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Photo-Secession / Robert Doty
Titre : Photo-Secession : Stieglitz and the fine-art movement in photography Type de document : texte imprimé Auteurs : Robert Doty, Auteur ; Beaumont Newhall, Auteur Editeur : New York : Dover Publications, Inc Année de publication : 1978 Importance : 1 vol. (140 p.) Présentation : Ill. en noir et blanc / 91 ill. Format : 20,5 x 27,8 cm Accompagnement : ISBN : 0-486-23588-2 Note générale : Histoire de la photographie. Cet ouvrage présente l’histoire du mouvement américain de la Photo-Sécession initié par Alfred Stieglitz. L’auteur analyse l’évolution de ce mouvement qui révolutionna la photographie américaine, et en étudie les principes ainsi que les rapports qu’il a entretenus avec l’histoire de la photographie et de l’art moderne. Le livre présente une galerie d’images réalisées par différents photographes majeurs de ce mouvement, laquelle a été complétée par un certain nombre de photographies pour cette édition de 1978. La fin du livre présente également un historique des expositions de la galerie 291 de New-York, vitrine incontournable des artistes de la Photo-Secession. Langues : Anglais Mots-clés : Dover Publications, Ink Robert Doty Beaumont Newhall Photographie Histoire de la photographie Photographie moderne Art de la photographie Histoire de l’art Art moderne Art nouveau Photo-Secession Pictorialisme Peinture Photographie pictorialiste Photographie en Amérique Photographe américain Photographie minimaliste Eduard Steichen Frank Eugene David Octavius Hill Julia Margaret Cameron Alfred Stieglitz Robert Demachy Clarence H. White Gertrude Käsebier Alvin Langdon Coburn Paul Strand Robert Adamson Alice Boughton F. Benedict Herzog Annie W. Brigman Joseph T. Keiley Sarah C. Sears George H. Seeley Hugo Henneberg Frederick H. Evans J. Craig Annan Harry C. Rubincam George Davison Theodor Hofmeister Oscar Hofmeister Heinrich Kühn George Bernard Shaw Paul B. Haviland Adolf De Meyer Marius De Zayas Auguste Rodin Henri Matisse Picasso John Martin Gordon Craig Portrait Portrait de groupe Visage Nu Mise en scène Scène de vie Paysage Nature Atmosphère Ville Architecture Bâtiment Rue New-York Chemin de fer Industrialisation Lumière Jeux de lumière Résumé : 4ème de couverture : "In March 1902 an exhibition of photographs by 31 prominent photographers was held at the National Arts Club in New York. Here were landscapes breathing atmosphere and light, mysterious allegorical figure studies, picturesque genre studies and true portraits which put life and character into their subjects. Alfred Stieglitz, who put the show together, entitled it "American Pictorial Photography, arranged by « The Photo-Secession »". It was the first large-scale manifestation of photographs as a fine art seen in New York, and it gave birth to the new revolutionary movement in American photography.
The text and the 91 superb illustrations in this book describe the background, the origin, and the work of the Photo-Secession, and the relation of this extraordinary movement to the history of photography and modern art. For this edition, the section devoted to the work of the Photo-Secessionists has been greatly expanded. The book now contains some of the finest and most famous photographs by such artists as Stieglitz (« The Flatiron-Evening », « The Steerage », « The City of Ambition », etc.), Steichen (his portraits of Rodin, of Rodin’s Balzac, of J. Pierpont Morgan, Esq.), Joseph T. Keiley, George H. Seeley, Clarence H. White (« Winter Landscape », « The Orchard »), Gertrude Käsebier, Frank Eugene (his portrait of Alfred Stieglitz, « Adam and Eve »), J. Craig Annan, Alvin Langdon Coburn (portrait of Bernard Shaw, « Notre Dame », « The Bridge, Venice »), Heinrich Kühn, Adolf De Meyer, Paul Strand (his studies of New York), and many others.
