Prep. by EROL MAKZUME.MareMagnum
3,511 results
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].
1991Fine Fine English Original bdg. Dust wrapper. 4to. (28 x 22 cm). In English, French, and Turkish. [6], 250 p., color plts. 2000 copies were printed. Ercümend Kalmik, 1908-1971. [Artist catalogue]. Ercümend Kalmik, (1908-1971), known for his work in understanding the lyrical-abstract Turkish painters. n 1928, Academy of Fine Arts in the Department of Painting by entering the first Nazmi Ziya's, then Ibrahim Calli 's was a student. In 1937, after graduation time in various newspapers and magazines and worked. Previously, impressionistic understanding Kalmik employees, located in Europe at the time of cubism was interested. Braque 'la Picasso 's, then Fernand Léger and Henri Matisse's figures were impacted by understanding. After returning to Turkey maintained a distinct outer line of figurative abstraction and had a strong sense of pattern. In the 1960s, fishermen, boats and sailboats in front of an abstract landscape imagery began funding. With solid color stain, which highlights the contours of a lyrical expression in the works of this period are seen. As well as the etching Kalmik also makes the picture in the 1960s in the figurative sense of the prints that are dominant. As well as objects and natural appearance of the figure given the place and occupancy of the space in this building has been used in a balanced manner. Domestically and abroad, participated in many group exhibitions, solo exhibitions opened.
2012New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 225 p., ills. Beyond experience. Dokuz Eylül University Faculty of Fine Arts student projects.= Deneyimin ötesi. Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi ögrenci projeleri. Dokuz Eylül University's Faculty of Fine Arts from Izmir, which comprises of a wide range of departments, carries the additional distinction of being the first university faculty of fine arts in Turkey. The faculty, with 40 academic years behind it, aims to create a model of education whereby theory and practice, the traditional and the contemporary, the pioneering and the conceptual coincide in harmony. The exhibition catalogue Beyond Experience consists of selected works by young artists and designers from the Faculty of Fine Arts, aiming to establish itself as a groundwork for aesthetic experience through a plethora of modes of self-expression, including painting, sculpture, ceramics, installation, stage design, graphic design, photography, and film.
1999Fine English Original bdg. HC. 4to. (28 x 20 cm). In English and Turkish. 315, [4] p., color and b/w ills. Portraits of Ottoman Empire's sultans.= Padisah portreleri.
2012New New English Original bdg. with original dust wrapper. Oblong large 4to. (34 x 33.5 cm). In Turkish. 393 p. Color and b/w ills. A very heavy volume. Üsküdarli Ressam Hoca Ali Riza Bey: Günlerden bir gün. TURKISH ART OF PAINTING Ottoman culture History of art Biography.
1946New English Paperback. 4to. (30 x 21 cm). In Turkish. 24, [4] p., 4 full page color plts. Ressam Nigâri. Hayati ve eserleri. The reigns of Suleyman the Magnificent, (1520-1566) and especially Selim II, (Selim the Yellow -Sari-) (1566-1574) in the second half of the 16th century were the golden age of the Ottoman miniature, with its own characteristics and authentic qualities. Nakkas Osman (often known as Osman the Miniaturist) was the most important miniature painter of the period, while Nigari developed portrait painting. TURKISH AND ISLAMIC ARTS Traditional art Portrait Ottoman culture History of art Sari Selim Sultan Miniature Biography.
2015New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 111, [1] p., color and b/w ills. Devrim Erbil. 50 years in academy.= Akademide 50 yil. Curated by Beste Gürsu. TURKISH PAINTING Modern art Painter.
1996New New English Original bdg. Dust wrapper. Oblong large 8vo. (23 x 25 cm). In English and Turkish. 156 p., color and b/w ills. Nurullah [Cemal] Berk. Texts by Nurullah Berk, Turan Erol, Ayla Dirilten Yilimaz. Artist catalogue. TURKISH PAINTING Modern - Contemporary art Painter Artist.
2016New English Paperback. 4to. In English and Turkish. 88 p., ills. Drawings from Sainte-Anne.= Sainte-Anne desenleri, 1953 / 1956 / 1957. Maybe for the first time (at least in this country) an exhibition is taking place at a location so much identifiable with its essence; a hospital gallery. Fikret Muallâ, a legendary figure of contemporary Turkish painting, used to end up from time to time at mental institutions both in Turkey and in France, because of his unconventional behavior, Bohemian lifestyle and his alcoholism. We are pleased to host Fikret Muallâ at the American Hospital¿s Gallery, the Operations Room, in his own country; 60 years after these drawings were made.
