krainaksiazek max liebermann modern art and modern germany 20126557
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Max Klinger and Wilhelmine Culture Ashgate Publishing Limited
Książki / Literatura obcojęzyczna
The Wilhelmine Empire's opening decades (1870s - 1880s) were crucial transitional years in the development of German modernism, both politically and culturally. Here Marsha Morton argues that no artist represented the shift from tradition to unsettling innovation more compellingly than Max Klinger. The author examines Klinger's early prints and drawings within the context of intellectual and material transformations in Wilhelmine society through an interdisciplinary approach that encompasses Darwinism, ethnography, dreams and hypnosis, the literary romantic grotesque, criminology, and the urban experience. His work, in advance of Expressionism, revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of material progress, social stability, and class status at a time when Germans were engaged in defining themselves following unification.This book is the first full-length study of Klinger in English and the first to consistently address his art using methodologies adopted from cultural history. With an emphasis on the popular illustrated media, Morton draws upon information from reviews and early books on the artist, writings by Klinger and his colleagues, and unpublished archival sources. The book is intended for an academic readership interested in European art history, social science, literature, and cultural studies.
Książki & Multimedia > Książki
Opis - Książka, posiadająca istotne walory praktyczne, jest pierwszą pozycją polskiej autorki w tak kompleksowy sposób analizującą nie tylko istotę funkcjonowania kredytowych instrumentów pochodnych, ale również modele ich wyceny, doskonalenie których autorka słusznie uznaje za kluczowe dla rozwoju tego rynku. Niewątpliwą zaletą opracowania jest mnogość przykładów, przeprowadzających Czytelnika przez kolejne etapy szacowania wartości omawianych struktur i tworzących idealną bazę dla zrozumienia konstrukcji tych złożonych produktów. Prof. zw. dr hab. Janusz Soboń Publikacja stanowi cenne kompendium wiedzy zarówno dla praktyków rynku finansowego, jak i studentów oraz słuchaczy studiów podyplomowych i doktoranckich, jak również dla pracowników nauki zainteresowanych wdrażaniem metod kwantyfikacji ryzyka kredytowego w praktykę. Prof. nadzw. SGH dr hab. Paweł Niedziółka Nazwa - Pochodne instrumenty kredytowe Autor - Izabela Pruchnicka-Grabias Oprawa - Miękka Wydawca - CeDeWu Kod ISBN - 9788375563733 Kod EAN - 9788375563733 Wydanie - 1 Rok wydania - 2011 Język - polski Format - 16.5x23.0cm Ilość stron - 280 Podatek VAT - 5%
Książki / Literatura obcojęzyczna
On April 15th, 1874, in the Parisian studio of photographer Nadar, was the opening of the first group exhibition that was uninhibited by government interference and the dictates of an official selection committee. This date has gone down in the annals of art history because it marks the birth of the Impressionism. Impressionistic paintings now rank among the most popular works of art and are the pride of any museum or collection worldwide. However, in 1874 the public response to the exhibition, and to Impressionist painting, was not adoration but rather shock and even outrage. The Impressionists and the succeeding Neo-Impressionists were avant-gardist and revolutionary, paving the way for modern art. Present-day viewers, hardly realizing this revolutionary potential, can be content to enjoy the aesthetic of light and color. Artists featured in detail include: Frederic Bazille, Marie Braquemond, Gustave Caillebotte, Mary Cassat, Edgar Degas, Vincent van Gogh, Armand Guillaumin, Max Liebermann, Claude Monet, Berthe Morisot, Guiseppe de Nittis, Camille Pissarro, Pierre-Auguste Renoir, Medardo Rosso, Giovanni Segantini, John Singer Sargent, Georges Seurat, Paul Signac, Walter Richard Sickert, Alfred Sisley, Max Slevogt, Fritz von Uhde, and Federico Zandomeneghi. Each book in TASCHEN's "Basic Genre" series features: a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period; and a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations.
Bauhaus Books on Demand
Książki / Literatura obcojęzyczna
Source: Wikipedia. Pages: 75. Chapters: Herbert Bayer, Walter Gropius, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Ludwig Mies van der Rohe, Harry Seidler, László Moholy-Nagy, Arieh Sharon, Marcel Breuer, Gunta Stölzl, White City, Arthur Korn, Josef Albers, Georg Muche, Bauhaus in Budapest, Johannes Itten, Anni Albers, Oskar Schlemmer, Modern typography, Marguerite Wildenhain, Gerhard Marcks, Bauhaus Dessau Foundation, Nikolay Diulgheroff, Pedagogical Sketchbook, Marianne Brandt, Friedl Dicker-Brandeis, Hannes Meyer, Max Bill, Frans Wildenhain, Mart Stam, Bertrand Goldberg, Werner Drewes, Ludwig Hilberseimer, Deutscher Werkbund, Bauhaus Center, Martinus Adrianus Stam, Otto Lindig, Triadisches Ballett, Fred Forbát, Avgust Cernigoj, Wilhelm Wagenfeld, Paul Schweikher, Thilo Maatsch, Bauhaus Archive, Otto Hofmann, Walter Peterhans, Adolf Meyer, Erwin Ratz, Joost Schmidt, Bauhaus Museum, Weimar, Alfred Arndt, Franz Ehrlich, Cantilever chair. Excerpt: Wassily Wassilyevich Kandinsky ( ; Russian: , Vasilij Vasil'evic Kandinskij, Russian pronunciation: ; 16 December 1866 13 December 1944) was a Russian painter, and art theorist. He is credited with painting of the first purely abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession he was offered a professorship (chair of Roman Law) at the University of Dorpat he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton A be and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. An early period work "Munich-Schwabing with the Church of St. Ursula" (Kandinsky 1908)Kandinsky's creation of purely abstract work followed a long period of development and maturation of intense theoretical thought based on his personal artistic experiences. He called this devotion to inner beauty, fervor of spirit, and deep spiritual desire inner necessity, which was a central aspect of his art. Kandinsky learned from a variety of sources living in Moscow. Later in his life, he would recall being fascinated and unusually stimulated by colour as a child. The fascination with colour symbolism and psychology continued as he grew. In 1889 he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past he relates that the houses and churches were decorated with such shimmering colours that, upon entering them, he had the impres
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