2019, ISBN: 9788531000706
Livro de bolso
Paris / Geneve: La Palatine, 1968. 178 pages.. Couverture Rigide. Tres Bon/Tres Bon. 14 Cm X 20 Cm., La Palatine, 1968, 3, South Windsor, CT: Inspiration House. Fine with no dust jacket. 1968. Decorated Cloth. Fine. No Jacket 8vo-over 7¾"-9¾" tall. Signed by Author and Illustrator SIGNED BY AUTHOR AND ILLUSTRATOR ON TITLE PAGE. ; Bete Eaton Bossen Illustrator ., Inspiration House, 1968, 5, POL, 2006. Soft cover. Very Good. Texte Francais, Couverture Souple. État D'usage: Bon État. (French Edition) «Un Singe Qui Entre Clandestinement Dans Une Maison De Retraite (Cela S'est Vu, J'en Atteste), Des Vieux Qui S'attachent, Des Forces De Police Incapables De Récupérer La Bête, Le Scandale Public, Les Familles Mécontentes, Et Le Parfum De La Joie Qui Monte Avec Celui Du Sang. Et Le Désir, Et L'amour, Intacts, Au Bord Même De La Mort. Qu'est Donc Rhésus ? Chimpanzé Ou Bonobo ? Animal Politique Ou Homme Dénaturé ? Combattant Ou Baiseur ? Résistant Ou Passeur ? Dans L'iliade, Il Apparaît Sous Les Traits Du Sauveur Promis À Troie, Il Est Ce Roi Guerrier Mort Trop Tôt Pour Combattre : Une Ruse D'ulysse De Plus. Même Là, Aux Origines De Tout, Il Est Passé Presque Inaperçu. Saura-T-On Cette Fois Le Reconnaître ?», POL, 2006, 3, Paris: Albin Michel, 1951. Broché. Bon état. in-12. 252 pp. Collection "Scènes de la vie des bêtes". Exemplaire non coupé. Couverture défraîchie. Petites déchirures sur les coiffes., Albin Michel, 1951, 2.5, PARIS: BRISSONNEAU, 2009. ESTIMATIONS, BRISSONNEAU, 2009, 0, 1939. relié. D'OccasionBonétat. Payot, Paris, 1939. Grand In/8, 258 pages, reliure demi-toile granitée bleue, dos lisse à titre doré, couverture conservée. Eléphant, rhinocéros, hippopotame, buffle, zèbre, canna, antilopes, lion, léopard, lynx, hyène, chacal, serval, civette, genette, mangouste, porc-épic, fourmillier, loutre, fourmilion, singes, crocodiles, serpents. L’auteur a désiré donner aux chasseurs de son époque le moyen de passer de “délicieuses et fort instructives vacances dans une partie de l’Afrique peu connue des chasseurs”... en donnant “quelques renseignements sur la chasse des plus grandes espèces...”. Mouchon 1194., 1939, 0, 1890. relié. Bon étatDeCollection. H. Launette et cie éditeurs, Paris, s.d. (vers 1890). Petit in-4 (28 x 21 cm) reliure Engel en percaline rouge illustrée, illustrations de G. Fraipont : beaux encadrements de texte différents à chaque page (gravure traditionnelle entourée de motifs floraux et branchage de style japonisants. Quelques tache claires sur le cartonnage, mais très bon état par ailleurs. Le chien, le chat, le singe, le porc, le lion, l'ane, l'autruche..., 1890, 2.5, Sao Paulo: MASP, Museu de Arte de São Paulo, April 4th - July 7th, 2019. 29 cm. Texts by: Adriano Pedroso [et_al] 360 pages color frontis, b/w and color plates, ports., facs., cat., bibliographic references (p.346-348), endpapers, color pict. boards [PRE-ORDER] The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila’s palette (which served as inspiration for the colors of the exhibition design) is also popular: “pure blue, violaceous rose, bright yellow, singing green.” Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist’s international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women’s Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th. CONTENTS: Tarsila at MASP -- Popular Tarsila / Adriano Pedrosa -- Plasticity and reproduction: Tarsila do Amaral's A Negra / Irene V. Small -- Both Paulista and Parisian: Racial thinking in A negra / Maria Castro -- Other black women / Renata Bittencourt -- Tarsila do Amaral: Direct descendant of Bras Cubas / Amanda Carneiro -- In Tarsila's Cave: The survival f the Primitive as a Presence of the Noncolonial / Michele Bete Petry -- The two and the only Tarsila / Paulo Herkenhoff -- For french eyes: Tarsila do Amaral's Brazilian Landscape / Michele Greet -- Tracing São Paulo in Tarsila's Pau-Brasil / Mari Rodriguez Binnie -- Tarsila do Amaral: The substitution of Aesthetic Imports / Sergio Miceli -- Reproductions of works -- Tarsila's Travel Album -- Exhibition checklist -- Exhibition history -- Selected bibliography. , MASP, Museu de Arte de São Paulo, 0
