Author: Venetian school
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Languages : it
Pages : 0
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Portrait de vieillard. Peinture sur toile, cadre doré. M. 0.85 X 0.66
Author: Venetian school
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Portrait d'un vieillard, peinture sur toile, cadre doré; m. 0,48 x 0,71
Author: Venetian school
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Portrait de Femme en demi-figure. Peinture sur toile. Cadre doré. Haut m. 0,87 X 0,66
Author: French school
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Portrait de jeune dame, peinture sur toile, cadre doré; m. 0.72 X 0.58
Author: Genovese school
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Un vieillard, un enfant et des fleurs, peinture sur toile, cadre doré; m. 0,92 x 0,68
Author: Neapolitan school
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Portrait de femme, peinture sur toile, cadre doré; m. 0,28 x 0,23
Author: Adriaen van de Velde
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Portrait de vieillard; splendide peinture à l'huile sur toile d'une touche vigoureuse et d'un grand caractère. Cadre en bois sculpté et doré. (Voir l'illustration Planche VI). Haut., m. 0,60 X 0,45
Author: Sir Peter Paul Rubens
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Deux têtes de vieillard, peinture sur toile, cadre doré; m. 0,82 x 0,48
Author: Venetian school
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Portrait de dame, peinture sur toile, cadre doré; m. 0.74 X 0.55
Author: Camuccini
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The Visible Word
Author: Johanna Drucker
Publisher: University of Chicago Press
ISBN: 0226165027
Category : Art
Languages : en
Pages : 306
Book Description
Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.
Publisher: University of Chicago Press
ISBN: 0226165027
Category : Art
Languages : en
Pages : 306
Book Description
Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.