‎Architecture‎

‎Emile Lousse‎

‎Leuvensche Universiteit tijdens den tweeden wereldoorlog, 1939-1945‎

‎, de Kinkhoren Brugge Brussel , 1945 Paperback, 75 pagina's, NL, 215 x 140 mm, in goede staat, met enkele foto's in z/w, .‎

Bookseller reference : 59409

‎Emile Male‎

‎Studies in Religious Iconography 2: Religious Art In France: Thirteenth Century a Study of Medieval Iconography & Its Sources‎

‎USA: Princeton University Press 1984. hardcover. Good/Good. 9x2x11. Slight spotting to top edge of text block. Fading to D/J spine. Tear to edge of rear D/J and D/J spine. Princeton University Press hardcover‎

Bookseller reference : 723496 ISBN : 0691099138 9780691099132

‎EMILE MÂLE‎

‎NOTRE-DAME DE CHARTRES. + ENVOI DE L'AUTEUR‎

‎PAUL HARTMANN. 1948. In-4. Cartonné. Etat d'usage, Coins frottés, Dos abîmé, Intérieur frais. Environ 200 pages. Frontispice en noir et blanc. Nombreuses photos en noir et blanc, dans et hors-texte de Pierre Devinoy. Mors fendu, dos partiellement détaché.. . . . Classification Dewey : 720-Architecture‎

‎Envoi de l'auteur sur la page de garde. Classification Dewey : 720-Architecture‎

Bookseller reference : R260160503

‎Emile Thézard‎

‎L'architecture Usuelle‎

‎Dimension extérieur : 31,7 x 24,2 cm. Terrasses et Treilles, à Walmer-Lodge et à Courtlands (Angleterre). M.M Mawson et Mallows, architectes.‎

‎Planche 81, gravure dans son jus, en bon état général.‎

Bookseller reference : est262t8

‎Emile Wennekes, Emilio Audissino (eds)‎

‎Cinema Changes: Incorporations of Jazz in the Film Soundtrack‎

‎, Brepols, 2019 Hardback, xxvi + 334 pages, Size:210 x 260 mm, Illustrations:35 b/w, 26 musical examples, Language: English. ISBN 9782503584478.‎

‎Summary Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new "multimedia" art form, soon incorporating music as one of cinema's privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music - in various form and with diverse and changing racial/social connotations - appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level. TABLE OF CONTENTS Emile Wennekes - Emilio Audissino Prologue: A Reel Jazz Survey Rendition / Reception Emile Wennekes Out of Tune? Jazz, Film and the Diegesis Phillip Johnston Jazzin' the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film Luca Stoll Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards Marida Rizzuti Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s Randall Cherry Ethel Waters and the Search for Racial Redemption Jazz and National Cinemas Emilio Audissino The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study Nicolas Pillai Rhythms of the Everyday: an Alternative History of the British Jazz Film Philippe Gonin Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s? Julio Arce - Celsa Alonso From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War Roberto Calabretto Jazz Music in Michelangelo Antonioni's Films Willem Strank When Jazz Meets German Cinema: A Brief Overview Jason R. Hillebrand A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows Case Studies Francesco Finocchiaro - Leo Izzo The Sound of the Nightmares: On the Jazz Music in Fritz Lang's Metropolis Ryan Patrick Jones Dignity in the Twilight of Minstrelsy: Race, Nuance, and Aspiration in Duke Ellington's Symphony in Black: A Rhapsody of Negro Life Adam Biggs The Blues and Dissonance in Michelangelo Antonioni's Blow-Up Armando Ianniello Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio '70 Marcel Bouvrie Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Nondiegetic Music in Whiplash Mervyn Cooke 'The Same Goddamn Songs the Same Goddamn Way'? Makin' Whoopee with The Fabulous Baker Boys Abstracts Biographies Index of Names‎

