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LE GRAND LIVRE DU MOIS. 2006. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 435 pages.. . . . Classification Dewey : 840.092-XXI ème siècle
Reference : R240052546
ISBN : 2286022011
roman. Classification Dewey : 840.092-XXI ème siècle
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5 book(s) with the same title
The Impressionist Revolution Monet to Matisse from the Dallas Museum of Art
Myers, Nicole R.: The Impressionist Revolution Monet to Matisse from the Dallas Museum of Art. Exhibition: Dallas, Museum of Art; Nashville, Frist Art Museum; Quebec, MusÃe National des Beaux-Arts; Richmond, Virginia Museum of Fine Arts and Santa Barbara, Museum of Art, 2025. 98 pages, 70 colour and 3 black and white illustrations. Hardback. A look at Impressionist works in the collection of the Dallas Museum of Art. Two essays discuss the history and influence of the movement from its 1874 exhibition to its representation in the collection. Followed by an illustrated catalogue of 50 works divided into five thematic sections, each with an introductory note.
A look at Impressionist works in the collection of the Dallas Museum of Art. Two essays discuss the history and influence of the movement from its 1874 exhibition to its representation in the collection. Followed by an illustrated catalogue of 50 works divided into five thematic sections, each with an introductory note
Limpid Radiance - A Special Exhibition of Glass Artifacts from the National Palace Museum Collection
Limpid Radiance - A Special Exhibition of Glass Artifacts from the National Palace Museum Collection. Exhibition: Taipei, National Palace Museum, 2016. Paperback. One of the oldest materials to have been made by humans, glass continues to play an important role in many facets of daily life today. Archaeological evidence provides clues to the emergence of proto-glass artifacts in ancient Egypt and Western Asia around 3000 BCE. The production of glass may have evolved from faience, a sintered siliceous material with vitrified surface and frit, which is fired at higher temperatures. In China, glass has also had a long history, and is known by a variety of names in historical texts. Archaeological discoveries of the Western Zhou period (1046-771 BCE) have revealed similar early forms of glass-like material, consisting mainly of silicon dioxide partially vitrified under firing. Over the course of its history in China, glass has been valued for its resemblance to precious natural substances, including polished jade and gemstones. In addition to its enticing luster and subtle aesthetic features ranging from opacity, to translucence and crystalline clarity, glass has manifested its multi-functional properties through optical and other evolving applications, inspiring exploration and creation.Objects made of or featuring glass in the National Palace Museum collection come primarily from the Qing dynasty (1644-1911) imperial court. They include costume accessories, objects of the scholar's studio, and various containers, display items, and composite pieces. Many were originally stored in curio boxes, representing prized objects made for the court or acquired as Western rarities. Despite their small size, these glass objects display unique craftsmanship and exemplify the diverse developments in glasswork under the supervision of the Qing court. This exhibition of glassware from the Museum collection mainly comprises glass artifacts from the Qing court, including objects made mostly with glass, inlays of glass, and optical components. They are displayed alongside proto-glass objects and artifacts of related materials for comparison in terms of form, manufacturing techniques, and color expression. Taken together, this exhibition demonstrates the cultural heritage as well as exchange and transformation in the art of glassmaking during the Qing dynasty. Text in Chinese.
One of the oldest materials to have been made by humans, glass continues to play an important role in many facets of daily life today. Archaeological evidence provides clues to the emergence of proto-glass artifacts in ancient Egypt and Western Asia around 3000 BCE. The production of glass may have evolved from faience, a sintered siliceous material with vitrified surface and frit, which is fired at higher temperatures. In China, glass has also had a long history, and is known by a variety of names in historical texts. Archaeological discoveries of the Western Zhou period (1046-771 BCE) have revealed similar early forms of glass-like material, consisting mainly of silicon dioxide partially vitrified under firing. Over the course of its history in China, glass has been valued for its resemblance to precious natural substances, including polished jade and gemstones. In addition to its enticing luster and subtle aesthetic features ranging from opacity, to translucence and crystalline clarity, glass has manifested its multi-functional properties through optical and other evolving applications, inspiring exploration and creation.Objects made of or featuring glass in the National Palace Museum collection come primarily from the Qing dynasty (1644-1911) imperial court. They include costume accessories, objects of the scholar's studio, and various containers, display items, and composite pieces. Many were originally stored in curio boxes, representing prized objects made for the court or acquired as Western rarities. Despite their small size, these glass objects display unique craftsmanship and exemplify the diverse developments in glasswork under the supervision of the Qing court. This exhibition of glassware from the Museum collection mainly comprises glass artifacts from the Qing court, including objects made mostly with glass, inlays of glass, and optical components. They are displayed alongside proto-glass objects and artifacts of related materials for comparison in terms of form, manufacturing techniques, and color expression. Taken together, this exhibition demonstrates the cultural heritage as well as exchange and transformation in the art of glassmaking during the Qing dynasty. Text in Chinese
Boardman, John; Sergei L. Solovyov and Gocha R. Tsetskhladze (eds.)
