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Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, - Gabriel P. Weisberg, Edwin Becker, Maartje de Haan, David Jackson, Willa Silvermanand and Jean-François Rauzier;
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Gabriel P. Weisberg, Edwin Becker, Maartje de Haan, David Jackson, Willa Silvermanand and Jean-François Rauzier;:
Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, - gesigneerd exemplaar

2010, ISBN: 9789061539414

gebonden uitgave, ID: 878020558

Chicago, Illinois:: Ann Tyler,, 2013.. Edition of 40. 14" x 18" closed, 28" x 18h open; 124 pages. Hahnemühle Photo Rag Duo (acid-free, archival) with Hahnemühle protective spray. Ink-jet printing. Edges handpainted in acrylic gold and burnt sienna. 100% cotton vellum sheets with white foil stamping. 14 image plates of species. Bound in Gutenberg archival calfskin leather, blind stamped. Fabriano Tiziano end papers. Signed and numbered. Ann Tyler: "The graphic novel In the Unrelenting Light at the Edge of Conscience is a science fiction tale in which the violent actions of governments in our world have created new life forms in a world somewhere in deep space. The new species and their relationship to violence are discovered through space / time laboratory investigations carried out by an 'experimenter.' The narrative is structured for the viewer to also undergo a process of discovery as he/she moves through a narrative combining stream of conscious rumination, traditional description, imagery, poetry, and scientific information. The narrative and imagery move between the possible and the impossible, from the outer world to the inner world. After establishing this causal relationship between the two worlds - human actions and new life forms in the universe - the narrative then shifts and begins to allude to the possibility that this other world may not be an exterior universe but may instead be the universe of the mind. This other world is possibly a result of larger human actions upon individual memory. "Edge of Conscience refers to what lies just out of reach in our memory. While unseen it still plagues us. Conscience contains the multiple meanings of the conscious mind and morality. Unrelenting Light refers to parts of our memory that are difficult to examine and when once illuminated are understood to be a relentless part of individual experience. "…From a metafictional perspective the author is the 'experimenter.' The artist book itself is an experiment - an attempt to understand the impact of history on the individual and society and how we absorb the history we live through." Ann Tyler, additional details about the book: "The narrative is built around the conceit of how I make the images - layering an existing image, digging down, and discovering new forms. (In the actual process of making them I then build up many layers of color to create the new forms and the original disappears.) "The coding of the species (the white foil stamping) is an invented scientific notation - the first numbers are longitude and latitude translated totally into minutes - thus reinforcing the idea of geographic time. It is the longitude and latitude where the original photograph is taken. The second coding number is actually the date the photograph was taken. "I have made up the 'Latin' species names. They combine existing species words and 'Latinized' words relating to the image and the original photo. .. "The section describing the originals also has the longitude and latitude coding which would allow the viewer to refer back with some of the images and know from what original circumstance it was derived. I intentionally do not show any of the originals in the book nor do I describe every original as I believed that would destroy the surreal reality I have constructed by revealing too much., Ann Tyler, 2013., Yale University Press, February 2000. Hardcover. Used - Good. This visually gripping book focuses on a central but relatively unexamined aspect of the work of Salvador Dali: his fascination with optical effects and visual perception. The book examines Dali's use of various pictorial techniques, photography, and holograms to further his exploration of visual perception and the ways that optical illusion affects our sense of reality. Dawn Ades and other authorities in the field discuss the paintings as The Enigma of William Tell, in which Dali experimented with anamorphosis, the perspectival distortion that produces on the canvas elongated forms demanding an oblique viewpoint. They also note his interest in other more conventional forms of perspective and their sources in both Dutch and Italian art. They study his development of the famous double image, the 'paranoiac-critical method' that produced images that could be 'read' in multiple ways, as seen in his Apparition of a Face and Fruit Dish on a Beach or Impressions of Africa. And they reveal his fascination with optical effects and three-dimensional illusions that is apparent in his post-war work: the 'screen-dot' paintings like Sistine Madonna or Portrait of my