. Contents: Suna, Inan ve Ipek Kirac; Foreword - James S Snyder; Foreword - Meira Perry-Lehmann; Introduction - Marc Chagall: A Photobiography - Ferit Edgu; The World of Chagali - Sivan Eran-Levian; Portraits - Efrat Aharon; Chagali and the Theme of Lovers - Efrat Aharon; My Life - Meira Perry-Lehmann; Books of Bella Chagall: Burning Lights, First Encounter - Meira Perry-Lehmann; Dead Souls - Efrat Aharon; The Fables of La Fontaine - Sivan Eran-Levian; lllustrations of the Bible. The works of outstanding 20th century artist Marc Chagall were exhibited in Turkey for the very first time at the Pera Museum. The 160 works by Chagall (b. 1887, Vitebsk, Russia, d. 1985, Saint-Paul-de-Vence, France) were comprised of prints, drawings and paintings selected from the rich collection of The Israel Museum, Jerusalem. The exhibition showcased a unique selection that revealed Chagall's multi-faceted personality and vivid world of imagination. Accompanying the drawings, which reflect Chagall's life and his love for his first wife Bella, the exhibition also showcased his illustrations for the Holy Book and for literary works such as The Fables of La Fontaine, and Gogol's Dead Souls. Representing his signature style, themes such as Russian folklore, Jewish traditions and lovers stand out in Chagall's works. A conference was held on 5th December 2009, in conjunction with the exhibition as a joint collaboration between Pera Museum and the French Cultural Center, Vice President of the Marc Chagall Committee and granddaughter of Marc Chagall, Meret Meyer spoke of the art and life of the artist.
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ANDY WARHOL.
Warhol in motion. Films and polaroids.= Warhol hareket halinde. Filmler, polaroidler.
Fine English Paperback. Demy 8vo. (21 x 14 cm). In English and Turkish. 38 p., ills. Warhol in motion. Films and polaroids.= Warhol hareket halinde. Filmler, polaroidler.
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YALIN ALPAY, EMRE ALKIN.
The art of Fikret Mualla: Moualla.
New English Paperback. 4to. (28 x 20 cm). In English. 144 p., ills. The art of Fikret Mualla: Moualla. Today, many of his works are included in top private and public museums' collections in Turkey, such as Ankara Museum of Painting and Sculpture and Sakip Sabanci Museum. Mualla retrospectives are run by many internationally recognized modern and contemporary art museums, especially by Istanbul Modern. The most prestigious art galleries in Turkey and in the world hold exhibitions to display Mualla paintings in particular. There are numerous books and plays written about him, many movies and documentaries telling his life story. Despite all of these, the life and art of Fikret Mualla are still ridden with myths and contradictions in the eyes of society. Maybe it is because the last word has not yet been said on the connection between his life and his art, the way how his outlook on life influenced his works, other painters who have been an inspiration to him, the novelties he brought into the art of painting and finally the life he led, a life so dramatic and so intriguing that it could almost be used as a plot for a novel. Here in this book, you will find the life story of Fikret Mualla, the relationship between his art and his life, rare and precious examples of his works, and various characteristics of his art.
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IVAN STCHOUKINE.
La peinture Indienne à l'époque des Grands Moghols.
