BLUNDEN, Maria. BLUNDEN, Godfrey.MareMagnum
IMPRESSIONISTS AND IMPRESSIONISM.
197035x31. 238p. Fotogr. Enc. Tela ed. Pequeño corte en Sobrecubierta.
Libreria Fernandez Javier · Spain€100.00
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2015New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In English and Turkish. 254 p., b/w and color ills. Images of Üsküdar from the past. The five star book.= Geçmisten Üsküdar suretleri. Besibiryerde. Compiling the visual odyssey of our beloved borough of Üsküdar, spanning 500 years from the 1420s up until the 1950s, "The golden city" album aims at presenting the pertinent documents of the historical heritage that Üsküdar possesses. The paintings, etchings, photographs, postcards, and maps incorporated into the book all function to adequately and efficiently reflect and convety a semblance of the likeness of the past times pertaining to the "Eternal city" Üsküdar (Scutari) the our present day, and carry them forward to to posterity. Each page of this book-album ensures the remembrance of an exalted glory and an enduring magnificence of the bygone epochs, and, in a sense, successfully attempts to recreate the memory of a living metropolis. Each visual element and image featuring in the album attests to a diverse and rich accumulation, amassed over hundreds of years, as this impressive and exhilarating pictoral feast defines the magical and enchanted atmosphere of Üsküdar, standing out prominently as a "Dreamland" or the "City of fairy-tales and fantasies. (From introduction).
Barcelona, Caixa de Pensions,1982. Nombroses il·lustracions en color. 76p. 2f. Foli. Rústica editorial il·lustrada. Molt bon exemplar.
M., C.I.A.P., 1931, 26 x 22 cm., enc. original, papel couché, 253 págs. incluso 72 láminas a toda página.
M., Ricardo de Rojas, 1904, 17'5 x 11'5 cm., 123 págs.
New York, Mallard Press, 1991, 39 x 20 cm., cartoné original con sobrecubiertas, 393 ilustraciones y láminas a todo color, varias láminas plegadas, 424 págs.
London, Edit. Thames and Hudson, 1984. Numerosas ilustraciones en color. 195p. 4º mayor. Rústica editorial ilustrada. Leve resto etiqueta en el lomo. Pàg. 23 cortada. Buen ejemplar. Book in English. Commentaries on the plates by: Geneviève Lacambre, Conservateur en chef au Musée d'Orsay; Anne Distel; Claire Frèches-Thory; Sylvie Gache-Patin, Conservateurs au Musée d'Orsay. Phototypeset: Keyspools Ltd, Golborne, Lancs. Colour reprodution: Cliché Lux S.A., La Chaux-de-Fonds, Switzerland. Contents: Foreword, Itroduction, Plates and commentaires: Fréderic Bazille, Edouard Manet, Edgar Degas, Camille Pissarro, Paul Cézanne, Eugène Boudin, Claude Monet, Alfred Sisley, Pierre-Auguste Renoir, Berthe Morisot, Mary Cassatt, Gustave Caillebotte, Odilon Redon, Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri-Edmond Cross, Théo van Rysselberghe, Paul Signac, Henri de Toulouse-Lautrec, Emile Bernard, Paul Sérusier, Henri Matisse
197035x31. 238p. Fotogr. Enc. Tela ed. Pequeño corte en Sobrecubierta.
Madrid, Galeria Fernando Aldecoa, 1989. Ilustraciones en color fuera texto. s/p. 4ºmayor. Rústica editorial ilustrada. Muy buen ejemplar.
B., Eikon, 1988, 29,5 x 30,5 cm., tela original con sobrecubiertas, ilustraciones y láminas en negro, 42 hojas sin numerar + 1 lámina plegada en colores.
2010New English Paperback. Large roy. 8vo. (23 x 18 cm). In English, Italian, and Turkish. 163 p., color and b/w photos. In between = Arada = Tra. [Exhbition catalogue]. Prep. by Ayse Orhun Gültekin. Twenty unreadable posters reflecting me that I've affixed at various locations in the city in order to communicate with the street. They were able to last for two days only, stuck between the publicity posters and Istanbul's fast changing pace. While the posters I've affixed on temporary panels or on anonymous walls also lasted for two days average, usually the people whose houses face that direction didn't want to see the posters and reacted. Additionally, these posters were collected by garbagemen the morning after. And the people passing by generally showed interest in the posters and tried to read them while questioning what they mean.
1999Fine English Paperback. Oblong large Roy. 8vo. (21,5 x 24 cm). In Turkish and English. 32 p. Fully color ills. In memory of Ibrahim Safi.= Ibrahim Safi anisina.
