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Solstices Paris
solstices solstices 16 rue Pestalozzi - 75005 Paris +33 (0)6 13 80 19 45 [email protected] www.librairie-solstices.com RCS LILLE 424 568 665 Membre du / Member of Syndicat de la Librairie Ancienne et Moderne (SLAM) & de la Ligue Internationale de la Librairie Ancienne / International League of Antiquarian Booksellers (LILA / ILAB) VENTE PAR CORRESPONDANCE OU SUR RENDEZ-VOUS Les ouvrages proposés sont garantis complets, en bon état général, sauf indication contraire. Conditions générales de vente : Conforme aux usages de la Librairie ancienne et moderne. Prix nets en euro, port en sus, à la charge du destinataire. Règlement par chèque en euro sur une banque française ou virement bancaire sur notre compte. Virement PayPal accepté. Conditions of sale : Net prices in euro, cost of shipment and insurance is additional. Payment to be made by chek drawn in euro on a French bank or transfered directly to our account. PayPal transfer accepted. Domiciliation bancaire : Crédit Mutuel Lille Liberté RIB : 15629 02715 00042555345 44 IBAN : FR 76 1562 9027 1500 0425 5534 544 BIC : CMCIFR2A Illustrations de couverture : n°36 - Speechless - with the dead solstices Salon du livre ancien et de l’objet d’art Paris, 11-14 avril 2019 38 propositions 1. Peter BEHRENS, Schriften, Initialen und Schmuck, 1902. 2. Frans MASEREEL, Debout les Morts. Résurrection infernale, 1917. 3. Ivan AKSIONOV, Alexandra EXTER, Picasso i akrestnosti,1917. 4. Hugo KOCH, Emil MAETZEL, Der gelben Posaune der Sieben, 1920. 5. Ze'ev RABAN, Levin KIPNISS, Alef-Bet, 1923. 6. Moïsei BRODSKY, Nikolaï PUNIN, Iskusstvo rabochikh, 1928. 7. Vladimir F. MIKHELS, Pervaia Vsesoiouznaia Spartakiada, 1928. -
Mozaicul Voivodinean – Fragmente Din Cultura Comunităților Naționale Din Voivodina – Ediția Întâi © Autori: Aleksandr
Mozaicul voivodinean – fragmente din cultura comunităților naționale din Voivodina – Ediția întâi © Autori: Aleksandra Popović Zoltan Arđelan © Editor: Secretariatul Provincial pentru Educație, Reglementări, Adminstrație și Minorități Naționale -Comunități Naționale © Сoeditor: Institutul de Editură „Forum”, Novi Sad Referent: prof. univ. dr. Žolt Lazar Redactorul ediției: Bojan Gregurić Redactarea grafică și pregătirea pentru tipar: Administrația pentru Afaceri Comune a Organelor Provinciale Coperta și designul: Administrația pentru Afaceri Comune a Organelor Provinciale Traducere în limba română: Mircea Măran Lectorul ediției în limba română: Florina Vinca Ilustrații: Pal Lephaft Fotografiile au fost oferite de arhivele: - Institutului Provincial pentru Protejarea Monumentelor Culturale - Muzeului Voivodinei - Muzeului Municipiului Novi Sad - Muzeului municipiului Subotica - Ivan Kukutov - Nedeljko Marković REPUBLICA SERBIA – PROVINCIA AUTONOMĂ VOIVODINA Secretariatul Provincial pentru Educație, Reglementări, Adminstrație și Minorități Naționale -Comunități Naționale Proiectul AFIRMAREA MULTICULTURALISMULUI ȘI A TOLERANȚEI ÎN VOIVODINA SUBPROIECT „CÂT DE BINE NE CUNOAŞTEM” Tiraj: 150 exemplare Novi Sad 2019 1 PREFAȚĂ AUTORILOR A povesti povestea despre Voivodina nu este ușor. A menționa și a cuprinde tot ceea ce face ca acest spațiu să fie unic, recognoscibil și specific, aproape că este imposibil. În timp ce faceți cunoștință cu specificurile acesteia care i-au inspirat secole în șir pe locuitorii ei și cu operele oamenilor de seamă care provin de aci, vi se deschid și ramifică noi drumuri de investigație, gândire și înțelegere a câmpiei voivodinene. Tocmai din această cauză, nici autorii prezentei cărți n-au fost pretențioși în intenția de a prezenta tot ceea ce Voivodina a fost și este. Mai întâi, aceasta nu este o carte despre istoria Voivodinei, și deci, nu oferă o prezentare detaliată a istoriei furtunoase a acestei părți a Câmpiei Panonice. -
"De Miró À Dau Al Set" L'art Catatan Eles Araiées 40 Dans L'ancienne Collection SALVADOR RIERA