Founded in 1902 by Stieglitz, Photo-Secession exhibited the work of its members throughout the world, published Camera Work (from 1903 to 1917), certainly the most influential artistic periodical of its time, and opened the « 291 » gallery on Fifth Avenue. « 291 » exhibited the work of American and European photographers, painters and sculptors. Robert Doty, formerly on the staff of the George Eastman House, traces the evolution of this group, the importance of Alfred Stieglitz to this movement, and its connections not only to photography, but to the broad stream of art. Stieglitz, Eduard Steichen and the other members of the Photo-Secession accomplished more than a recognition of photography as a distinctive medium of individual and artistic expression. They created a revolution. This book shows you the revolution and explains its meaning and importance.
Expanded (1978) republication of original (1960) edition. 91 illustrations. Foreword by Beaumont Newhall. Bibliography. Exhibition schedule at « 291 ». List of members of the Photo-Secession. (…)"Note de contenu : Foreword (p.3)
Acknowledgments (p.5)
I. Introduction (p.9)
II. The Background (p.11)
III. Stieglitz and American Photography (p.17)
IV. The Photo-Secession (p.28)
V. The Little Galleries (p.38)
VI. The Dresden and Buffalo Exhibitions (p.51)
VII. The New Art (p.58)
Portfolio (p.65)
Notes to the Text (p.134)
Selected Bibliography (p.135)
Exhibition Schedule (p.137)
Members of the Photo-Secession (p.140)Photo-Secession : Stieglitz and the fine-art movement in photography [texte imprimé] / Robert Doty, Auteur ; Beaumont Newhall, Auteur . - New York : Dover Publications, Inc, 1978 . - 1 vol. (140 p.) : Ill. en noir et blanc / 91 ill. ; 20,5 x 27,8 cm + ISBN : 0-486-23588-2.
Histoire de la photographie. Cet ouvrage présente l’histoire du mouvement américain de la Photo-Sécession initié par Alfred Stieglitz. L’auteur analyse l’évolution de ce mouvement qui révolutionna la photographie américaine, et en étudie les principes ainsi que les rapports qu’il a entretenus avec l’histoire de la photographie et de l’art moderne. Le livre présente une galerie d’images réalisées par différents photographes majeurs de ce mouvement, laquelle a été complétée par un certain nombre de photographies pour cette édition de 1978. La fin du livre présente également un historique des expositions de la galerie 291 de New-York, vitrine incontournable des artistes de la Photo-Secession.
Langues : Anglais
Mots-clés : Dover Publications, Ink Robert Doty Beaumont Newhall Photographie Histoire de la photographie Photographie moderne Art de la photographie Histoire de l’art Art moderne Art nouveau Photo-Secession Pictorialisme Peinture Photographie pictorialiste Photographie en Amérique Photographe américain Photographie minimaliste Eduard Steichen Frank Eugene David Octavius Hill Julia Margaret Cameron Alfred Stieglitz Robert Demachy Clarence H. White Gertrude Käsebier Alvin Langdon Coburn Paul Strand Robert Adamson Alice Boughton F. Benedict Herzog Annie W. Brigman Joseph T. Keiley Sarah C. Sears George H. Seeley Hugo Henneberg Frederick H. Evans J. Craig Annan Harry C. Rubincam George Davison Theodor Hofmeister Oscar Hofmeister Heinrich Kühn George Bernard Shaw Paul B. Haviland Adolf De Meyer Marius De Zayas Auguste Rodin Henri Matisse Picasso John Martin Gordon Craig Portrait Portrait de groupe Visage Nu Mise en scène Scène de vie Paysage Nature Atmosphère Ville Architecture Bâtiment Rue New-York Chemin de fer Industrialisation Lumière Jeux de lumière Résumé : 4ème de couverture : "In March 1902 an exhibition of photographs by 31 prominent photographers was held at the National Arts Club in New York. Here were landscapes breathing atmosphere and light, mysterious allegorical figure studies, picturesque genre studies and true portraits which put life and character into their subjects. Alfred Stieglitz, who put the show together, entitled it "American Pictorial Photography, arranged by « The Photo-Secession »". It was the first large-scale manifestation of photographs as a fine art seen in New York, and it gave birth to the new revolutionary movement in American photography.