2011New English Paperback. 4to. (29 x 25 cm). In French, English, and Turkish. [110], [1] p., color and b/w ills. Beautiful painting is behind us.= La belle peinture est derriere nous.= Güzel resim geçmise aittir. Preface by Bernard Emie. Artists: Ronan Barrot, Julien Beneyton, Romain Bernini, Katia Bourdael et alli. TURKISH PAINTING French art Modern painting Contemporary art.
1997New New English Original bdg. Dust wrapper. Folio. (40 x 33 cm). In Turkish. [76] p., fully full page color ills. Birol Kutadgu. Defter. Tipki basim. 333 copies were printed. All copies were numbered and non-commerce. This edition is 095 no. (095 / 333). First and Only Edition. Signed by Birol Kutadgu. A very heavy volume.
2015New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 205 p., color and b/w ills. Bare, naked, nude: A story of modernization in Turkish painting.= Üryan, çiplak, nü: Türk resminde bir modernlesme öyküsü. [Exhibition catalogue]. Bare, Naked, Nude: A Story of Modernization in Turkish Painting focuses on the evolution of nude painting as one of the foremost genres alongside portraiture, landscape, and still life in Turkish modern art. The rich diversity of styles represented in the paintings that come together in this exhibition reveal that the nude, far from being a subject for Turkish artists constitutes a means of expression fundamental in the search for form. The most challenging trial for artists in their student years, the human body emerges as a central source of inspiration in both the pursuit for modernist tendencies in Western art and in the efforts to articulate an individual artistic language. The exhibition catalogue, through the essay of the curator, Ahu Antmen and the selected paintings offer us the possibility to envisage the visual adventure behind Turkey's story of modernization, providing an insight into the formation of artistic identity in the period extending from the Ottoman Empire to the Republic, the challenges of transforming the perception of the female body from a framework of privacy to that of a desexualized object and the connections between the art and the nude in the perception of a modern identity. HISTORY OF ART TUrkish painting Modernism Contemporary Turkish art of painting.
2002Fine English Paperback. Pbo. Roy. 8vo. In Turkish. 139, [7] p. Color and b/w ills. Librairie de Pera. Paintings, drawings, ceramics and art prints from Turkish and Orientalist artists.= Türk ve Oryantalist sanatçilardan resimler, desenler, seramikler ve özgün baskilar. [Auction catalogue].
2004As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
2010New English Paperback. Pbo. 4to. (28 x 21 cm). In French and English. 125, [3] p. Color ills. "Donner "carte blanche" à un artiste, c'est lui accorder tout pouvoir créatif. Cela va sans dire. On peut même ajouter que c'est la moindre des libertés à laquelle il peut aspirer en tant que créateur soucieux d'approcher une véritè au fil de ses impulsions et de ses réflexions "expérimentales" jalonnant sa carrirè".
1992Very Good English Paperback. Pbo. 4to. (34 x 23 cm). In English, Turkish, and Greek. [64] p. Color and b/w ills. 3000 copies were printed. Fourteen Turkish and Greek contemporary artists.= Ondört Türk ve Yunan çagdas sanatçi. [Exhibition catalogue]. 25th March - 18th April 1992, MSÜ Istanbul Painting and Sculpture Museum. Edited by Kemal Iskender, Barika Göncü, Esat C. Basak.
2011New English Paperback. Pbo. Color and b/w ills. In Turkish. 67, [1] p. Sehvetin tadi. 7 Mart - 26 Nisan 2011. Pyramid Sanat. [Exhibition catalogue].
2011New English Paperback. 4to. (30 x 24 cm). In English. 285 p. Color and b/w ills. "This unique collection takes a fresh look at Orientalism by shifting its center from Europe to Ottoman Istanbul and thinking about art in terms of exchange, reciprocity, and comparative imperialisms. This new lens reveals the essential role of the Ottoman city and its patrons and artists in the dialogues that facilitated production, circulation, and consumption of British Orientalist cultures. In this volume, art works are conceptualized as traveling artifacts produced through localized interactions. World renowned scholars and curators analyze the diverse audiences for such art works and the range of differing contexts for their reception both in the 19th century and more recently. In this way, British art is put into a dynamic relationship with an historicized understanding of cultures of collecting and display during the formation of comparative modernities and also with the contemporary postcolonial creation of new national models of exhibition and education. Featuring stunning visuals, this book puts art history in the context of cultural, visual, and literary studies, challenging the orthodoxies of postcolonial theory with the materiality of multiple imperialisms and modernities to offer a new take on the collection, display, and consumption of Orientalist cultures.".