Joan Ponç. Crucifixion. Peinture à l'huile sur toile. 1947. 64 x 90 cm "De Miró à Dau al Set" L'art catatan eles araiées 40 dans l'ancienne collection SALVADOR RIERA CENTRE D'ETUDES CATALANES. PARIS 9 rue Sainte Croix de La Bretonnerie octobre-novembre 1995 D O oS CD to t: CO r- Generalitat de Catalunya Departament de Cultura Generalitat de Catalunya AB Departament de Cultura Biblioteca central Le tlécès brusque —car inopiné— de Salvador Riera appréciait le plus... Joan Ponç, Modest Cuixart, Anto- le 10 mai 1994 ne permit pas de réaliser. parmi tant ni Tàpies, Josep M. de Sucre, August Puig ou Pere d'autres, le projet de voir 1'inauguration de cette Tort, parmi tous ceux que recueille ce projet extrait exposition qui a été présentée au Centre d'Art Santa de 1'ensemble de la collection qui. maintenant, dans Mònica, la premiere que nous avions projetée ensem- l'absence, évoque la distinction qui, sous l'empreinte ble dans le bul d'offrir une dimension publique de sa du terme "Dau al Set" [Le Dé sur le Sept], a modelé collection, à travers une sèrie de montres pouvant son profil d'homme et de galeriste. 11 n'aurait pas illustrer la diversité de son fonds artistique, désor- désiré un bonheur plus immédiat que celui de voir mais incorporé à celui de la Generalitat de Catalu- ces oeuvres —aujourd'hui patrimoine public, avant nya. C'est ainsi quelle s'est transformée en une expo- couvrant les murs de son domicile— fraternisant de sition postliume qui, au-delà des ceuvres et des chro- la sorte. -
Cat151 Working.Qxd
Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text. -
Joan Brotat Y Los Avatares De La Figuración Primitivista En La Segunda Vanguardia En Cataluña
Joan Brotat y los avatares de la figuración primitivista en la segunda vanguardia en Cataluña Alex Mitrani Martínez de Marigorta ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
“DAU AL SET” Història De L'art Del Segle XX Arnau Gifreu Castells 3R
“DAU AL SET” Història de l’art del segle XX Arnau Gifreu Castells 3r Com. Aud. INDEX 1. Introducció 2. Contextualització històrica 2.1 - Contextualització artística a nivell mundial 3. Components del grup artístic 4. Etapes de Dau al set 5. Antecedents i influències del grup 6. Els primers números de Dau al Set 7. Evolució de la revista 8. Objecte d’estudi: 8.1 - Assaig d’Arnau Puig 8.2 - La pintura d’Antoni Tàpies 8.3 - Joan Brossa: geni i figura 9. Conclusions 10. Bibliografia INTRODUCCIÓ - L’objectiu bàsic que m’ha portat a elaborar aquest treball ha estat la infinitat d’enigmes que sempre m’he plantejat arrel d’aquesta associació artística i si fa no fa política anomenada Dau al Set. M’ha interessat sumament estudiar aquest tipus de moviment en primer terme perquè es va dur a terme a Catalunya i la majoria dels sus components eren catalans i es varen plantejar un tipus d’art basat en la normativa catalana, és a dir, el seu mitjà i/o vehicle d’expressió sempre fou el català bàsicament. La majoria de moviments de tota la història de l’art es donen en un context europeu o mundial, i ademés ja formen part d’un objecte d’estudi detallat tant a les diverses assignatures de batxillerat com universitàries. Però els petits grups artístics que, com a fenòmen, es consoliden a Espanya a mitjan de segle XIX, sembla que tinguin un tractament més superficial, com otorgant-lis menys importancia. El treball mostra una divisió per parts, la qual pretén ser una espècie de “contiunnum” per arribar a conclusions lòquiques que no s’hagin dut a terme anteriorment. -
Avant-Gardes in Yugoslavia
Filozofski vestnik | Letnik XXXVII | Številka 1 | 2016 | 201–219 Miško Šuvaković* Avant-Gardes in Yugoslavia In this study, I will approach the avant-gardes as interdisciplinary, internation- ally oriented artistic and cultural practices.1 I will present and advocate the the- sis that the Yugoslav avant-gardes were a special geopolitical and geo-aesthetic set of artistic and cultural phenomena defined by the internal dynamics and interrelations of the Kingdom of Serbs, Croats, and Slovenes and the Kingdom of Yugoslavia and by the external dynamics, cosmopolitan relations, and inter- nationalisations of local artistic