Bookseller reference : 66042

‎EMILE-BAYARD‎

‎L'Art de reconnaitre l'Architecture française.- Monuments, eglises, maisons.‎

‎petit in-12, 289 pages, abondamment illustré noir & blanc, cartonnage illustré. Très bel exemplaire, très frais. [DB-1]‎

‎EMILE-BAYARD‎

‎L'Art de reconnaitre les Styles. Architecture. Ameublement.- Ouvrage orné de 280 gravures environ.‎

‎Hardcover in-12, 458 pages, gravures noir & blanc, cartonnage percaline illustré de l'éditeur (image collée) Très bel exemplaire, très frais. [TX-11]‎

‎EMILE-BAYARD‎

‎L'Art de reconnaître les styles: architecture, ameublement.‎

‎Paris, Garnier Frères, 1910 12 x 19, 459 pp., 280 illustrations, reliure dos cuir, bon état (épidermures)‎

Bookseller reference : 11538

‎EMILE-BAYARD‎

‎LE STYLE MODERNE (L'Art de reconnaitre les Styles).- Ouvrage orné de 170 gravures.‎

‎in-12 broché de 374 pages. Bon état. [NV-1]‎

‎EMILE-BAYARD‎

‎Le style Renaissance.‎

‎Couverture souple. Broché. 298 pages. Couverture légèrement défraîchie.‎

‎Livre. Ouvrage orné de 182 gravures. Librairie Garnier Frères (Collection : L'art de reconnaître les styles), 1926.‎

Bookseller reference : 18991

‎EMILE-BAYARD‎

‎LES STYLES FLAMAND ET HOLLANDAIS (L'Art de reconnaitre les Styles).- Ouvrage orné de 110 gravures.‎

‎Hardcover in-12, 214 pages, gravures noir & blanc, reliure demi-cuir, dos lisse, plats art deco, couverture conservée. Coiffes frottées sinon bel exemplaire. [HA109-1]‎

‎EMILE-SOLDI:‎

‎Les Arts Méconnus. Les nouveaux musées du Trocadéro. Ouvrage orné de 400 gravures.‎

‎Paris, Ernest Leroux, 1881, in-4to, XV + 531 p., ill. avec 400 gravures + 3 planches dépliantes ill., reliure en toile originale, ill. avec des ornements en or et noir, tranches dorées .‎

Bookseller reference : 85928aaf

‎Emiliano Bugatti, Cemal Emden, Dr Jane N. Erzen, Luigi Guzzardi‎

‎Carlo Scarpa The Complete Buildings‎

‎, Prestel, 2024 Hardback, 324 x 216 mm, 280 Illustrations col., 352 Pages, English ed. ISBN 9783791377148.‎

‎Featuring exquisite photographs of every structure the architect designed from scratch or incorporated into a historical building, this elegant volume is as sumptuous and inviting as a Scarpa interior. Although he was not widely known during his lifetime, Carlo Scarpa has in the past-half century become one of the most revered of modern architects.‎

Bookseller reference : 65261

‎Emilie Borron‎

‎Pan a franchi le Rubicon. Recherches sur le dieu-bouc romain‎

‎, Brepols - Ecole Pratique des Hautes Etudes, 2026 Hardback, Pages: 452, Size:156 x 234 mm, Illustrations:35 b/w, Language: French. ISBN 9782503618487.‎