Very Good French In contemporary 1/3 leather bdg. Small folio. (33 x 26 cm). In French. [10] ,214, [4] p., 'c' numerous b/w plates. La peinture Indienne a l'epoque des Grands Moghols. First Edition. Rare. Sour cadette de la rayonnante miniature persane, la peinture moghole ne fut étudiée qu'à dater du début de ce siècle. Elle n'était considérée jusqu'à ce jour que sous l'aspect d'une branche souvent inférieure des expressions esthétiques iraniennes. Vue sous l'angle de l'art indien, elle retrouve la place importante qui lui était due. Nous avons rendu compte dans les notes bibliographiques de ce Bulletin, M. Parmentier en 1919, nous-même en 1929, d'un ouvrage de M. E. B. Havell intitulé Indian Sculpture and Painting. Cet auteur eut le premier le mérite de placer l'école moghole et l'école néo-indienne à leur rang légitime. M. I. S. rend un juste hommage à M. Havell ainsi qu'à ses successeurs dans l'appréciation des choses sous cet angle nouveau. Il était cependant fort regrettable de constater la pauvreté de la littérature française sur cette question. Nous ne pouvons donc que féliciter vivement M. I. S. de nous avoir offert un important volume sur un sujet à peu près neuf dans notre langue. La nouveauté de ce dernier exigeait la méthode rigoureuse qui a présidé à l'élaboration de ce travail. Dans une première partie historique, M. I. S. étudie la filiation des traditions anciennes avec l'école moghole et néo-indienne. L'auteur insiste sur la continuité de la tradition artistique indienne. Les moyens d'expression des formes picturales de l'homme, puis de la nature, leur définition et leur classement font l'objet d'une seconde partie analytique. Enfin, l'auteur entreprend de déterminer la formation esthétique de la peinture moghole dans une dernière partie, où il étudie, synthétiquement, le rythme de la composition et de la couleur, II est un fait certain : c'est la peinture qui s'est le moins bien conservée au cours des siècles. Cependant, quelques épaves ont miraculeusement survécu aux intempéries, aux invasions et aux guerres. Comme, d'autre part, de nombreuses allusions littéraires font mention de peintures, nous avons en mains les données suffisantes pour que l'historien d'art puisse reconstituer les étapes de l'évolution de cet art. Quoique notre connaissance des débuts soit nécessairement déformée par la légende, la peinture semble avoir tenu à cette époque lointaine une grande place dans la pensée indienne. Elle était le délassement préféré des princes, et la bibliographie amoureuse y trouve largement son compte. Toute personne cultivée avait chez elle le matériel nécessaire à l'exécution d'un portrait, et ceux-ci étaient, paraît-il, fort ressemblants. Mais le caractère profane de la représentation des personnages fut tel qu'au début il était interdit aux moines bouddhiques de séjourner dans les lieux où de pareilles images étaient exposées. Cette interdiction ne dura d'ailleurs pas et l'Eglise bouddhique comprit rapidement la nécessité d'user à son tour de ce puissant moyen de favoriser sa propagande. La connaissance de ces interdictions suffit à déterminer l'origine laïque de la peinture indienne. Les canons aux règles impérieuses ne font leur apparition que vers le VIIe siècle et superposent la formule d'école à l'inspiration directe de la nature. Ces lois enrayeront ainsi graduellement l'évolution de cette forme d'art. En ce qui concerne la décoration des monuments, les plus anciennes fresques sont celles delà grotte Jogimarâ (Orissâ) datant du début de notre ère et celles d'Ajantâ qui remontent, pour certaines «caves», aux deux premiers siècles. Ces représentations, dont le thème est emprunté aux Jàtakas, révèlent une technique en possession de moyens très développés. Notons en passant que les différents auteurs qui ont traité de ce sujet ne sont pas parfaitement d'accord sur les différents moyens mis en ouvre par cette technique. La symétrie des volumes, la sécheresse, une raideur générale, sont les
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DEVRIM ERBIL.
Devrim Erbil. Siirsel uyum.= Poetic harmony. [Exhibition catalogue]. May 25th - June 30th 2017.
New English Paperback. 4to. (29 x 21 cm). In English and Turkish. [65] p., color ills. Devrim Erbil. Siirsel uyum.= Poetic harmony. [Exhibition catalogue]. May 25th - June 30th 2017.
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KIYMET GIRAY.
Ayten Yetis Dogu. [Catalogue of the artist].
New Turkish Paperback. 4to. (30 x 22 cm). In Turkish. 239 p., color ills. Ayten Yetis Dogu. [Catalogue of the artist]. Ayten Yetis Dogu, attended the Department of Painting of Istanbul State Academy of Fine Arts and worked at the studios of Adnan Çoker and Özdemir Altan. She graduated from the studio of Nurullah Berk in 1966. She continued her studies in Vienna from 1967 to 1970 and in Germany from 1972 to 1975. The Artist had twenty solo exhibitions, two of which were abroad and participated in numerous joint exhibitions. The artist who describes her art as expression of color, light and shadow, is currently working in her own studio in Istanbul. (Source: Turkish paintings).
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GÖNÜL GÜLTEKIN.
Western trends in the Turkish art of painting. [= Bati anlayisinda Türk resim sanati].
Fine Fine English Original bdg. Dust wrapper. In special publisher's box. 4to. (28 x 20 cm). In English. 216 p., color ills. Western trend in the Turkish art of painting.
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MURAT AKGÜNDÜZ, ANTONIO COSENTINO, ALTAN ÇELEM, MUSTAFA HORASAN, et alli.
On the frontiers of experience.= Sinir deneyimleri. 11 November - 15 December 2005. [Exhibition catalogue]. Curated by Levent Çalikoglu.
As New English Paperback. Large 8vo. (24 x 24 cm). In English and Turkish. 90 p., color and b/w ills. On the frontiers of experience.= Sinir deneyimleri. 11 November - 15 December 2005. [Exhibition catalogue]. Curated by Levent Çalikoglu.