The text and the 91 superb illustrations in this book describe the background, the origin, and the work of the Photo-Secession, and the relation of this extraordinary movement to the history of photography and modern art. For this edition, the section devoted to the work of the Photo-Secessionists has been greatly expanded. The book now contains some of the finest and most famous photographs by such artists as Stieglitz (« The Flatiron-Evening », « The Steerage », « The City of Ambition », etc.), Steichen (his portraits of Rodin, of Rodin’s Balzac, of J. Pierpont Morgan, Esq.), Joseph T. Keiley, George H. Seeley, Clarence H. White (« Winter Landscape », « The Orchard »), Gertrude Käsebier, Frank Eugene (his portrait of Alfred Stieglitz, « Adam and Eve »), J. Craig Annan, Alvin Langdon Coburn (portrait of Bernard Shaw, « Notre Dame », « The Bridge, Venice »), Heinrich Kühn, Adolf De Meyer, Paul Strand (his studies of New York), and many others.
Founded in 1902 by Stieglitz, Photo-Secession exhibited the work of its members throughout the world, published Camera Work (from 1903 to 1917), certainly the most influential artistic periodical of its time, and opened the « 291 » gallery on Fifth Avenue. « 291 » exhibited the work of American and European photographers, painters and sculptors. Robert Doty, formerly on the staff of the George Eastman House, traces the evolution of this group, the importance of Alfred Stieglitz to this movement, and its connections not only to photography, but to the broad stream of art. Stieglitz, Eduard Steichen and the other members of the Photo-Secession accomplished more than a recognition of photography as a distinctive medium of individual and artistic expression. They created a revolution. This book shows you the revolution and explains its meaning and importance.
Expanded (1978) republication of original (1960) edition. 91 illustrations. Foreword by Beaumont Newhall. Bibliography. Exhibition schedule at « 291 ». List of members of the Photo-Secession. (…)"Note de contenu : Foreword (p.3)
Acknowledgments (p.5)
I. Introduction (p.9)
II. The Background (p.11)
III. Stieglitz and American Photography (p.17)
IV. The Photo-Secession (p.28)
V. The Little Galleries (p.38)
VI. The Dresden and Buffalo Exhibitions (p.51)
VII. The New Art (p.58)
Portfolio (p.65)
Notes to the Text (p.134)
Selected Bibliography (p.135)
Exhibition Schedule (p.137)
Members of the Photo-Secession (p.140)Réservation
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The Camera Viewed (Writings on Twentieth-century photography) / Peninah R. Petruck
Titre : The Camera Viewed (Writings on Twentieth-century photography) : Volume 1 : Photography Before World War II Type de document : texte imprimé Auteurs : Peninah R. Petruck, Auteur Editeur : New York : E. P. Dutton Année de publication : 1979 Importance : 1 vol. (288 p.) Présentation : Ill. en noir et blanc Format : 15 x 20,8 cm Accompagnement : ISBN : 0-525-47535-4 Note générale : Littérature ; Histoire de la photographie. Cet ouvrage retrace l'histoire de la photographie du 20ème siècle d'avant la Seconde Guerre mondiale. Pour établir cette étude, le livre présente des extraits de documentation historique (tels que des essais) et des témoignages exprimés par des photographes majeurs dont les points de vue sur la photographie sont les plus représentatifs de l’évolution de la vision portée sur cette dernière. Pour compléter ces témoignages originaux, différents écrivains, historiens, artistes viennent apporter leur vision et leur analyse théorique. Langues : Anglais Mots-clés : E. P. Dutton Editions The Camera Viewed Littérature Théorie Photographie Histoire de la photographie Jonathan Green Alfred Stieglitz Georgia O'Keeffe Carl Sandburg Marius De Zayas Paul Strand Calvin Tomkins Edward Weston Andy Grundberg Charles Millard Leslie Katz Robert J. Doherty F. Jack Hurley Jay M. Kloner Carl G. Ryant László Moholy-Nagy Caroline Fawkes John Fraser John Fuller Man Ray Joe Deal Walter Benjamin Gertrude Käsebier Calrence White Edward Steichen Charles Sheeler Walker Evans Jack Delano Russell Lee Eugène Atget Horst Résumé : Couverture : "Divided into two volumes, this anthology is organized to follow a loose chronological reading of twentieth-century photography. The first volume focuses on photography before World War II, the second on more current developments. Each selection is introduced with a brief explanation of its significance and identification of its author. Both volumes contain photographs that highlight the author’s viewpoint.