‎Summary ...immense travail d' rudition fourni par . Borron qui pr sente ici une somme impressionnante sur une divinit jusqu'ici trop souvent consid r e comme allant de soi. ( lisabeth Buchet, dans Cahiers d' tudes du Religieux. Recherches Interdisciplinaires, 28, 2026, [en ligne]) labor dans le cadre d'une th se de doctorat, le sujet de cet ouvrage est un tre hybride, mi-homme, mi-bouc, le dieu grec que les Anciens nommaient Pan. Toutefois, on n'adoptera pas le point de vue hell ne sur cette divinit , mais plut t celui de Rome, qui accueillit de bonne heure le dieu parmi les siens. Cette monographie s'attache donc l' tude du dieu-bouc romain, entre le Ve si cle av. notre re, o son iconographie appara t en Italie, et le IIIe si cle de notre re, avant que le discours chr tien ne s'empare du personnage ; tout au long de ces huit si cles, elle questionnera les modalit s selon lesquelles Pan, dieu grec, impose sa pr sence dans le panth on et l'imaginaire romain. Pour mieux appr hender la complexit et les diverses facettes du sujet, c'est un point de vue interdisciplinaire qui pr vaudra, alliant l'apport des textes celui des images, de l'arch ologie et de l'histoire. TABLE OF CONTENTS Introduction Premi re partie : Le dieu-bouc en Italie I. Pan sur les rives italiennes I.1. Entre Arcadie et Grande Gr ce I.2. L'entr e en litt rature II. Pan rencontre les faunes II.1. Faunes : un ph nom ne pluriel II.2. Les modalit s de l'assimilation Deuxi me partie : Sous le signe du Capricorne : Pan parmi les dieux d'Auguste I. Auguste et l' laboration d'un ethos panique I.1. Le Capricorne I.2. La figure panique II. Un jalon id ologique august en II.1. Les Lupercales, ou la port e politique d'un festival II.2. Pan jupit rien, partie prenante du discours mill nariste ? III. La r ponse des lettr s au berger III.1. Faunus-Pan horatien, ou l'espace de la securitas III.2. Ovide : la remise en question d'une id ologie esth tique III.3. Transformations du Pan august en Troisi me partie : Un Pan de ralliement : les manifestations d'un engouement durable I. L'universalisme culturel la mode panique I.1. L'alt rit incluse dans les lettres romaines : uariationes paniques I.2. Faunes : le retour aux bois I.3. Pan, un dieu qui parle tous et en tout lieu II. Sur la piste du Grand Pan II.1. Au-del des fronti res esth tiques : l'espace panique comme lieu d'exp rimentation II.2. Et le bouc se fit homme pour les guider : vers une magnification du personnage Conclusion Annexes‎

Bookseller reference : 70537

‎Emilio Fernandez Mir , Pilar Ortega Chapel‎

‎Mir Sculptures : 1928-1982 (Complete Works) : Catalogue Raisonn‎

‎, Galerie Lelong, 2010 Hardcover with illustr. dustjacket, 390 pages, ENG. 330 x 260 x 33 mm, Large / Heavy format, illustrated in colour / b/w. ISBN 9782868820747.‎

‎Alongside Picasso and Warhol, Joan Mir (1893-1983) is one of the twentieth century's most influential artists. Mir created a pictorial world of intense imaginative power, in which visionary and cosmic elements are inextricably intertwined with the earthly and mundane. The research for this six-volume catalogue raisonn of Mir 's paintings, spanning the years 1908 to 1981, was begun in 1957. The artist himself and later the Mir Estate were largely involved in its preparation--Jacques Dupin, Ariane Lelong-Mainaud and Joan Punyet Mir . The catalogue includes all the artist's oils, acrylics and works in various media--on canvas, cardboard, wood, masonite, copper and other hard supports. In the six volumes--all published only in English--all paintings are reproduced in color, whenever possible, accompanied by their title, date, technique and dimensions, with indication of signature and inscriptions on the back, as well as their collection, provenance, important exhibitions and major publications in which they are reproduced.‎

Bookseller reference : 63870

‎Emily A. Winkler, Liam Fitzgerald (eds)‎

‎Normans in the Mediterranean‎

‎, Brepols, 2021 Hardback, 268 pages, Size:156 x 234 mm, Illustrations:11 b/w, 5 col., Language: English. ISBN 9782503590578.‎