1997Fine Fine 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). Çalli ve atölyesi.
2003Fine English Paperback. Pbo. Roy. 8vo. (23 x 116 cm). In Turkish. 313, [7] p. Color and b/w ills. Librairie de Pera. Old people and places.= Eski yerler, eski insanlar. [Auction catalogue].
1975Very Good English Paperback. Large 8vo. (26 x 14 cm). In Turkish, English, and French. 47, [1] p. Color and b/w plates. Aliye Berger [Boronai]. 24.12.1903 - 9.8.1974. [Exhibition catalogue]. 16 Ekim - 1 Kasim 1975, DGSA. Texts by Orhan Peker, Halikarnas Balikçisi et all.
1957Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [viii], 165 p., 50 b/w plts., 154 b/w ills. Mevlevilikte resim, resimde Mevleviler.
2014New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 360 p., color and b/w ills. The exhibition highlights the orientalist trend in Polish painting, as well as drawings and graphic arts. The works in the exhibition cover a wide period from the 17th to the early 19th centuries. Among others, the exhibition includes drawings by Christian Kamsetzer of his Turkish travels, as well as oriental scenes by artists like Zmurko and Brandt. The artworks exemplify topics related to the Ottoman world, and to a lesser extent, the Near East and North African regions. One section of the exhibition is dedicated to Stanislaw Chlebowski, the court artist of Sultan Abdülaziz. Works by other artists who had visited Turkey, among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, and Jacek Malczewski, are also included. Selected from the collections of Polish institutions ranging from the National Museums in Warsaw, Kraków, Poznan, and Wroclaw, the University Library in Warsaw, to Lazienki Palace Museum, the exhibition brings together approximately 190 works. The apogee of Orientalism, which refers to a cultural current in Europe centred on an interest in the cultures of the East manifesting itself in art, architecture, music, literature, and the theatre, arrived in the 19th century, when a distinct Orientalist current sprang forth from academic painting, inspired first and foremost by the cultures of the Islamic countries of the Middle East and North Africa, as well as of Moorish Spain. In the specific case of Poland, interest in the Orient goes back to medieval times; a natural result of her geographic location, which rendered Poland particularly susceptible to influences from the East. To a large extent, this period in Polish history was defined by successive wars with the Ottomans, and it left an indelible trace in culture. A variety of equestrian types, generic skirmishes and great historic battles were depicted many times by various skilled artists, as well as Oriental characters, landscapes, and genre scenes -first and foremost of the harem. The latter subject matter, popular among audiences, was often taken up by painters who had never been to the East themselves. Exhibition catalogue presents works by the artists among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, Jacek Malczewski, and especially Stanislaw Chlebowski, the court artist of Sultan Abdülaziz, are included, and also sheds light on the artistic influences of Poland's cultural interaction with the East, different from the Western Orientalist approach, through history, diplomacy, battles and travellers.
1987Very Good English Paperback. Pbo. 4to. (29 x 22 cm) In Turkish. [4], 161p , 4, 96 picture. A study on Osman Hamdi's paintings. Osman Hamdi'nin tablolarinda gerçekle iliskiler.
2014New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 268 p., color ills. "Pera Museum hosts, for the first time in Turkey, an exhibition on one of the art world's hottest topics - Graffiti and Street Art. Work from America and Europe are exhibited, providing interesting examples examining the concept of 'graffiti' and 'bringing the street to the museum', as well as creating a platform for discussion and debate. Hosting more than 20 artists from America, Germany, France, Japan, as well as Turkey, the exhibition, curated by Roxane Ayral, includes works by distinguished names from different generations and disciplines such as Futura, Carlos Mare, Cope 2, Turbo, Wyne, JonOne, Tilt, Mist, Psyckoze, Craig Costello (aka KR), Herakut, Logan Hicks, C215, Suiko, Evol, Gaia, Tabone, Funk and No More Lies, along with selected photographs from the archive of leading artists Martha Cooper, Henry Chalfant and Hugh Holland.".