Criteria for selection of essays and photographs are admittedly arbitrary. Foremost in consideration were quality of thought and expression, historical significance, and value as representative of different attitudes toward and developments of twentieth-century photography. Also favored were the interpretative and theorical rather than technical, biographical, and appreciative commentaries.
The writing on twentieth-century photography is as diverse as the medium itself. Photographers as well as writers known for their ideas on painting, sculpture, film, aesthetics, and culture at large contribute to that diversity. And in writing about photography, they pursue different, often conflicting, themes and approaches. The range covers specific and comparative studies on photographers and types of photography, essays on theory and technique, and personal statements."The Camera Viewed (Writings on Twentieth-century photography) : Volume 1 : Photography Before World War II [texte imprimé] / Peninah R. Petruck, Auteur . - New York : E. P. Dutton, 1979 . - 1 vol. (288 p.) : Ill. en noir et blanc ; 15 x 20,8 cm + ISBN : 0-525-47535-4.
Littérature ; Histoire de la photographie. Cet ouvrage retrace l'histoire de la photographie du 20ème siècle d'avant la Seconde Guerre mondiale. Pour établir cette étude, le livre présente des extraits de documentation historique (tels que des essais) et des témoignages exprimés par des photographes majeurs dont les points de vue sur la photographie sont les plus représentatifs de l’évolution de la vision portée sur cette dernière. Pour compléter ces témoignages originaux, différents écrivains, historiens, artistes viennent apporter leur vision et leur analyse théorique.
Langues : Anglais
Mots-clés : E. P. Dutton Editions The Camera Viewed Littérature Théorie Photographie Histoire de la photographie Jonathan Green Alfred Stieglitz Georgia O'Keeffe Carl Sandburg Marius De Zayas Paul Strand Calvin Tomkins Edward Weston Andy Grundberg Charles Millard Leslie Katz Robert J. Doherty F. Jack Hurley Jay M. Kloner Carl G. Ryant László Moholy-Nagy Caroline Fawkes John Fraser John Fuller Man Ray Joe Deal Walter Benjamin Gertrude Käsebier Calrence White Edward Steichen Charles Sheeler Walker Evans Jack Delano Russell Lee Eugène Atget Horst Résumé : Couverture : "Divided into two volumes, this anthology is organized to follow a loose chronological reading of twentieth-century photography. The first volume focuses on photography before World War II, the second on more current developments. Each selection is introduced with a brief explanation of its significance and identification of its author. Both volumes contain photographs that highlight the author’s viewpoint.
Criteria for selection of essays and photographs are admittedly arbitrary. Foremost in consideration were quality of thought and expression, historical significance, and value as representative of different attitudes toward and developments of twentieth-century photography. Also favored were the interpretative and theorical rather than technical, biographical, and appreciative commentaries.
The writing on twentieth-century photography is as diverse as the medium itself. Photographers as well as writers known for their ideas on painting, sculpture, film, aesthetics, and culture at large contribute to that diversity. And in writing about photography, they pursue different, often conflicting, themes and approaches. The range covers specific and comparative studies on photographers and types of photography, essays on theory and technique, and personal statements."Réservation
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Code-barres Cote Support Localisation Section Disponibilité TH02084 Dépôt CH - PET - Camera View. 1 Livre Centre de documentation du Trinkhall Museum 20 - Artistes Consultation sur place
DisponibleAucun avis, veuillez vous identifier pour ajouter le vôtre !