Download Free Objet Dart Dextreme Orient Book in PDF and EPUB Free Download. You can read online Objet Dart Dextreme Orient and write the review.

The present volume offers a collection of essays that examines the mechanisms and strategies of collecting, displaying and appropriating Islamic art in the nineteenth and early twentieth centuries. Many studies in this book concentrate on lesser known collections of Islamic art, situated in Central and Eastern Europe that until now have received little attention from scholars. Special attention is given to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of Islamic art is now preserved in the Bernisches Historisches Museum, Switzerland. Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait. Les contributions de l’ouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et l’appropriation des arts de l’Islam au XIXe siècle et début du XXe siècle. Elles mettent l’accent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusqu’à présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourd’hui au Bernisches Historisches Museum (Suisse) et qui ont été de même peu étudiés. Les textes émanent de jeunes chercheurs comme de chercheurs confirmés, basés en Europe occidentale et orientale, et au-delà.
Issued in conjunction with the exhibition at The Metropolitan Museum of Art of over 450 works of art from the legendary Havemeyer collection, formed at the turn of the century by pioneering American patrons of art Henry O. and Louisine Havemeyer, this lavishly illustrated catalogue combines 800 illustration (176 in color) with the collaborative efforts of 27 authors who examine the various aspects of the collection in summarizing essays and in entries on individual works. In addition, one essay is devoted to the Manhattan residence designed for the Havemeyers by Tiffany and Colman. An exhaustive 90-page chronology offers a perspective on the formation of the collection, outlining the roles of friend and advisor Mary Cassatt and a succession of dealers, and focusing on the history of the family and its business interests. 9.25x12.25" Annotation copyright by Book News, Inc., Portland, OR
Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul S?sier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.
This book represents a comprehensive study of 'The Bejewelled Buddha' considering stylistic as well as iconographic issues. A crucial moment in the Buddha's life seems to have been referred to through this image, namely, the sojourn on Mount Meru, where the Buddha sat on Indra's seat and taught all the gods. By occupying the seat of the king of the gods he was able to endorse the royal function of this deity; this becomes particularly evident in the late fifth century, and probably reflects the dramatic situation that the Buddhist community was confronted with, i.e. the political power essentially fostering the Hindu religion and social structure. Hence, the Buddha is depicted as a perfect and powerful ruler sitting at the top of the universe and showing himself adorned as a king; more than any human ruler, the Buddha rules over the universe. There is also another dimension that should never be neglected - as in any other Indian cult, worship of his image entailed offerings of various kinds, such as flower garlands or jewels, being made to the Buddha. The image of the Bejewelled Buddha thus included various constituents while at the same time it was used as the locus where different religious or political concepts found a way of expression. The result was the creation of an image of multi-layered significance which found its way into all Asian cultures.