Reference : 089884
(2001)
ISBN : 9004121463
Northern Pontic Antiquities in the State Hermitage Museum. Colloquia Pontica
Boardman, John; Sergei L. Solovyov and Gocha R. Tsetskhladze (eds.): Northern Pontic Antiquities in the State Hermitage Museum. Leiden: E. J. Brill, 2001. Series: Colloquia Pontica. 342pp. with figure illustrations in the text. Cloth. 24.5x16.5cms. A fully-illustrated volume of Graeco-Roman antiquities, such as earrings, engraved gems and pottery, from the Pontic region on the south-east coast of the Black Sea and now in the State Hermitage Museum. Includes those recently unearthed during museum excavations in Berezan, Myrmekion and Nymphaeum.
A fully-illustrated volume of Graeco-Roman antiquities, such as earrings, engraved gems and pottery, from the Pontic region on the south-east coast of the Black Sea and now in the State Hermitage Museum. Includes those recently unearthed during museum excavations in Berezan, Myrmekion and Nymphaeum. Text in English
Collection of Dutch paintings: XVII-XIX centuries : Pushkin State Museum of Fine Arts
Senenko, Marina: Collection of Dutch paintings: XVII-XIX centuries : Pushkin State Museum of Fine Arts. Moscow: 2009. 503pp with colour and monochrome illustrations. Cloth. Fully-illustrated catalogue of the collection of 17th to 19th century Dutch paintings in the Pushkin State Museum of Fine Arts in Moscow. With an introductory chapter charting the history and development of the museum and indices of provenances and engravings. Limited to a print run of 1000.
Fully-illustrated catalogue of the collection of 17th to 19th century Dutch paintings in the Pushkin State Museum of Fine Arts in Moscow. With an introductory chapter charting the history and development of the museum and indices of provenances and engravings. Limited to a print run of 1000. Text in English
Gu gong bo wu yuan cang pin da xi. 23, tao ci bian [Compendium of Collections in the Palace Museum: Ceramics 23]
Gu gong bo wu yuan cang pin da xi. 23, tao ci bian [Compendium of Collections in the Palace Museum: Ceramics 23]. Shijiazhuang: 2013. 326 pages, full page colour plates throughout, 200 small colour text plates. Volume 23 of a beautifully-produced large format series showing the highly-important Chinese ceramics collection of the Gugong Museum in Beijing. An in-depth and representative survey. This volume is Part 3 of an as yet unspecified number showing ceramics produced during the early Qing dynasty reigns of the Shunzhi and Kangxi emperors. Comprises 200 marvellous monochromes produced during these two reigns. Six are from the Shunzhi reign, the remaining 194 are all Kangxi period! Comparison with the volume on Ming and Qing monochromes in the 'Complete Collection of Treasures in the Palace Museum' (Gugong Zhencang) series (until now the most comprehensive coverage of such ceramics in the Gugong collection) shows no Shunzhi examples and 'only' 44 Kangxi pieces. All the ceramics are here illustrated in full page colour plates and with some pieces also shown in close-up detail, mostly bases and base marks. Many superb objects with numerous examples from the Qing imperial collection. Much unpublished material. The smaller objects are shown life-size, the larger ones life-size or near life-size. This allows true and full appreciation of these marvellous objects. Dual texts in Chinese and English, including list of plates and captions to plates. Text in Chinese.
Volume 23 of a beautifully-produced large format series showing the highly-important Chinese ceramics collection of the Gugong Museum in Beijing. An in-depth and representative survey. This volume is Part 3 of an as yet unspecified number showing ceramics produced during the early Qing dynasty reigns of the Shunzhi and Kangxi emperors. Comprises 200 marvellous monochromes produced during these two reigns. Six are from the Shunzhi reign, the remaining 194 are all Kangxi period! Comparison with the volume on Ming and Qing monochromes in the 'Complete Collection of Treasures in the Palace Museum' (Gugong Zhencang) series (until now the most comprehensive coverage of such ceramics in the Gugong collection) shows no Shunzhi examples and 'only' 44 Kangxi pieces. All the ceramics are here illustrated in full page colour plates and with some pieces also shown in close-up detail, mostly bases and base marks. Many superb objects with numerous examples from the Qing imperial collection. Much unpublished material. The smaller objects are shown life-size, the larger ones life-size or near life-size. This allows true and full appreciation of these marvellous objects. Dual texts in Chinese and English, including list of plates and captions to plates. Text in Chinese