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2019, ISBN: 9788531000706
Sao Paulo: MASP, Museu de Arte de São Paulo, April 4th - July 7th, 2019. 29 cm. Texts by: Adriano Pedroso [et_al] 360 pages color frontis, b/w and color plates, ports., facs., cat., bibliographic references (p.346-348), endpapers, color pict. boards [PRE-ORDER] The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila’s palette (which served as inspiration for the colors of the exhibition design) is also popular: “pure blue, violaceous rose, bright yellow, singing green.” Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist’s international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women’s Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th. CONTENTS: Tarsila at MASP -- Popular Tarsila / Adriano Pedrosa -- Plasticity and reproduction: Tarsila do Amaral's A Negra / Irene V. Small -- Both Paulista and Parisian: Racial thinking in A negra / Maria Castro -- Other black women / Renata Bittencourt -- Tarsila do Amaral: Direct descendant of Bras Cubas / Amanda Carneiro -- In Tarsila's Cave: The survival f the Primitive as a Presence of the Noncolonial / Michele Bete Petry -- The two and the only Tarsila / Paulo Herkenhoff -- For french eyes: Tarsila do Amaral's Brazilian Landscape / Michele Greet -- Tracing São Paulo in Tarsila's Pau-Brasil / Mari Rodriguez Binnie -- Tarsila do Amaral: The substitution of Aesthetic Imports / Sergio Miceli -- Reproductions of works -- Tarsila's Travel Album -- Exhibition checklist -- Exhibition history -- Selected bibliography. , MASP, Museu de Arte de São Paulo, 0
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ISBN: 9788531000706
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe productionFeaturing a tip-on cover images and paper changes throughout, Cannibalizing Modernism is the first comprehensive English-language catalog on the Brazilian painter Tarsila do Amaral (1886–1973), a key figure in Latin American modernism. After studying with Fernand Léger and André Lhote in Paris, Tarsila—as she is widely known in Brazil—cannibalized modern European references to create a unique style, with the use of caipira (rural Brazilian) colors and representations of local characters and scenes. Much of her work was made in dialogue with two leading modernist thinkers of her time, Mário de Andrade and Oswald de Andrade. Her work also parallels the development of Oswald de Andrade''s antropofagia, a key concept in 20th-century Latin American thought, through which intellectuals of the tropics would cannibalize European cultural references, while also bringing indigenous, Afro-Atlantic and local elements into their work. Cannibalizing Modernism reproduces 233 paintings alongside documents and photographs. | Tarsila Do Amaral: Cannibalizing Modernism Hardcover | Indigo Chapters Books > Art & Photography > Artists & Art History > Contemporary Artists P10170, Tarsila Do Amaral
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2019, ISBN: 853100070X