‎Summary In both popular memory and in their own histories, the Normans remain almost synonymous with conquest. In their relatively brief history, some of these Normans left a small duchy in northern France to fight with Empires, conquer kingdoms, and form new ruling dynasties. This book examines the explosive Norman encounters with the medieval Mediterranean, c. 1000-1250. It evaluates new evidence for conquest and communities, and offers new perspectives on the Normans' many meetings and adventures in history and memory. The contributions gathered here ask questions of politics, culture, society, and historical writing. How should we characterize the Normans' many personal, local, and interregional interactions in the Mediterranean? How were they remembered in writing in the years and centuries that followed their incursions? The book questions the idea of conquest as replacement, examining instead how human interactions created new nodes and networks that transformed the medieval Mediterranean. Through studies of the Normans and the communities who encountered them - across Iberia, the eastern Roman Empire, Lombard Italy, Islamic Sicily, and the Great Sea - the book explores macro- and micro-histories of conquest, its strategies and technologies, and how medieval people revised, rewrote, and remembered conquest. TABLE OF CONTENTS Illustrations Acknowledgments Introduction: The Normans and Conquest in the Mediterranean - EMILY A. WINKLER AND ANDREW SMALL Part I. Motivations and Strategies Norman Conquests: Nature, Nurture, Normanitas - MATTHEW BENNETT Marriage as a Strategy for Conquering Power: Norman Matrimonial Strategies in Lombard Southern Italy - AUR LIE THOMAS The Changing Priorities in the Norman Incursions into the Iberian Peninsula's Muslim-Christian Frontiers, c. 1018-c. 1191 - LUCAS VILLEGAS-ARISTIZ BAL Part II. The Implications of Conquest in Sicily and Southern Italy Norman Change, Lords and Rural Societies - SANDRO CAROCCI The Nobility of Norman Italy, c. 1085-1127 - GRAHAM A. LOUD Shaping the Urban Landscape: The Normans as New Patrons in Salerno - MADDALENA VACCARO Palermo and the Norman Conquest of Sicily - THERESA J CKH Community and Conquest on Medieval Monte Iato, Sicily - NICOLE M LK Part III. Perceptions and Memories Holy War in the Central Mediterranean: The Case of the Zirids and the Normans - MATT KING Hagiography and the Politics of Memory in the Norman Conquest of the Italian South - KALINA YAMBOLIEV‎

Bookseller reference : 65410

‎Emily Cole‎

‎De taal van de architectuur‎

‎Kerkdriek 2007 Librero Nederland Soft cover 1st Edition‎

‎Couverture souple, 24 x 20 cm, 352 pages, néerlandais, Première édition, Illustrations, état : Très bon Histoire concise de l'architecture - de l'Égypte ancienne au début du XIXe siècle - à travers les styles de construction et les détails architecturaux. [Cette description peut avoir été traduite par une IA.]‎

Bookseller reference : 029416

‎EMIN BILGIÇ, (1916-?).‎

‎Die einheimischen Appellativa der kappadokischen Texte und ihre Bedeutung fur die anatolischen Sprachen.‎

‎Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. [4], 94 p. Die einheimischen Appellativa der kappadokischen Texte und ihre Bedeutung fur die anatolischen Sprachen.‎

‎EMIN BILGIÇ, SABAHATTIN BAYRAM.‎

‎Ankara Kültepe tabletleri II.‎

‎New English Paperback. Pbo. 4to. (31 x 24 cm). In Turkish and German. [xiii], [3], 134 p. B/w plates. Ankara Kültepe tabletleri II.‎

‎EMIN ONAT, (Turkish architect of 'Anitkabir' [i.e. Mausoleum]), (1908-1961).‎

‎Typescript letter signed 'Emin Onat', sent to the Dean Architectural Department Ccolumbia University, NY, US.‎