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Edited byed by ALI KAMIL GÖREN.
Destek Reasürans Koleksiyonu.
New New English Original bdg. Dust wrapper. 4to. (32 x 24 cm). In Turkish. 263 p., color ills. Destek Reasürans Koleksiyonu.
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Edited byed by ALI KAMIL GÖREN.
Destek Reasürans Koleksiyonu.
Fine Fine English Original bdg. Dust wrapper. 4to. (32 x 24 cm). In Turkish. 263 p., color ills. Destek Reasürans Koleksiyonu.
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IKSV.
Untitled (12th Istanbul Biennieal), 2011. The companion.= Isimsiz (12. Istanbul Bienali), 2011. El kitabi.
New English Paperback. Pbo. Mint. Cr. 8vo. (19 x 13 cm). In English and Turkish. 431, [2] p. Color and b/w ills. Untitled (12th Istanbul Biennieal), 2011. The companion.= Isimsiz (12. Istanbul Bienali), 2011. El kitabi.
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Curated by FULYA ERDEMCI.
3th Istanbul Biennial. Mom, am I barbarian?= 13. Istanbul Bienali. Anne ben barbar miyim? [Biennial catalogue].
Fine English Paperback. Demy 8vo. (22 x 15 cm). In English and Turkish. 750, [3] p. 3th Istanbul Biennial. Mom, am I barbarian?= 13. Istanbul Bienali. Anne ben barbar miyim? [Biennial catalogue].
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CONTEMPORARY ISTANBUL - AKBANK.
CI: Art. Stories. Istanbul. Contemporary Istanbul. Catalogue, 14-17 September, 2017.
New English Paperback. Roy. 8vo. (23 x 16,5 cm). In English and Turkish. 313, [2] p., color ills. CI: Art. Stories. Istanbul. Contemporary Istanbul. Catalogue, 14-17 September, 2017.
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Curated by LEVENT ÇALIKKOGLU.
Gelenekten çagdasa modern Türk sanatinda kültürel bellek. Sergi konusmalari. Edited by Esin Eskinat.
New Turkish Paperback. Demy 8vo. (22 x 15 cm). In Turkish. 204 p., color ills. Gelenekten çagdasa modern Türk sanatinda kültürel bellek. Sergi konusmalari. Edited by Esin Eskinat.
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Directed by DYALA NUSSEIBEH.
AI ArtInternational 2015. [Art fair catalogue].
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish. 230, [68] p., color ills. AI ArtInternational 2015. [Art fair catalogue].
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ARDAN ÖZMENOGLU.
Ardan Özmenoglu: Ben bienal sanatçisi degilim. Texts by Ilkay Balic. [Catalogue of the artist].
New Turkish Original bdg. HC. Roy. 8vo. (25 x 17 cm). In Turkish. 99, [4] p., color ills. Ardan Ozmenoglu: Ben bienal sanatçisi degilim. Texts by Ilkay Balic. [Catalogue of the artist].
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GÜLIN DÖKMECI, EMRE DÖKMECI.
There is a madness in my mind. Gülin-Emre Dökmeci Collection Exhibition.= Aklimda bir delilik var. Gülin-Emre Dökmeci Koleksiyonu Sergisi. Curated by Ali Akay. [Exhibition catalogue].
Fine English Original cloth bdg. 4to. (27 x 24 cm). In English and Turkish. 170, [1] p., b/w and color ills. There is a madness in my mind. Gülin-Emre Dökmeci Collection Exhibition.= Aklimda bir delilik var. Gülin-Emre Dökmeci Koleksiyonu Sergisi. Curated by Ali Akay. [Exhibition catalogue]. 1500 copies were printed.
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SULTAN ABDÜLAZIZ, (1830-1876).
Kunstausstellung von der Skizze zum Gemalde.= Eskizlerden tablolara Sultan Abdülaziz Resim Sergisi. [Exhibition catalogue]. Curated by Mehmet Lütfi Sen.
As New German Paperback. Pbo. 4to. (29 x 24 cm). In German and Turkish. 144 p., color ills. Kunstausstellung von der Skizze zum Gemalde.= Eskizlerden tablolara Sultan Abdülaziz Resim Sergisi. [Exhibition catalogue]. Curated by Mehmet Lütfi Sen.
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Curated by MONTSE AGUER TEIXIDOR - NAZAN ÖLÇER.
Istanbul'da bir sürrealist: Salvador Dali. [Exhibition catalogue].
