FRANCO GERVASIO.MareMagnum
3,510 results
2008New English Paperback. Large 8vo. (22 x 21 cm). In Italian, English and Turkish. 72 p., color ills. Franco Gervasio's first verified exhibition was "Franco Gervasio - Lights In Landscapes - from Italian abstracts Landscapes to Istanbul lights at Galeri Artist - Istanbul" in Istanbul in 2008, and the most recent exhibition was Franco Gervasio - Places of the soul at Casa del Mantegna in Mantova in 2015. Franco Gervasio is most frequently exhibited in Italy, but also had exhibitions in Turkey. Gervasio has at least two solo shows and one group show over the last 7 years. A notable show was Franco Gervasio - Lights In Landscapes - from Italian abstracts Landscapes to Istambul lights at Galeri Artist - Istanbul in Istanbul in 2008. Other notable shows were at Casa del Mantegna in Mantova and Fiere di Parma in Parma. Franco Gervasio has been exhibited with Patricio Reig and Andrea Giovannini. (Artfacts). One of printed 1000 copies. "Alla ricerca della luce della natura": L'avventura artistica di Franco Gervasio.
1997Fine Turkish Paperback. 4to. (28 x 23 cm). In Turkish. 76 p., color ills. Nes'e Erdok. [Exhibition catalogue]. Edited by Veysel Ugurlu. Text by Mehmet Ergüven.
1997New Turkish Paperback. 4to. (28 x 23 cm). In Turkish. [75], [12] p., color and b/w ills. Hüseyin Avni Lifij, (18886-1927). [Exhibition catalogue]. Edited by Veysel Ugurlu. Text by Ahmet Kamil Gören + Exhibition brochure.
1997New Turkish Paperback. 4to. (28 x 23 cm). In Turkish. 208 p., color and b/w ills. This book has been prepared due to the exhibition held in the Military Museum and Culture Site between May 6 and May 15, 1997 in cooperation with the Municipality of Sisli and the Painting and Sculpture Museums Association. One of 1000 copies. "... The old "La Societa Operaia" and the new "Galatasaraylilar Yurdu" [i.e. Dormitory of Galatasaray Lycee] in Beyoglu, Pera started to host three art exhibitions; the first two would be held in the spring of 1916 and 1917, and the last one, which hosted paintings about the war - what would later become known as the Sisli Studio - was held in late 1917 before being brought to Vienna. The Vienna exhibition hosted 20 artists; Zekai Pasha, who had exhibited only one work in the late 1917 exhibition, "Bir Konak Dahili" [i.e. Interior of a Mansion] did not take part in the Vienna show, while the Prince Abdülmecid Efendi, the honorary president of the Society, who had not attended the 1917 exhibition, sent four paintings to Vienna. The opening of the Vienna exhibition was conducted by the Archduke himself. The exhibition, as Celal Esad pointed out, was well received by both Austrian visitors and the press. A poster was designed and the exhibition was accompanied with a German catalogue, Ausstellung Türkischer Maler [i.e. Exhibition of Turkish Painters]. Turkish artists who attended Vienna Exhibition are: Prince Abdulmejid, Ömer Adil Bey, Ali Cemal Ben'im, Ali Sami Boyar, Cevat Bey, Feyhaman Duran, Harika (Sirel Lifij) Hanim, Halil Pasha, Hikmet Onat, Hüseyin Avni Lifij, Ismail Hakki Bey, Mehmed Ali Laga, Mahmud Bey, Namik Ismail, Rusen Zamir Hanim, Mehmed Ruhi Bey, Mehmed Sami Bey (Yetik), Sevket Dag, Diyarbakirli Tahsin, and Ibrahim Çalli; with their 142 pieces of paintings totally, in different techniques.
1997New Turkish Paperback. 4to. (28 x 23 cm). In Turkish. 76 p., color ills. Nes'e Erdok. [Exhibition catalogue]. Edited by Veysel Ugurlu. Text by Mehmet Ergüven.
1997Fine Fine Turkish Original bdg. Dust wrapper. 4to. (28 x 20 cm). In Turkish with an English summary (pp. 131-133), [xii], 144 p., color ills. The story of contemporary Turkish art begins approximately one hundred and fifty year ago, with the westernization movement that changed not only art but political and social life as well in this country. In the mid-19th century, when the Ottoman Empire was adopting European social and political institutions, art too was affected, gaining... Within the context of the Turkish people's odyssey of pictorial art, from its inception to the present day, or in other words the dialectic homogenism of Turkish culture, the attempt to distinguish "traditional vs. modern" compartments, or "painting vs. miniature", will, as emerges from our study to this point, vary according to one's approach to the subject..." Signed and inscribed by author to Turkish art historian Ahmet Kamil Gören.