‎Very Good English Original typescript letter (TLS) signed by Emin Onat, sent to the Dean Architectural Department Columbia University, NY, US, with the letter's first draft including Onat's autograph corrections on the paper. 30x20 cm. Written in a tissue paper. 1+1 pp. Text in entirely English. The letter signed under the title 'O. Prof. Architect Dean of the Architectural Faculty of the Technical University, Ist., Turkey' by Onat. 20 lines. Text: "Allow me to introduce the bearer of this letter, architect Dr. Mukbil A. Gökdogan Professor of Architectural construction in our Faculty. He has been selected by the council of our Faculty, to work in the united nation's buildings and also to study, while in your country, the problems of housing and the methods of prefabrications. Visits to your institutes of constructions and architectural education would also be of great interest to the Dr. I wish to thank you in anticipation for all the valuable help and many suggestions which I am sure you will offer Prof. Gökdogan. Would you please give your teaching staff the sincere compliments of their colleagues in this university. With my kindest regards. Sincerely yours...". was a Turkish architect and former rector of Istanbul Technical University. Onat was born in Istanbul in 1908. He entered Istanbul Technical University in 1926. Then, he was sent to Zurich Technical University. Onat was one of the architects of Anitkabir, the Mausoleum of Mustafa Kemal Atatürk. His architectural style was formed at ETH. Emin Onat learned to experiment, interpret, and search for modernism from his teacher Otto R. Salvisberg, a well-known, experienced practicing architect. Despite getting under the Anitkabir's shadow, he has a unique architectural style. Onat's architectural talent blossomed at Zurich Technical University, where one of his fellow students was Otto Rudolf Salvisberg, who later went to become one of the best architects of his time. Onat completed his studies in Zurich and returned to Turkey in 1934. Within a year, he had become an assistant professor in the Department of Architecture at the School of Engineering. He held the post for a couple of years that were marked by strenuous relations with the other members of the faculty, owing to the novel methods of teaching Onat introduced. In 1944 Onat became the first dean of the newly established Faculty of Architecture at the Istanbul Technical University. Anitkabir's design refers to antique mausoleums, so it causes a lot of discussions. The most significant and important characteristic of Anitkabir is that compatible with Rasartepe's topography. It has a horizontal silhouette. It has two perpendicular axes and it opens to the city from 4 ways. It has a bond with the city and this bond makes a design unique for a place, but the monumental look of it distinguishes Anitkabir from the city. Monumantalizing the design makes it a conceptual object. Anitkabir visualizes its symbolism even in its ornaments.‎

‎EMINE ÇIGDEM TUGAY, MEHMET SELIM TUGAY.‎

‎Izzetabad Kasri: Akintiburnu'ndan akip geçen zaman.‎

‎New Turkish Original cloth bdg. In special slip-case. 4to. (29 x 25 cm). In Turkish. 369, [1] p., color and b/w ills. Treasury land from Akintiburnu to Bebek Garden that was bestowed upon Janissary Hasan Halife by Sultan Murad IV (1623-1640), was transferred to national treasury following a rebellion in 1631-1632 in the reign of Sultan Mehmed IV (1648-1687). In the reign of Sultan Ahmed III (1703-1730), treasury land from Hasan Halife Garden to Kayalar Village, was sold by Grand Vizier Damad Ibrahim Pasha in 1724/25. Grand Vizier Izzet Mehmed Pasha, who has a share in the said lands, built a pavilion just for the Sultan. Sultan Selim III (1789-1807) set foot on Izzetabad Pavilion for the first time upon the invitation of GRAND Vizier Izzet Mehmed Pasha, but later he frequently came to the Pavilion for pleasure and entertaining activities. After a fire on May 15th, 1798; Izzetabad Pavilion was burnt down. And Grand Vizier Izzet Mehmed Pasha died in Manisa on September 18th, 1812. Treasury land from Akintiburnu to Bebek Garden that was bestowed upon Janissary Hasan Halife by Sultan Murad IV (1623-1640), was transferred to national treasury following a rebellion in 1631-1632 in the reign of Sultan Mehmed IV (1648-1687). The pavilion was rebuilt and redecorated by Chief Architect Mustafa and Hayrullah Efendi from Sehremini, between the years 1800-1804, and the palace was used by Sultan Selim III and Mahmud II (1808-1839). When the Bayraktar Group bought Izzetâbâd Pavilion, there was nothing more than relics of the basement. Its construction and renovation was completed in 1999. Thanks to the Bayraktar Group, Istanbul and Turkey have regained a precious heritage from the period of Selim III. After four years, in 2003, we started out to initiate the research which would unearth the mysterious history of Izzetâbâd Pavilion and Akintiburnu, together with Dear Emine Çigdem Tugay and Dear Mehmet Selim Tugay. In the corridors of the history of Akintiburnu, tracing back to nearly 2 thousand years ago, we started to discover the sophisticated and colorful history of Izzetâbâd Pavilion which witnessed great joys as well as torments and conspiracies to date. As a result, the book of Izzetâbâd Pavilion, Time Flies Away from Akintiburnu was published to reveal the history of Izzetâbâd Pavilion and Akintiburnu in light of historical documents. Today, we have this precious work of art written by Dear Emine Çigdem Tugay and Dear Mehmet Selim Tugay, and which gained further value thanks to the highly professional design by Dear Joelle Imamoglu.‎