New English Paperback. 4to. (27 x 24 cm). In Turkish. 405 p., b/w and color ills. Istanbul'da bir sürrealist: Salvador Dali. [Exhibition catalogue].
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AHMET KAMIL GOREN.
50. yilinda Akbank resim koleksiyonu.
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 24 cm). In Turkish. 302 p., color ills. 50. yilinda Akbank resim koleksiyonu. Collection of the Turkish paintings of Akbank.
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TIMUR KERIM INCEDAYI.
Timur Kerim Incedayi. [Catalogue of the artist]. Curated by Zeynep Çarmikli. Translated by Fatih Özgüven. Introduction by Osman S. Çarmikli.
New New English Original bdg. Dust wrapper. 4to. (30 x 21 cm). In English and Turkish. 175 p, color and b/w ills. 2000 copies were printed.
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MEVLÂNÂ CELÂLEDDIN RUMÎ.
Candan cana: Mevlânâ Celaleddin Rumi'den seçme rübailer. Translated into Turkish by Talât Sait Halman. Painted by Erol Akyavas.
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 25 cm). In Turkish. 175 p., color ills. ISBN: 9754581400. Candan cana: Mevlânâ Celaleddin Rumi'den seçme rübailer. Translated into Turkish by Talât Sait Halman. Painted by Erol Akyavas.
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ISMAIL ACAR.
Ismail Acar. Hagia Sophia and imaginary projections.= Ayasofya ve sanal izdüsümler. [Exhibition catalogue]. Preface by Semavi Eyice.
New English Paperback. 4to. (31 x 23 cm). In English and Turkish. 87, [1] p., color ills. 2000 copies were printed. Ismail Acar. Hagia Sophia and imaginary projections.= Ayasofya ve sanal izdüsümler. [Exhibition catalogue]. Preface by Semavi Eyice.
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ISMAIL ACAR.
Ismail Acar. Hagia Sophia and imaginary projections.= Ayasofya ve sanal izdüsümler. [Exhibition catalogue]. Preface by Semavi Eyice.
As New English Paperback. Mint. 4to. (31 x 23 cm). In English and Turkish. 87, [1] p., color ills. 2000 copies were printed. Ismail Acar. Hagia Sophia and imaginary projections.= Ayasofya ve sanal izdüsümler. [Exhibition catalogue]. Preface by Semavi Eyice. Signed and inscribed by artist to Turkish paintress Elif Uras.
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RAFFI PORTAKAL.
P. Dünya sanati dergisi. No:1-52. SET. Owner: Raffi Portakal. Yayin danismani: Ferit Edgü. Yayin Yönetmeni ve Sorumlu Yazi isleri müdürü: Celal Üster.
New Turkish Paperback. 4to. (29 x 21 cm). In Turkish. 52 issues set. Many color and b/w ills. P. Dünya sanati dergisi. No:1-52. SET. Owner: Raffi Portakal. Yayin danismani: Ferit Edgü. Yayin Yönetmeni ve Sorumlu Yazi isleri müdürü: Celal Üster. 1996-2010. All published. It's an oversize and very heavy set.
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ATTILA GALATALI.
Attila Galatali. Poet of the Earth and Sun.= Topragin ve Günesin ozani. Text by Anna Turay.
New New English Original bdg. Dust wrapper. 4to. (30 x 21 cm). In English and Turkish. 123 p., color and b/w ills. 2000 copies were printed. Attila Galatali. Poet of the Earth and Sun.= Topragin ve Günesin ozani. Text by Anna Turay. TURKISH ART Ceramics Tile History of art Modern art.
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TIMUR KERIM INCEDAYI.
A city in search if its history: Istanbul and an artist, Timur Kerim Incedayi.= Una citta sulle orme della Storia, Istanbul e un pittore, Timur Kerim Incedayi.= Tarihin izinde bir kent, Istanbul ve bir ressam, Timur Kerim Incedayi.[Exhibition catalogue]. Edited by Amelie Edgü. Texts by Ahmet Oktay, Murat Ural, Maurizio Calvesi.
New English Paperback. In publisher's special slip-case. 4to. (29 x 21 cm). In English, Italian, and Turkish. 127, [1] p., color ills. A city in search if its history: Istanbul and an artist, Timur Kerim Incedayi.= Una citta sulle orme della Storia, Istanbul e un pittore, Timur Kerim Incedayi.= Tarihin izinde bir kent, Istanbul ve bir ressam, Timur Kerim Incedayi.[Exhibition catalogue]. Edited by Amelie Edgü. Texts by Ahmet Oktay, Murat Ural, Maurizio Calvesi. One of 2000 copies.
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