1996New New Italian Original bdg. Dust wrapper. 4to. (30 x 22,5 cm). In Italian and Turkish. 255 p., color ills. "Looking eastward: the world of Islam in Italian graphic arts from the Neoclassic period to the early twentieth century", exhibition catalogue of an exhibition held at the Italian Cultural Institute of Istanbul.
1994New Italian Paperback. 4to. (30 x 21 cm). In Italian, English and Turkish. 51 p., color and b/w ills. The exhibition of works by the Venetian artist Gianmaria Potenza at the Museum for Turkish and Islamic Art is the outcome of an art that establishes relations. Potenza comes from Venice, a city doomed to bear the burden of international tourism. He is an artist who clearly opposes the modern lack of time and the continuous impoverishment of human relations. The conservation of the historical context and a unique culture undoubtedly brings benefits for the economics of tourism. But clearly Venice must not be conserved for the purposes of tourism alone. The physical and cultural context of the city assumes greater importance with every passing day and especially for artists like Potenza, who have made such an important cultural contribution. Potenza removes cultural values from the vicious circle of economics as he continually strives towards a visual and spiritual discourse, people must take time to comprehend how tradition may still be identified in the contemporary. Potenza is not only the keeper of a tradition, he is a keeper of time itself. The picto-sculptures at the Turkish Islamic Museum are just one series from his rich creative outpourings. The works consists of an almost infinite number of interconnected small black wooden cylinders and cubes creating a definite textures.
2019New English Paperback. 4to. (30 x 24 cm). In Turkish. 320 p., color ills. This catalogue is published for "the Devrim Erbil Exhibition" held between December 18, 2019 - January 30, 2020 at Besiktas Çagdas [i.e. Besiktas Contemporary Art Gallery].
1999New Turkish Paperback. 4to. (30 x 21 cm). In Turkish. [32] p., fully color ills. Ibrahim Safi. 1-20 Subat 1999. [Exhibition catalogue]. Texts by Gönül Gültekin, Gülsev Pakkan.
2005New Turkish Paperback. Folio. (33 x 24 cm). Edition in Turkish. 190, [2] p., color ills. One of 1000 copies.
2000As New Turkish Paperback. Folio. (34 x 24 cm). In English and Turkish. 359 p., color ills. One of 2000 copies. Sabri Fetah Berkel (1907-1993) was an Albanian modernist painter; he was one of the most important painters and academic personalities of last century in Turkey. Berkel was born in Shkopje, in 1927 he completed high school at a French lyceum. From 1927 to 1928 he studied at an Art School in Belgrad. From 1929-1935 he finished his studies at the Academy of Fine Arts, Florence and he died in Istanbul.
1984Fine Fine English Original bdg. Dust wrapper 4to. (28 x 20 cm). In English and Turkish. viii, 215 p., color and b/w ills. with a long illustrated chapter titled "A pictorial account of Istanbul women through the centuries". Detailed accounts of the women of Istanbul, the capital of the Ottoman Empire, their daily lives, their place in society, their dress, and their customos and traditions, often illustrated with fascinating pictures, have been given by many, mostly European writers, travelers and diplomats. They include Edmondo de Amicis, Chalcondile Athenien, W. H. Bartlett, Djeval, D'Ohsson, De Ferrario, Lewis, Hobhouse, Texier, Tournefort, et alli. A small number of Ottoman writers also give accounts of Istanbul women. They include Fazil Hussein Enderuni (1759-1811), Abdullah-al Buharî (18th century), and Osman Hamdi Bey (1842-1910). The works of both foreign and Ottoman writers are generally masterfully illustrated by artists and engravers of many nationalities.
2018New Turkish Original bdg. HC. 4to. (30 x 22 cm). In Turkish. 146 p., color ills. ISBN 1235423658346. Devrim Erbil için siir poem-prose ve denemeler. Edited by Gülseli Inal.
1956Very Good Turkish Paperback. 4to. (28 x 20 cm). 11 p.; 8 p. b/w plates; 2 color serigraphic plates. Scarce first and only edition of this first study on Turkish postwar and contemporary artist Orhan Peker (1927-1978), including two fine serigraphic prints. The text is written by Adnan Benk (1922-1998), who was Parissienne Turkish translator and author. One of 500 copies. Orhan Peker used all the opportunities of tachism and painting in design, drawing, and color paintings that he dealt mainly with horses, carriages, still live, and birds. There was a craft "Pentur" paint texture in his paintings. Not in OCLC.
