Write to the booksellers6 books for « baert barbara »Edit
Het 'Boec van den Houte'
Brussel, 1995 126pp.+ 65 platen buitentekst, 26cm., mooie staat, in de reeks "Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten. Klasse der Schone Kunsten" jg.57 nr.62, S57408
To Touch or Not to Touch ? Interdisciplinary Perspectives on the 'Noli me tangere'
Leuven, Peeters 2013 xi + 261pp., 24cm., softcover, in the series ""Annua Nuntia Lovaniensia" LXVII (67), fine condition, ISBN 978-90-429-2625-7, [Contains 8 contributions, in English], R98772
Een erfenis van heilig hout. De neerslag van het teruggevonden kruis in tekst en beeld tijdens de Middeleeuwen.
Leuven, Universitaire Pers, 2001, in-8°, 474 pp, with 96 ills. and 9 plates, index, bibliography, softcover. Text in Dutch. Boek in het Nederlands. Study on the iconography and literature of the Roman Catholic relics of the wooden Holy Cross in mediaeval times..
From Kairos to Occasio through Fortuna. Text / Image / Afterlife. On the Antique Critical Moment, a Grisaille in Mantua (School of Mantegna, 1495-1510), and the Fortunes of Aby Warburg (1866-1929)
, Brepols - Harvey Miller, 2021 Hardback, iv + 211 pages, Size:220 x 280 mm, Illustrations:73 b/w, Language: English. ISBN 9781912554621.
Summary The ancient Greeks had a name for the joy as well as the sorrow of an occasion that suddenly presents itself, but disappears just as swiftly: kairos, or in Latin occasio. Using the Mantua grisaille as starting point and leading motif, Barbara Baert guides us in her own intriguing way through the history of the representation of this figure in art. How did the archaic Greek Kairos model survive in the Quattrocento? Which appearances did Kairos take on along the way and how can we explain his mutations? The author shows us how the semantic and rhetorical expansion of the concept kairos/occasio brought about gender switches and conflations with other personifications of time and fate. Grasping the lock of hair of Kairos/Occasio, spinning the wheel of fortune of Tyche/Fortuna, acting as the mast of the ship and holding the billowing sails, she steers us through depictions of the motionlessness of the moment throughout history before dropping anchor in the fascinating vocabulary of Aby Warburg. During this journey, she invites us to go offshore looking for a new critical moment that presents itself as a powerful opening of possibilities.
Berlinde De Bruyckere Een (2002-2004)
Gli Ori , De Pont, Tilburg - La Maison Rouge, Paris , 2005 Hardback, stofomslag, 300x227mm, 144p, Dutch edition . ISBN 887336143913978.
Expo: Tilburg: 22/01/2005 - 29/05/2005, Paris :23.06.2005 - 09.10.2005 Vanaf het begin van de jaren negentig werkt Berlinde De Bruyckere met dekens als materiaal voor haar beelden en installaties. Wollen dekens die bedekken en beschermen. Maar voor De Bruyckere symboliseren ze niet alleen warmte en beschutting, maar ook kwetsbaarheid en angst. Angst die mensen onder de dekens doet wegkruipen en kwetsbaarheid in situaties van kou, ziekte, rampen en oorlog. Het zijn de beelden die de media ons dagelijks voorschotelen
Berlinde De Bruyckere : One (2002-2004)
Gli Ori , De Pont, Tilburg - La Maison Rouge, Paris , 2005 Hardback, 136 pages, ENG. edition 310 x 230 x 20 mm, . ISBN 9788873361435.
Expo: Tilburg: 22/01/2005 - 29/05/2005, Paris :23.06.2005 - 09.10.2005 Since the early nineties, Berlinde De Bruyckere has been working with blankets-woolen blankets that cover and protect-as the material for her sculptures and installations. For De Bruyckere they symbolize not only warmth and shelter, but also vulnerability and fear. Fear that makes people crawl under blankets and vulnerability in situations related to cold, illness, disaster and war. They are the images-from Somalia, Ruanda or Kosovo-which the media show us every day: images from hotbeds of violence which cause the population to flee, to hide or to shiver from cold. Victims are wrapped in blankets. The suffering is covered. In De Bruyckere's studio, such newspaper photographs are present as quiet moments among the day-to-day memoranda. They are often images in which sadness and beauty seem to compete for attention