[EAN: 9788531000706], Neubuch, [PU: MASP, Brazil], Language: English. Brand new Book. The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe productionA New York Times critics' pick Best Art Books 2019 Featuring a tip-on cover images and paper changes throughout, Cannibalizing Modernism is the first comprehensive English-language catalog on the Brazilian painter Tarsila do Amaral (1886-1973), a key figure in Latin American modernism. After studying with Fernand Léger and André Lhote in Paris, Tarsila--as she is widely known in Brazil--cannibalized modern European references to create a unique style, with the use of caipira (rural Brazilian) colors and representations of local characters and scenes. Much of her work was made in dialogue with two leading modernist thinkers of her time, Mário de Andrade and Oswald de Andrade. Her work also parallels the development of Oswald de Andrade's antropofagia, a key concept in 20th-century Latin American thought, through which intellectuals of the tropics would cannibalize European cultural references, while also bringing indigenous, Afro-Atlantic and local elements into their work. Cannibalizing Modernism reproduces 233 paintings alongside documents and photographs., Books
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2019, ISBN: 9788531000706
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production A New York Times critics' pick Best Art Books 2019 Featuring a tip-on cover images and paper changes throughout, Cannibalizing Modernism is the first comprehensive English-language catalog on the Brazilian painter Tarsila do Amaral (1886?1973), a key figure in Latin American modernism. After studying with Fernand Léger and André Lhote in Paris, Tarsila?as she is widely known in Brazil?cannibalized modern European references to create a unique style, with the use of caipira (rural Brazilian) colors and representations of local characters and scenes. Much of her work was made in dialogue with two leading modernist thinkers of her time, Mário de Andrade and Oswald de Andrade. Her work also parallels the development of Oswald de Andrade's antropofagia, a key concept in 20th-century Latin American thought, through which intellectuals of the tropics would cannibalize European cultural references, while also bringing indigenous, Afro-Atlantic and local elements into their work. Cannibalizing Modernism reproduces 233 paintings alongside documents and photographs. Books
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2019, ISBN: 9788531000706
Livro de bolso
Paris / Geneve: La Palatine, 1968. 178 pages.. Couverture Rigide. Tres Bon/Tres Bon. 14 Cm X 20 Cm., La Palatine, 1968, 3, South Windsor, CT: Inspiration House. Fine with no dust jacket.… mais…
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Pedroso, Adriano; Fernando Oliva (Ed) Amaral, Tarsila do:
TARSILA DO AMARAL: CANNIBALIZING MODERNISM. - livro usado2019, ISBN: 9788531000706
Sao Paulo: MASP, Museu de Arte de São Paulo, April 4th - July 7th, 2019. 29 cm. Texts by: Adriano Pedroso [et_al] 360 pages color frontis, b/w and color plates, ports., facs., cat… mais…
ISBN: 9788531000706
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe productionFeaturing a tip-on cover images and paper changes throughout, Cannibalizing Modernism… mais…
2019, ISBN: 853100070X
[EAN: 9788531000706], Neubuch, [PU: MASP, Brazil], Language: English. Brand new Book. The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe productio… mais…
2019, ISBN: 9788531000706
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production A New York Times critics' pick Best Art Books 2019 Featuring a tip-on cover imag… mais…
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Dados detalhados do livro - Tarsila Do Amaral: Cannibalizing Modernism Hardcover | Indigo Chapters
EAN (ISBN-13): 9788531000706
ISBN (ISBN-10): 853100070X
Livro de capa dura
Livro de bolso
Ano de publicação: 2019
Editor/Editora: Tarsila Do Amaral
Livro na base de dados desde 2019-11-08T08:44:45-03:00 (Sao Paulo)
Página de detalhes modificada pela última vez em 2022-07-21T11:13:38-03:00 (Sao Paulo)
Número ISBN/EAN: 9788531000706
Número ISBN - Ortografia alternativa:
85-310-0070-X, 978-85-310-0070-6
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