1966Fine Turkish Contemporary blues cloth bdg. Set in four volumes. Roy. 8vo. )24 x 17 cm). In Turkish. 47 issues complete set. Rare complete set of the legendary literary magazine, whose publication life was interrupted periodically due to financial problems of Cemal Süreya, one of the most important names of the poetry movement called "Ikinci Yeni" [i.e. The Second New]. Every issue is a special issue that has a large part of a poet and author. The publication survived between June 1966 and June 1970, and a total of 47 issues were published during this period. Unlike the first period, the magazine became one of the most important literary magazines of those years. Sureya sold the car she brought from Paris for the magazine. Due to financial difficulties and March 12, its broadcast life has come to an end. In 1980 the magazine was reprinted quarterly. During this period, only two issues were published and no more were published due to the September 12 Coup d'Etat. Süreya stated that he named the magazine "Papyrus" in his letter dated 22 December 1959 to one of his friends, Nedret Gürcan, because "the ancient Egyptians wrote their first writings on the leaves of the grass called papyrus growing on the banks of the Nile." (Wikipedia).
2006New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In English. 343 p., color and b/w ills. The Sultan's procession: The Swedish embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb paintings. In 1657, King Charles X Gustaf of Sweden sent Claes Ralamb as an envoy to Sultan Mehmed IV's court. While he was there, Ralamb commissioned 20 large paintings in oil on canvas, depicting an imperial procession through Istanbul in September 1657, providing a revealing insight into the court of Sultan Mehmed IV in Ottoman Turkey. For the first time, Ralamb's paintings are published here in "The Sultan's Procession". This beautifully illustrated book - containing over 150 colour illustrations - comprehensively covers the full history of the paintings, including a technical analysis from the conservation of one of the paintings. The book also provides a full history of Claes Ralamb and his mission, including the political background of the Swedish embassy, Ralamb's biography and English translations of primary sources in Swedish and Turkish archives. Among the illustrations are over 100 watercolours of people in the Ottoman society from the costume album acquired by Ralamb in Istanbul. These unique Ralamb paintings provide a rare window into life at the Ottoman court in the 17th century.
2005New English Paperback. Pbo. 4to. (29 x 21 cm). In English and Turkish. 208 p., color ills. "An Orientalist painter who lived almost half a century in Istanbul up to his death, Leonardo de Mango is described by the art commentator Thalasso as, a painter through whom the East spoke. De Mango was born on 19 February 1843, the eldest child of a large family in the town of Bisceglie near Bari in Italy, where he honed his native talent for drawing up to the age of nineteen. In 1862, under the patronage of an aristocratic family of Bari, he entered the Academy of Fine Arts of Naples and studied there for eight years under Filippo Palizzi and of Domenico Morelli. Morelli was also a painter who treated exotic orientalist themes. During this period de Mango also worked with Saverio Altamura, Bernardo Celentano, Raffaele d'Auria, Federico Maldarelli, Raffaele Postiglione and Giuseppe Mancinelli. In 1883 De Mango settled in Istanbul during the reign of Sultan Abdul Hamid II, where he is known to have set up, and taught for some time at, the oil painting department of the School of Fine Arts. Forced to leave Istanbul briefly in 1911 during the Tripolitanian War, the artist returned to the city following the Treaty of Ouchy on 15 October 1912. De Mango was among the artists who, at the initiative of Alexander Vallaury, a teacher in the architecture department of the School of Fine Arts, and Regis Delbeuf, manager of the Istanbul daily Le Stamboul, organized the first painting and sculpture exhibition at Beyoglu in 1901, dubbed the 'Pera Exhibitions in the Passage Oriental', an arcade owned by the French merchant Bourdon. With 27 works, De Mango was the most well represented artist in the exhibition, as he was again in the 1920 exhibition when he was one of 36 artists, participating with 33 of his own paintings. De Mango also had 16 paintings in the last of the Pera exhibitions, which was held in 1903. He painted in the open air and in his workshop at Beyoglu, reflecting the daily life of the different districts of Istanbul until his death in 1930.". Contents: Erol Makzume "The 75th anniversary of the death of an orientalist painter from Pera, Leonardo de Mango"; Roberta Ferrazza "Leonardo de Mango and the Italian community in Istanbul"; Bianca Consiglio "Portrait Painter Leonardo de Mango"; Piero Consiglio - Giacinto La Notte "Leonardo de Mango stages in a life divided between East and West"; Catalogue.
