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Heavily influenced by Western styles and fashions of the 20's and '30s Japanese graphic designers drew inspiration from Europe's master artists and typographers, enthusiastically importing and assimilating elements of Bauhaus, Constructivism, and Futurism. With striking illustrations of posters, brochures, and match-box labels and more, this singular volume offers a scintillating look at modern Japanese graphic design.
These two volumes present a selection of the Chinese Ceramics belonging to the celebrated collection of the Far Eastern art established as a museum in Geneva through the bequest of the Swiss collector Alfred Baur in 1964. A full catalogue of these ceramics by John Ayers was published in 4 volumes between 1969-1974, but this mugh-sought after work has long been out of print. The present more condensed choice of 342 of the finest pieces is illustrated wholly in color with many details including marks and inscriptions, and an extensive Introduction discussing recent advances in scholarship. Volume 1 includes Tang, Song, and Ming wares including many masterpieces of the art; Volume 2 is devoted to the incomparable series of Qing porcelains, which features an unparalleled range of monochrome-glazed wares.
The British Museum holds the worlds broadest collection of Ming ceramics. Nearly a thousand items are here illustrated, identified, dated and discussed, incorporating the most up-to-date archaeological discoveries and scientific research previously available only in Chinese or specialist journals. Five introductory essays provide an accessible framework. Each of the catalogues twenty chapters is then introduced with a brief summary of its defining characteristics. A wealth of additional information is clearly interpreted and presented in a series of appendices, tables and maps for ease of reference and research by collectors, students and scholars.
This gorgeously produced book reveals the hidden meaning behind motifs in Chinese decorative arts. When any Westerner looks at Chinese art, it is immediately apparent how much the depiction of animal and plant life differs from its American or European equivalent. This exceptional world teems with flowers, trees, birds, fish, shellfish, and insects, mixed with fantastic creatures or figures taken from legend and mythology. Various motifs can appear together in one scene, and if the viewer understands the language, the images are charged with symbolism. This absorbing study explores the rich symbolic language of exquisite works in ceramic, jade, lacquer, glass, and silk from the world-renowned Baur Collection.
Verslag van de berging van de lading van de in 1752 in de Zuid-Chinese zee vergane Nederlandse koopvaarder Geldermalsen, grotendeels bestaande uit Chinees porselein.
Catalog of an exhibition organized by the Los Angeles County Museum of Art in collaboration with the Percival David Foundation of Chinese Art. Many of the porcelains in this volume were once owned by Chinese emperors: all are extraordinary specimens. Ranging from the ninth to the 18th centuries, they opitomize the sophistication of imperial Chinese taste. Five essays by scholars of Chinese art describe the significance of these ceramics and review recent archaeological developments contributing to their study. Fine color plates. No index. Annotation copyrighted by Book News, Inc., Portland, OR
Poetry. "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's NEW YORK TIMES word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page." With these words, Kenneth Goldsmith embarked upon a project which he termed "uncreative writing", that is: uncreativity as a constraint-based process; uncreativity as a creative practice. By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper. DAY is a monument to the ephemeral, comprised of yesterday's news, a fleeting moment concretized, captured, then reframed into the discourse of literature. "When I reach 40, I hope to have cleansed myself of all creativity"-Kenneth Goldsmith.