excess and experimentation with international avant-garde practices. I will devote special attention to the local and interna- tional networking of cities as the political and cultural environments where the avant-gardes took place. Above all, the avant-gardes thereby acquired the char- acter of extremely urban artistic and cultural phenomena. Introductory Interpretation of the Concept of the Avant-garde Discussing the status, functions, and effects of any avant-garde does not boil down to asking what phenomenal or conceptual, i.e. formalist, qualities are characteristic of an avant-garde work of art, the behaviour of an avant-garde artist, or her private or public life. On the contrary, equally important are direc- tional questions regarding the instrumental potentialities or realisations of the avant-garde as an interventional material artistic practice in between or against dominant and marginal domains, practices, or paradigms within historical or 201 present cultures. Avant-garde artistic practices are historically viewed as trans- formations of artistic, cultural, and social resistances, limitations, and ruptures within dominant, homogeneous or hegemonic artistic, cultural, and social en- vironments. -
Book of Abstracts
International Association of Aesthetics Interim Conference: European Avant-Garde – A Hundred Years Later Organized by the Slovenian Society of Aesthetics Online (Ljubljana), 17–18 June, 2021 Book of Abstracts European Avant-Garde – A Hundred Years Later (June 2021) Table of Contents Introduction ........................................................................................................................................ 3 Sascha Bru: The Three Avant-Garde Traditions ................................................................................. 4 Polona Tratnik: Tactical Media: The Fourth Wave of 20th Century European Avant-Garde .............. 5 Tomaž Toporišič: Trieste, Ljubljana, Zagreb, Belgrade: Historical Avant-garde and the Conceptual Crisis of Europe ................................................................................................................................. 6 Artem Radeev: “Communist deciphering of reality” in Russian Avant-Garde: A Case of Dziga Vertov .. 7 Darko Štrajn: Weimar Cinema and other German Avant-Gardes ....................................................... 8 Ernest Ženko: An Exercise in Categorization: Avant-Garde Cinema of the 1920s ............................. 9 Zoltán Somhegyi: Avant-Garde Anatomy. Dissection and Re-composition of Art and its History in the Oeuvre of Milorad Krstic ................................................................................................................. 10 Mojca Puncer: The Avant-Garde Politics of Time: The Case of Postgravity Art ............................. -
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Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. -
Dau Al Set Entre Las Vanguardias Históricas Y El Arte Nuevo Sol Enjuanes Puyol
Sol Enjuanes Puyol En el Umbral Doctora en Historia del arte por la Universidad Autónoma de Barcelona. Es profesora de de la Noche: la Universidad Autónoma de Barcelona y de la Universitat Dau al Set entre Oberta de Catalunya (UOC) y responsable del catálogo razonado de Joan Ponç (www. las Vanguardias joanponc.cat). Ha sido becada por la Fundació Pilar i Joan Miró, Históricas y el el Consell Nacional per la Cultura i les Arts (CoNCA) y por la Arte Nuevo Comisión Interdepartamental de Investigación e Innovación Tecnológica (CIRIT). Sus principales líneas de investigación Sol Enjuanes Puyol son el arte catalán del siglo XX y la innovación pedagógica. Contacto: [email protected] Recebido em: 04 de abril de 2017 Aceito em: 05 de setembro de 2017 Caracol, São Paulo, N. 15, jan./jun. 2018 vária PALABRAS CLAVE: Dau al Resumen: Dau al Set es una revista fundada en Barcelona en el año Set; Vanguardia; Revista; 1948. Sus creadores eran un grupo de jóvenes artistas e intelectuales Barcelona; Posguerra que tenían las vanguardias