2005New English Paperback. Pbo. 4to. (28 x 24 cm). In English, French and Turkish. 282 p., color ills. Imprinting fascinated Jean Dubuffet for forty years and it is indissolubly a part of his creative oeuvre. Throughout his life, in certain intense and active phases, he would not cease to explore the range of the different techniques of printing and most of all that of lithography, interpreting and inventing new methods in order to better meet his needs. According to a set of associations and the logic distinctive of this artist, each discovery led him directly to a rich field of developments into which he was to rush with an unvarying sense of wonder, ignoring the limits of these new fields of investigations.
2016New English Paperback. Pbo. 4to. (31 x 24 cm). In English and Turkish. 112 p., b/w and color ills. Murat Akagündüz. VErtigi. [Exhibition catalogue]. Edited by Süreyyya Evren, Ilkay Baliç. Murat Akagündüz's exhibition Vertigo brings together 13 paintings from the "Kaf" series. In this new series the artist depicts some of world's highest mountain peaks as seen on Google Earth. How is the act of painting transformed once we rely upon the mediation of digital data to depict an actual physical landscape? The exhibition thus refers to the ontological consequences of such digital mediation in our relationship to the Earth and its implications in terms of vision and image production. While the series, named after the Kaf Mountain, emphasises a mythological narrative, each painting in the "Kaf" series takes its title from the latitude and longitude values defining the position of the images on Google Earth. Akagündüz offers us views over the peaks of the Alpide Belt, spreading across three continents, and provides us with the coordinates of the Kaf Mountains at the same time. In juxtaposing mathematical exactitude with the perceptually challenging monochromatic use of the colour white, Akagündüz's intention is to explore the minimal conditions of visual representation. The "Kaf" series, in its search for a language using different shades of white, winnows down the minimal conditions of pictorial representation to a bare-bones relationship between light and shade and approaches the threshold of visual perception. In the "Kaf" paintings, the line of the horizon is either invisible or it escapes the eye by merging with the upper corner of the canvas. Adopting a satellite view of the Earth the paintings represent a vertical, groundless perspective. As the horizon is nowhere to be found, our sense of being grounded in space is unsettled and a sense of vertigo sets in. This vertigo effect is also echoed in the spatial construction of the exhibition through a subtle intervention on the walls delineating the first floor of Arter. The "Kaf" paintings bring the process of emergence of image to the eye and to memory, between appearance and disappearance, through reverberations in time. At first sight, these appear to be abstract fragments that are difficult to read in terms of their relationships of scale to the reality they were cut off from. The even distribution of light on the entire surface and its movements through various shades of white, by evading the eye, catch and hold the gaze. The stains, which slip away and alter the moment we think we have caught an image, are contiguous with the void and create a silent space of tension. Vertigo denotes the dizziness and loss of balance felt when a subject or the objects surrounding them appear to be moving in space. As reflected through Murat Akagündüz' "Kaf" series, vertigo is a relational phenomenon, it points both to a spatial disorientation on psychological and physiological levels, and to an uncertainty regarding subject-object relationships as perceived within space. By opening up a space for silent contemplation, the paintings invite the viewer to sense the new possibilities found in this loss of ground and thus produce a new perception of the world.
1997New New English Original bdg. Dust wrapper. 4to. (32 x 24 cm). In Turkish. 351 p. Color and b/w ills. Biography of Turkish painter Ibrahim Çalli (1882-1960). First Edition. Çalli ve atölyesi.
1992Fine English Original bdg. HC. Oblong large 8vo. (22 x 23 cm). In English and French. 88 p., color and b/w ills. Fikret Moualla. Turkish painters.= Les peintres Turcs.
1999Fine English Paperback. Pbo. 4to. (34 x 22 cm). In Turkish. [30], 147, [3] p., color ills. P sanat, kültür, antika dergisi. No. 12. Moda ve sanat. Special issue, Fashion and art.
1953Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 26 p., 1 color plate, 8 b/w plts. Ressam Levnî. Fatih Sultan Mehmed ve babasi ile oglu. Resimlerini yapan ressam Levnî ve biyografisi. A study on Sultan Mehmet II and Abdulcelil Çelebi Levni (was an Ottoman court painter and miniaturist).
2012New English Paperback. Pbo. 4to. (26 x 22 cm). In English and Turkish. 128 p., color ills. This side of The Aegean from a westerner's brush.= Batilinin firçasindan Ege'nin bu yakasi. [Exhibition catalogue].