Dead Brother, in which an image emerges from a 'pointillist' surface; the striking stereometric paintings he began in the early 1970s -- twin panels that have to be viewed through special lenses; and his holograms. The authors explore these works and many others, pointing to their sources in scientific theories of perception and perspective and comparing them with the work of such twentieth-century artists as Marcel Duchamp, who was similarly concerned with optics. Book has minor shelf wear., Yale University Press, Can one capture, in photographic portraiture, the intense inner depth of emotion experienced while listening to music of one's choice? In 1872 Darwin published his seminal treatise The Expression of the Emotions in Man and Animals which intersected with the dawn of photography. While the study of physiognomy has limited scientific validity, it nevertheless provides the impetus for linking portraiture and emotion. If "the face is the window to one's soul," capturing the rhapsody of emotion through facial expression provides a unique window into each artist's inner being.In this book, 40 legendary musicians from a range of genres--including Quincy Jones, Ringo Starr, Herbie Hancock, Dave Brubeck, Wayne Shorter, Iggy Pop, Esperanza Spalding, Herb Alpert, Sir Graham Nash, Philip Glass, Jean-Yves Thibaudet and Emmylou Harris--were photographed while listening to three pieces of music of their choice. (With only two exceptions, they chose the music of other musicians rather than their own.) Music, painting and photography--indeed all art forms--share a common nexus for experiencing feeling, and are inextricably linked in contextualizing human emotion. Face the Music helps redefine the profound and transcendent influence music has on human emotion., Steidl, 2016, Hardback. New. Finch is an American artist who blends scientific method with a poetic sensibility as he examines the physiological and psychological machinations that inform how we see and how we understand and represent the world around us. Using a range of media including watercolor, pastel, photography, video, Brussels Fonds Mercator 2010. Hardcover with dust-jacket, 25,1 x 30,1 cm, 224pp., 226 colour illustrations, of which 90 full pages. ISBN 9789061539414. Capturing realistic images on canvas has been a staple of western art since the renaissance development of scientific perspective. At the end of the nineteenth century, however, artists attempted not only to paint realistically, but also to create images that reflected the reality of the world around them. Naturalist painters portrayed life as they observed it, utilizing their academic artistic training to illustrate the existence of everyday people. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, published in association with an eponymous exhibition developed by the Van Gogh Museum in Amsterdam, traces the relationship between several art forms that utilize the Naturalist aesthetic. Painting, literature, theatre, photography and film, and the important relationship between these art forms, are examined within the context of Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social, economic and cultural transformation. The cultural and technological threads that wove these diverse art forms together emerged earlier in the nineteenth century with the development of photography. In the 1840, painters began to experiment with the use of the camera as a tool for composition, and by the 1870s, Naturalists novelists, such as Emile Zola, recognized that the camera could supplement their written notes in documenting scenes from daily life. Likewise, the theatre became more receptive to producing plays about social and cultural concerns, broadening the repertoire to include dramas based on contemporary issues. The advent of film in the late nineteenth century added yet another dimension to the Naturalist aesthetic, basing this new art form on the models provided by large-scale narrative painting, Naturalist photography, and contemporary, socially conscious theatre productions. In a series of essays, the authors of Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 explore the international scope of Naturalism through a number of interwoven themes. The livres of ordinary people are at the heart of Naturalist art in any medium, and so the themes of these works reflect the common concerns shared by urban an rural populations in both Europe and North America. The social ills created by industrialization are frequent themes, as are the social responses to these problems in the form of public education and newly energized religious faith. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. In short, Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 offers a fresh interpretation of how Naturalist artists, and the aesthetic the espoused, attempted to understand and explain the rapid and profound changes of their own time. Accompanies the exhibitions in the Van Gogh Museum Amsterdam, 8 October 2010 - 16 January 2011, and in the Ateneum Art Museum, Helsinki, February - June 2011., Brussels Fonds Mercator 2010

