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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Through the 1880s the very essence of representation, meaning and
process in Western art were profoundly interrogated. Plausible
representations of the external world were cast aside in favour of
non-naturalism expressed in varying degrees, from modest
distortions of reality to pure abstraction. The decades that
followed, up to the outbreak of the First World War in 1914, were a
complex, vibrant period of artistic questioning, searching,
risk-taking and innovation. Concentrating on this period of great
upheaval, this book will explore the constructive dialogue between
painting and sculpture, and the influential roles played by three
giants of the era, Paul Cézanne, Paul Gauguin and Vincent van
Gogh, across European art as a whole. While acknowledging the
centrality of Paris as a cultural capital, it will also uniquely
highlight other centres of artistic ferment in Europe, from
Brussels and Barcelona to Berlin and Vienna, and track the variety
of routes into modernism in the early twentieth century. This fully
illustrated catalogue will contain four essays, introductions to
each city of ferment and biographies of the artists. Published by
National Gallery Global/Distributed by Yale University Press
Exhibition Schedule: The National Gallery, London 25 March–13
August 2023
This series [pushes] the boundaries of knowledge and [develops] new
trends in approach and understanding. ENGLISH HISTORICAL REVIEW The
focus of this volume may be summed up as "The Word". Its essays
examine the contents and provenance of manuscripts which were
written for polemical purposes, treasured by the duchess of York,
and through the new medium of print introduced to a wider public
topics of historical interest and illustrations of the geography of
the known world. The essays here also consider official records of
forest administration, expressed in arcane language; documents
preserved in the papal curia which reveal significant facts about
the lives of Scottish bishops; archives produced by the English
chancery noting the movements of a royal councillor; and letters,
poems and songs exposing the political strategy of a German prince.
Nor is the spoken word neglected, whether employed in speeches
delivered at the start of parliaments, using as their themes
scriptures and classical texts to set a political agenda; or as
sermons to open-air congregations gathered at St. Paul's Cross,
where the oratory of Bishop Alcock stirred his listeners in
different ways. Contributors: Michael Bennett, Julia Boffey, Paul
Cavill, J.M. Grussenmeyer, TomJohnson, J.L. Laynesmith, John
Milner, Ben Pope, Dan E. Seward, Sarah Thomas
This series [pushes] the boundaries of knowledge and [develops] new
trends in approach and understanding. ENGLISH HISTORICAL REVIEW The
concerns of people over differing levels of fifteenth-century
society are the focus of the essays contained in this volume. How
would a queen in exile wish to be depicted on a medal, or a
newly-crowned king deal with recalcitrant London merchants when
their interests clashed with his policies? The logistics of an
invasion of France present a challenge to the military advisers of
another king, and by bringing fresh insights to the text a
translator of Vegetius' De re militari addresses the fears of
rulers and ruled in a time of civil unrest. English supplicants to
the papal curia require expert advice to navigate bureaucratic
procedures at Rome; while Welsh students encounter other obstacles
as they embark on careers in Church and state. Manuscript and
printed versions of parliamentary statutes point to differing
preferences on the part of government clerks and practising lawyers
in their choice of language; while the papers of a professional
estate manager from Norfolk reveal antiquarian interests and an
affinity with William of Worcester. Contributors: Christopher
Allmand, Peter Clarke, Rhun Emlyn, Samantha Harper, Frederick
Hepburn, John Milner, Dean Rowland, Anthony Smith
A new title in the Design series and an excellent introduction to
the life and work of this versatile Russian artist. Alexander
Mikhailovich Rodchenko (1891-1953) was a central figure in the
Russian Constructivist art movement; a radical activist, a pioneer
of photomontage, a theorist, and a teacher. He was an active force
in the organization of the first museums of modern art that arose
in Russia in the first years after the Russian Revolution of 1917.
Attending art school in 1914 in Kazan was to be a defining
influence: that year Russian Futurists performed in the town, and
Rodchenko saw their leading figures in action. It transformed his
vision and he was still working with Futurist artists and their
ideas twenty-five years later. And it was at art school where
Rodchenko first met the artist Varvara Stepanova, with whom he
collaborated extensively, and who would become his life-long
partner. Central in the re-examination of art and its place in
society after the Revolution, and in the search for a new culture
without the class implications of the past, Rodchenko's radical
approach proposed a new understanding of a constructed, rather than
a tastefully composed, culture. This concise, comprehensive and
informative work focuses largely on Rodchenko's graphic work in the
form of book jackets, posters and advertising. The Design series is
the winner of the Brand/Series Identity Category at the British
Book Design and Production Awards 2009, judges said: "A series of
books about design, they had to be good and these are. The branding
is consistent, there is a good use of typography and the covers are
superb." Also available: Claud Lovat Fraser ISBN: 9781851496631,
GPO ISBN: 9781851495962, Peter Blake ISBN: 9781851496181, FHK
Henrion ISBN: 9781851496327, David Gentleman ISBN: 9781851495955,
David Mellor ISBN: 9781851496037, E.McKnight Kauffer ISBN:
9781851495207, Edward Bawden and Eric Ravilious ISBN:
9781851495009, El Lissitzky ISBN: 9781851496198, Festival of
Britain 1951 ISBN: 9781851495337, Harold Curwen & Oliver Simon:
Curwen Press ISBN: 9781851495719, Jan Le Witt and George Him ISBN:
9781851495665, Paul Nash and John Nash ISBN: 9781851495191, and
Abram Games ISBN: 9781851496778.
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