del primer tercio del siglo XX como referente cultural. Este hecho, sumado a las conexiones que la revista estableció con el informalismo, han condicionado que posteriormente haya sido considerada un hito de la vanguardia española. Una interpretación reforzada por el retraso cultural de la España de aquel momento, que vivía bajo el régimen dictatorial del general Franco. KEYWORDS: Dau al Set; Abstract: Dau al Set is a magazine founded in Barcelona in 1948. Avant-garde; Magazine; Its creators were a group of young artists and intellectuals. The avant- Barcelona; Postwar garde movements of the beginning of the twentieth century were their cultural reference. -
Evocations of Byzantium in Zenitist Avant-Garde Architecture Jelena Bogdanović Iowa State University, [email protected]
Architecture Publications Architecture 9-2016 Evocations of Byzantium in Zenitist Avant-Garde Architecture Jelena Bogdanović Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/arch_pubs Part of the Architectural History and Criticism Commons, and the Byzantine and Modern Greek Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ arch_pubs/78. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the Architecture at Iowa State University Digital Repository. It has been accepted for inclusion in Architecture Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Evocations of Byzantium in Zenitist Avant-Garde Architecture Abstract The yB zantine legacy in modern architecture can be divided between a historicist, neo-Byzantine architectural style and an active investigation of the potentials of the Byzantine for a modern, explicitly nontraditional, architecture. References to Byzantium in avantgarde Eastern European architecture of the 1920s employed a modernist interpretation of the Byzantine concept of space that evoked a mode of “medieval” experience and creative practice rather than direct historical quotation. The va ant-garde movement of Zenitism, a prominent visionary avant-garde movement in the Balkans, provides a case study in the ways immaterial aspects of Byzantine architecture infiltrated modernism and moved it beyond an academic, reiterative formalism. By examining the visionary architectural design for the Zeniteum, the Zenitist center, in this article, I aim to identify how references to Byzantium were integrated in early twentieth-century Serbian avant-garde architecture and to address broader questions about interwar modernism. -
World Literature
world literature Peter Harrington london This catalogue celebrates the international conversation that is literature, and the creativity that can spark when writers and texts cross national, linguistic, and cultural borders. For his lifelong commitment to literary internationalism, Jorge Luis Borges is a key figure here. One of the star items is Borges’s own annotated copy of Dante (20). Another is a man- uscript of the only poem he composed in the English language (17). We also have a scarce signed set of his Biblioteca de Babel series (21), which brought the great short stories of world literature to a South American audience. Many other items connect notable authors across place and time: Dylan Thomas’s school- boy copy of Omar Khayyám (item 179), T. S. Eliot’s Rimbaud (61), and E. M. Forster’s Chek- hov (41), for example. Among international presentations, Umberto Eco’s Name of the Rose to García Márquez is a show-stopper (58), as is García Márquez inscribing One Hundred Years of Solitude to his English publisher (67). A compelling example of international readership is found in a first American edition of Moby Dick being read by a poet in Hawaii who correspond- We are exhibiting at these fairs: ed with Melville (127). Classical literature is fundamental to our global network of inspiration, and where else to begin but with the editio princeps of Homer, printed in Florence in 1488 (83)? We also have, list- 7–9 June 2019 ed under its translator’s name, a scarce inscribed copy of T. E. Lawrence’s beautifully-printed firsts london English version (109).