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Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, - Gabriel P. Weisberg, Edwin Becker, Maartje de Haan, David Jackson, Willa Silvermanand and Jean-François Rauzier;
uitverkocht boek
(*)
Gabriel P. Weisberg, Edwin Becker, Maartje de Haan, David Jackson, Willa Silvermanand and Jean-François Rauzier;:
Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, - gebonden uitgave, pocketboek

2010, ISBN: 9789061539414

ID: 3760182780

[SC: 12.5], [PU: Brussels Fonds Mercator 2010], ART GABRIEL P. WEISBERG, EDWIN BECKER, MAARTJE DE HAAN, DAVID JACKSON, WILLA SILVERMANAND EN JEAN-FRANÇOIS RAUZIER ILLUSIONS OF REALITY: NATURALIST PAINTING, PHOTOGRAPHY AND CINEMA, 1875-1918 FONDS MERCATOR 978 90 6153 941 4, Jacket, Hardcover with dust-jacket, 25,1 x 30,1 cm, 224pp., 226 colour illustrations, of which 90 full pages. ISBN 9789061539414. Capturing realistic images on canvas has been a staple of western art since the renaissance development of scientific perspective. At the end of the nineteenth century, however, artists attempted not only to paint realistically, but also to create images that reflected the reality of the world around them. Naturalist painters portrayed life as they observed it, utilizing their academic artistic training to illustrate the existence of everyday people. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918, published in association with an eponymous exhibition developed by the Van Gogh Museum in Amsterdam, traces the relationship between several art forms that utilize the Naturalist aesthetic. Painting, literature, theatre, photography and film, and the important relationship between these art forms, are examined within the context of Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social, economic and cultural transformation. The cultural and technological threads that wove these diverse art forms together emerged earlier in the nineteenth century with the development of photography. In the 1840, painters began to experiment with the use of the camera as a tool for composition, and by the 1870s, Naturalists novelists, such as Emile Zola, recognized that the camera could supplement their written notes in documenting scenes from daily life. Likewise, the theatre became more receptive to producing plays about social and cultural concerns, broadening the repertoire to include dramas based on contemporary issues. The advent of film in the late nineteenth century added yet another dimension to the Naturalist aesthetic, basing this new art form on the models provided by large-scale narrative painting, Naturalist photography, and contemporary, socially conscious theatre productions. In a series of essays, the authors of Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 explore the international scope of Naturalism through a number of interwoven themes. The livres of ordinary people are at the heart of Naturalist art in any medium, and so the themes of these works reflect the common concerns shared by urban an rural populations in both Europe and North America. The social ills created by industrialization are frequent themes, as are the social responses to these problems in the form of public education and newly energized religious faith. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. In short, Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 offers a fresh interpretation of how Naturalist artists, and the aesthetic the espoused, attempted to understand and explain the rapid and profound changes of their own time. Accompanies the exhibitions in the Van Gogh Museum Amsterdam, 8 October 2010 - 16 January 2011, and in the Ateneum Art Museum, Helsinki, February - June 2011. 0 g.

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Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918 - nieuw boek

ISBN: 9789061539414

ID: 978906153941

Capturing realistic images on canvas has been a staple aspiration of western art since the Renaissance development of scientific perspective. At the end of the nineteenth century, however, animated by the invention of photography and cinema, artists began attempting not only to paint realistically but also to create images that projected the ethical content of the world around them. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 traces the development of Naturalism within painting, literature, theater, photography and film, and the relationship among these art forms, paying attention to the way painters such as Jules Adler, Thomas Anshutz, Jules Bastien-Lepage, Emile Claus, Thomas Eakins, Christian Krohg, Gari Melchers, Jules-Alexis Muenier, Fernand Pelez, Jean-André Rixens and Anders Zorn, filmmakers such as André Antoine, Albert Capellani and Léon Lhermitte and photographers such as Peter Henry Emerson, used Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social transformation. Practitioners of Naturalism frequently concerned themselves with the social ills created by industrialization, as well as the social responses to these problems in both public education and religion. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. Technological advances in art, from the development of photography in the first half of the nineteenth century to the emergence of film toward the end of the century, contributed to the interaction among art forms and the attention toward social conditions. Edited by Gabriel P. Weisberg, Professor of Art History at the University of Minnesota, with essays by Weisberg, David Jackson, Willa Silverman and Maartje de Haan, Illusions of Reality offers a fresh interpretation of how Naturalist artists, and the aesthetic they espoused, attempted to understand and explain the rapid and profound changes of their time. Books, Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918 Books, Mercatorfonds/Van Gogh Museum