‎Emison, Patricia‎

‎Italian Renaissance and Cultural Memory‎

‎Cambridge, Cambridge University Press, 2012 Hardcover with dustjacket, 238 pages, 26 x 18.5 cm, Fran ais. *As new. ISBN 9781107005266.‎

‎Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer draws on a recalibrated view of the long Renaissance from 1300 to 1600 synthesizing the considerable evolution in our understanding of the epoch since the foundational nineteenth-century studies of Jacob Burckhardt and Heinrich Woelfflin. Demonstrating that the imitation of nature and of antiquity must no longer define its limits, she exposes the self-consciously modern aspect of Renaissance style. She sets the art against the literary and political interests of time and analyzes works of both very familiar artists Leonardo, Michelangelo, and Raphael and lesser-known figures, such as Cima da Conegliano and Federico Barocci, as well as various printmakers. Succinct yet expansive, this treatment of the period also explores its layered significance for subsequent generations, from the Old Masters to the Post-Modernists. Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer depends on a recalibrated view of the long Renaissance from 1300 to 1600 synthesizing the considerable evolution in our understanding of the epoch since the foundational nineteenth-century studies of Burckhardt and Woelfflin. ISBN 10: 1107005264‎

Bookseller reference : 66970

‎Emma Annette Wilson, Sarah Knight (eds)‎

‎European Contexts of Ramism‎

‎, Brepols, 2019 Hardback, xii + 353 pages, Size:156 x 234 mm, Illustrations:13 b/w, Language: English. ISBN 9782503574998.‎

‎Summary Pierre de la Ram e or Petrus Ramus (1515-1572) has long been a controversial figure in educational reform and innovation, from the moment of his first public academic statements in the 1530s, to his reception among scholars in the twentieth and twenty-first centuries. What is beyond dispute, however, is the vast reach of his influence throughout Europe. Ramus's ideas were disseminated through copious editions and translations of his own textbooks, and in wave after wave of adaptations and re-imaginings of his ideas that swept across the continent. This volume embarks on a European tour of Ramism, using a wide range of previously unpublished or untranslated archival evidence from throughout the continent to examine the dissemination of Ramus's works and his intellectual influence in geographic and in disciplinary terms. The ten chapters explore the spread of Ramism from his home country of France to Protestant strongholds in Germany, Holland, and Britain, and in the Catholic context of the Iberian peninsula. The book also examines Ramism in the less familiar territories (to most Anglophone readers) of Scandinavia and Hungary, and considers the preceding and contemporary Dutch and German educational reform movements from which Ramus borrowed to forge his own distinctive intellectual method. TABLE OF CONTENTS Notes on Contributors List of Illustrations Introduction - SARAH KNIGHT and EMMA ANNETTE WILSON Ramus and Humanist Pedagogy in the Language Arts - JUDITH RICE HENDERSON Ramus and Agricola - MARC VAN DER POEL The International Nature of Britannic Ramism - EMMA ANNETTE WILSON Ramus and the Teaching of Mathematics - ISABELLE PANTIN Teacher, Rival, Martyr: Ramus in French Literature and Thought - SARAH KNIGHT 'Reduced to Order' and 'Just for Show'? Ramus, Print, and Visual Aesthetics - RAPHAEL HALLETT Ramism in the North - GUNNAR HARDARSON The Reception and Influence of Ramism in Spain - ALFONSO MART N-JIM NEZ Hungarian and Transylvanian Ramism - G BOR KECSKEM TI Select Bibliography Index‎