2014As New English Paperback. Pbo. Mint. Large 8vo. (22 x 22 cm). In English and Turkish. 24 p. Color ills. 1000 copies were printed. Inattentional blindness.= Istem disi körlük. Sophie Dvorak, Sakir Gökçebag, Berat Isik, Claudia Larcher, Bernd Oppl, Liddy Scheffknecht, Aylin Tekiner. 11 January - 22 February 2014. [Exhibition catalogue].
Milano, Charta, 2002. 118 p. 4 h. Folio. Rústica editorial. Muy buen ejemplar. Book in Italian and English. Catálogo de la exposición celebrada en la Gelleria Borghese de Roma del 10 de diciembre de 2002 al 9 de marzo de 2003. Bellini, Raffaello, Rubens, Caravaggio, Carracci, Antonello da Messina, Perugino.
Barcelona, Edit. MNAC, 2015. Nombroses il·lustracions en color. 139p. 4t major. Rústica editorial il·lustrada. Llibre en català i anglès. Book in English. Molt bon exemplar.
Paris, Ed. Gallimard, 2006. Numerosas ilustraciones en color y b/n. 407 p. 4º mayor. Rústica editorial ilustrada. Livre en français. Muy buen ejemplar.
Paris, Edit. Louvre, 2006. 159 p. 8º. Rústica editorial ilustrada. Livre en français. Muy buen ejemplar.
Barcelona, Edit. Apolo, 1941. Numerosas ilustraciones en b/n. 241 p. 8º. Tela editorial estampada algo deslucida. Buen ejemplar.
B., Apolo, 1941, 19'5 x 14 cm., tela original con sobrecubiertas, lámina - 241 págs. con figuras intercaladas - 1 h. - XLVIII láminas.
1986Catálogo de la Exposición de pintura con la colaboracion de la Embajada de Mexico.
2003New English Paperback. Large 8vo. (24 x 24 cm). In English and Turkish. 45, [1] p., b/w photos. Inside = Icerisi. Text by Levent Calikoglu. [Photographic Exhibition catalogue]. 15 May - 21 June 2003. Akbank Sanat.
2011New English Paperback. Pbo. 4to. (28 x 20 cm). In English and Turkish. [6] ,148 p., color ills. Interactions in art and aesthetics.= Sanatta ve estetikte etkilesimler. Contents: Özyigit, Halil / Çemberlitas Serbest Resim Atölyesi.; Orhan, A. Hande / On'lar Grubu'yla Gelenegin izinde.; Acar, Baris / Sanat Tarihinde Kuramsal Yaklasimlar.; Giray, Meltem / Sydney Opera Binasi.; Gökkaya, Evren Karayel / Modem Türk Resminin Olusumunu Etkileyen Faktörler.; Tetikçi, Ismail / Gelenekten Günümüze Aktarimlar.; Özgöçen, Pelin / Sürrealizm'de Figür-Mekân iliskisi.; Kavas, Kemal Reha / Bir Kuramsal Etkilesim Alani Olarak 'Ekolojik Mimarlik' Söylemi ile Sanat ve Mimarlik Tarihi Yaziciligi Arasindaki iliski.; Ülger, Emir / Schopenhauer ve Wagner Etkilesimi.; Simsek, Serap / Bedri Rahmi Eyüpoglu ve Fransa Yillari (1931-1933).; Çolak, Banu / Sanat - Mekan ve Çagdas Sanat Müzeleri Üzerine.
Madrid, Edit. Producciones del Desierto,1989. Numerosas ilustraciones en color. 122 p. Folio. Rústica editorial ilustrada. Texto en español e inglés. Book in English. Muy buen ejemplar. Índice: Bernhard Bürgi, Anna Mauri, Mar Villaespesa, Kevin Power, Jutta Koether, Douglas Krimp, Dan Cameron, Espacios institutcionales, El artista como escritor, Políticas del éxtasis, Exposiciones.
2012New English Paperback. Pbo. 4to. (30 x 21 cm). In English and Turkish. 68 p. Color and b/w ills. Aimée Zito Lema (Amsterdam), David Middlebrook (California), Genco Gülan (Istanbul), Giusseppe Belvedere-Bedri Baykam (Paris-Istanbul), Eva Beierheimer ve Miriam Laussegger (Vienna), Núria Güell (Spain), Peter Polach (Slovakia), Radenko Milak (Bosnia-Herzigova), Ray Harris (Australia), Third Belgrade Grubu (Belgrade) ve Veljko Zejak (Serbia).
2014New 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