6 books for « calvocoressi richard »Edit

‎Michael Andrews - Earth Air Water‎

‎Calvocoressi, Richard: Michael Andrews - Earth Air Water. Exhibition: London, Gagosian Gallery, 2017. 160 pages, illustrated throughout in colour. Hard cover. 24.5x30cms.‎

‎Georg Baselitz: Farewell Bill‎

‎Calvocoressi, Richard: Georg Baselitz: Farewell Bill. Exhibition: London, Gagosian Gallery, 2014. 104 pages, illustrated throughout in colour. Hardback. 21 x 28.6cms. Catalogue of an exhibition of self-portraits by Georg Baselitz (b. 1938), which represent a new approach in his persistent subversion of the painted subject, and a direct homage to the gestural figures of Willem de Kooning in their painterly technique and Abstract Expressionist style.‎

‎Catalogue of an exhibition of self-portraits by Georg Baselitz (b. 1938), which represent a new approach in his persistent subversion of the painted subject, and a direct homage to the gestural figures of Willem de Kooning in their painterly technique and Abstract Expressionist style‎

‎Lucian Freud sur papier‎

‎Thames & Hudson 2008 In-4 cartonné. 280 pages. Très bon état d’occasion. Poids sans emballage : 2600 grammes. Plus de 180 illustrations‎

‎Le présent ouvrage regroupe l’ensemble des oeuvres sur papier, y compris les eaux-fortes, réalisées tout au long de la carrière de l’artiste. Très bon état d’occasion ‎

‎Kokoschka‎

‎Albin Michel. Collection “Les grands maîtres de l’art contemporain” 1992 Traduit de l’anglais par Robert Marrast et Alan Swan. In-4, cartonnage blanc, sous jaquette illustrée, photographies pleines pages en noir et en couleurs, 128 pp. Bon état d’occasion.‎

‎L’oeuvre d’Oskar Kokoschka est aujourd’hui considérée comme l’une des plus originales de la peinture figurative du XXe siècle. Très bon état d’occasion ‎

‎Bacon Moore. Flesh and Bone.‎

‎, Antique Collectors' Club, Size: 280 mm x 220 mm. Pages: 160. Illustrations: 140 colour. Hardback. New. ISBN 9781851497478.‎

‎In their different mediums, Henry Moore (1898-1986) and Francis Bacon (1909-1992) created unforgettable images of the human figure. The distinctive visual languages that each artist developed over more than half a century were marked by a growing simplicity and monumentality of form. Their perspective differed: Moore clung to a belief in humanism, while Bacon espoused a post-humanist, nihilistic view of the world. In expressing their visions of humanity, the two artists had very different approaches: Bacon working from the outside in, disintegrating and dissolving form; Moore from the inside out, pushing anatomical structure to the surface. If Bacon's images suggest flux, chance, and the arbitrariness of existence, Moore's sculptures have been interpreted as universal symbols of strength and endurance.Bacon and Moore first exhibited together in a group exhibition at the Lefevre Gallery in London in which Bacon showed his Three Studies for Figures, at the Base of a Crucifixion (1944), propelling him into the limelight for the first time. Moore showed two sculptures from the1930s and fourteen wartime drawings, some of which anticipate the theme (though not the savage imagery) of Bacon's triptych.Exhibiting together in a commercial gallery was repeated twice in the 1960s, when Moore and Bacon were both represented by Marlborough Fine Art. These joint shows, extensively reviewed in the press, gave critics a chance to compare the artists' radical approaches to the human figure, which were seen as complementary rather than conflicting. Fifty years later, this publication once again brings their work into direct comparison.‎

‎Surreal Encounters: Collecting the Marvellous.‎

‎, , softcover, 240 pages, illustrated with 200 coloured illustrations, 24,5 x 30 cm. ISBN 9781906270971.‎

‎Surreal Encounters: Collecting the Marvellous. Works from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch provides an exceptional overview of Surrealism, bringing together important works by artists including Salvador Dali, Max Ernst, Rene Magritte and Joan Miro. The essays, written by leading scholars such as Dawn Ades and Elizabeth Cowling, provide an insight into the way that four key collections of surrealist art were formed and the motivations behind their creation. It is not surprising that the ways in which surrealist art has been collected display many of the idiosyncratic passions of Surrealism itself. The four collections shown in this book ? those formed by Roland Penrose (1900?84), Edward James (1907?84), Gabrielle Keiller (1908?95) and Ulla and Heiner Pietzsch (who have been collecting Surrealism since the 1970s) ? have different origins, trajectories, and historical contexts and come out of different creative urges. When these four collections are brought together, they create a many-faceted glimpse of the ?marvellous?, which Andre Breton, the chief theorist of the movement, defined in his first surrealist manifesto of 1924 as follows: ?The marvellous is always beautiful, anything marvellous is beautiful, in fact only the marvellous is beautiful.? The book accompanies the exhibition at the Scottish National Gallery of Modern Art in Edinburgh from 4 June to 11 September 2016, organised in conjunction with the Hamburger Kunsthalle and Museum Boijmans Van Beuningen in Rotterdam, and will be shown in Hamburg from 7 October 2016 to 22 January 2017 and in Rotterdam from 11 February to 28 May 2017. ‎