Bookseller reference : 65908

‎Emma J. Wells, Claire Kennan (eds)‎

‎What is Medieval? Decoding Approaches to the Medieval and Medievalism in the 21st Century‎

‎, Brepols, 2024 Hardback, 288 pages, Size:178 x 254 mm, Illustrations:26 b/w, 24 col., Illustrations:26 b/w, 24 col., Language: English. ISBN 9782503600680.‎

‎Summary The Middle Ages and Medievalism have been used and abused throughout history-and this continues. This narrative deserves a reassessment. But, what is Medieval? This is the central question that unifies the contributions in this volume. 'Medievalism', or the study of the Middle Ages in its broadest sense, refers to the perception, conceptualisation and movement towards the era post the fifteenth century. Its study is therefore not about the period otherwise referred to as the 'Middle Ages', but rather the myriad ways it has since been conceived. And the field of medievalism is still in its relative infancy which has led to the emergence of various existential questions about its scope, remit, theoretico-methodological and pedagogical underpinnings, interpretation, periodization, and its relationship to established disciplines and more emerging subdisciplines and specialised fields?both within and without the academy. In turn, neomedievalism has allowed insight into and a response to the medieval often dominated by the modern. This has provoked debate over the nature of neomedievalism as a discipline, subdiscipline, genre, field or offshoot in direct or contrasting relation to the more traditional medievalism. Featuring interdisciplinary contributions from academics, educational practitioners as well as museum, digital and heritage professionals, this volume provides a fresh reflection on past methods to emerging pedagogies as well as new avenues of enquiry into the ways we think about the medieval. It is by reconciling these seemingly disparate forms that we can better understand the continual, interconnected, and often politicised, reinvention of the Middle Ages throughout cultures and study.‎

Bookseller reference : 63123

‎Emma Rosenzweig ; Tal R‎

‎TAL R The Forest In My Eyebrow‎

‎, Tim Van Laere Books , 2022 Hardcover, 116 pag. NL / ENG, 255 x 205 x 20 mm, illustrated in colour. fine! ISBN 9789464004199.‎

‎Tim Van Laere Gallery is pleased to present its second solo exhibition by Tal R: The Forest in My Eyebrow. This exhibition shows a new series of works that resulted from a confrontation between the artist and an opening in the forest, created by trees that had been cut down. The opening, which curiously seemed to form the shape of an eye, compelled the artist to make a series of drawings, which he later reworked in his studio into colored drawings on paper, woodcuts, and large-scale paintings. In addition to these works, Tal also presents a new bronze sculpture in the outdoor patio of the gallery. ?There is a strange coincidence in the Danish language that the word forest ?skovbryn? and eyebrow ? jenbryn? are very similar to each other,? Tal explains, referring to the title of the exhibition. ?So when I saw this eye-shaped space of cut-down trees in the forest, I was intrigued. I took a chair and sat there daily to draw. While I was drawing, I asked myself: What exactly am I looking for? What is it that I am drawing? What am I doing here? When you have been doing this for years, it is no longer about copying the forest. It is no longer about registration. You are doing something else. Something you might not be aware of yourself. So when I talk about an eyebrow and the edge of the forest, it is actually me wondering: How long do I really see the forest before me, and after which amount of time do I start to invent the forest? I think that is a question many artists can relate to. When you draw something outside from yourself, for how long do you see it? What do you actually see? And when do you start to invent your version of it? When do you start to use the world as a mirror for something else you experience in life??‎

Bookseller reference : 61377