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Illusions of Reality - Becker, Edwin; Jackson, David; Silverman, Willa; Weisberg, Gabriel; de Haan, Maartje
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Becker, Edwin; Jackson, David; Silverman, Willa; Weisberg, Gabriel; de Haan, Maartje:
Illusions of Reality - gebruikt boek

ISBN: 9061539412

ID: 11170464

Capturing realistic images on canvas has been a staple aspiration of western art since the Renaissance development of scientific perspective. At the end of the nineteenth century, however, animated by the invention of photography and cinema, artists began attempting not only to paint realistically but also to create images that projected the ethical content of the world around them. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 traces the development of Naturalism within painting, literature, theater, photography and film, and the relationship among these art forms, paying attention to the way painters such as Jules Adler, Thomas Anshutz, Jules Bastien-Lepage, Emile Claus, Thomas Eakins, Christian Krohg, Gari Melchers, Jules-Alexis Muenier, Fernand Pelez, Jean-Andre Rixens and Anders Zorn, filmmakers such as Andre Antoine, Albert Capellani and Leon Lhermitte and photographers such as Peter Henry Emerson, used Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social transformation. Practitioners of Naturalism frequently concerned themselves with the social ills created by industrialization, as well as the social responses to these problems in both public education and religion. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. Technological adva art,arts music and photography Arts, Music & Photography, Mercatorfonds N. V.

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Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918 - Gabriel P. Weisberg
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ISBN: 9789061539414

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Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918

Capturing realistic images on canvas has been a staple aspiration of western art since the Renaissance development of scientific perspective. At the end of the nineteenth century, however, animated by the invention of photography and cinema, artists began attempting not only to paint realistically but also to create images that projected the ethical content of the world around them. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 traces the development of Naturalism within painting, literature, theater, photography and film, and the relationship among these art forms, paying attention to the way painters such as Jules Adler, Thomas Anshutz, Jules Bastien-Lepage, Emile Claus, Thomas Eakins, Christian Krohg, Gari Melchers, Jules-Alexis Muenier, Fernand Pelez, Jean-André Rixens and Anders Zorn, filmmakers such as André Antoine, Albert Capellani and Léon Lhermitte and photographers such as Peter Henry Emerson, used Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social transformation. Practitioners of Naturalism frequently concerned themselves with the social ills created by industrialization, as well as the social responses to these problems in both public education and religion. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. Technological advances in art, from the development of photography in the first half of the nineteenth century to the emergence of film toward the end of the century, contributed to the interaction among art forms and the attention toward social conditions. Edited by Gabriel P. Weisberg, Professor of Art History at the University of Minnesota, with essays by Weisberg, David Jackson, Willa Silverman and Maartje de Haan, Illusions of Reality offers a fresh interpretation of how Naturalist artists, and the aesthetic they espoused, attempted to understand and explain the rapid and profound changes of their time.

Gedetalleerde informatie over het boek. - Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918


EAN (ISBN-13): 9789061539414
ISBN (ISBN-10): 9061539412
Gebonden uitgave
pocket book
Verschijningsjaar: 2011
Uitgever: EXHIBITIONS INTL
223 Bladzijden
Gewicht: 1,683 kg
Taal: eng/Englisch

Boek bevindt zich in het datenbestand sinds 16.02.2011 02:23:27
Boek voor het laatst gevonden op 09.10.2018 09:35:10
ISBN/EAN: 9789061539414

ISBN - alternatieve schrijfwijzen:
90-6153-941-2, 978-90-6153-941-4


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