1991, ISBN: 9780262011228

London, Paris and New York: Cassell, Petter, Galpin & Co Beautifully Illustrated Travel Volume. This Volume covers; Normandy & Brittany, The Italian Lakes, The Passes of the Alps,… More...

London, Paris and New York: Cassell, Petter, Galpin & Co Beautifully Illustrated Travel Volume. This Volume covers; Normandy & Brittany, The Italian Lakes, The Passes of the Alps, The Cornice Road, The Forest of Fontainbleau and The Rhine. Frontispiece illustrated with "Old Houses, Strasburg". Illustrated Title Page. 8 Full Page Steel Engraved Plates printed on one side of thick paper (including frontis plate and Ornamental Title Page). Also many other Full-Page and in-Text Engraved illustrations. Artists include Birket Foster & L. J. Wood. Highly informative Text on the Architectural and Natural Beauty of Europe. Contemporary Crimson Textured Cloth covered Boards. Bright Gilt Central illustration of Old Houses with Gilt Title above and below and Gilt Decorative border, on front. Decorative Gilt Lettering to spine. Beveled Edges. All Page edges bright Gilt. 13" Tall, 144 Pages, 2 Kilos. Slight edge wear. A little fading to cloth colour at top & bottom (see photos). No inscriptions except old penciled price on back of frontis. Pages & plates in very good, clean condition. Book, weighs 2 Kilos so Shipping outsifde UK will be extra. Please ask if you would like any more pictures, information or a Shipping quote. Size: Folio - over 12" - 15" tall. Decorative Cloth. Near Very Good/No Jacket. Illus. by Birkett Foster & Wood L.J and Others. Book., Cassell, Petter, Galpin & Co, 3, Cambridge, MA: MIT Press, 1991 Book. Fine. Hardcover. First Edition / 1st Printing. Quarto. xxvii, 561 pp, preface, Xenion: A Bread and Butter Letter by Kathleen Weil-Garris Brandt and Richard Krautheimer; Selected bibliography by James S. Achrman; I. Historical and Critial Theory; 1. Style; 2. Transaction in Architectural Design; 3. Interpretation, Response: Toward a Theory of Art Criticism. II. Art and Science: 4. Alberti's Light; 5. Leonardo's Eye; 6. On Early Renaissance Color Thiroy and Practice; 7. Early Renaissance "Naturalism" and Scientific Illustration. III. Renaissance Architecture: 8. "Ars Sine Scientia Nihil Est": Gothic Theory of Architecture at the Cathedral of Milan; 9. The Certosa of Pavia and the Renaissance Villa; 11. the Belvedere as a Classical Villa; 12. Architectural Practice in the Italian Renaissance; 13. The Capitoline Hill; 14. The Gesu in the Light of Contemporary Church Design; 15. The Geopolitics of Venetan Architecture in the Time of Titian; 16. The Tuscan/Rustic Order: A Study in the Metaphorical Language of Architecture; photogaph credits, index of names with b&w illustrations throughout. First Edition, 1991. "These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance' architecture." Not Price Clipped. Pristine, no wear. Clean, tight and strong binding with no underlining, highlighting or marginalia. Grey cloth with gilt lettering to spine.., MIT Press, 1991, 5<

1991, ISBN: 9780262011228

[PU: Cambrige ; London : MIT Press], XXVII, 561 p., ill. Original cloth with dust jacket. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal … More...

[PU: Cambrige ; London : MIT Press], XXVII, 561 p., ill. Original cloth with dust jacket. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Slightly gaping binding, minimal staining on bottom edge, otherwise very good and clean. / Leicht klaffender Einband, minimale Anschmutzung auf Fußschnitt, sonst sehr gut und sauber. - These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture. They characterize the broad scope of James Ackerman's contribution as well as its depth in sixteenth-century studies. The largest group of essays, dealing with the character and history of Renaissance architecture, are models of art historical scholarship in their direct approach to the essentials of a building, the problems faced by the architect, and the social and intellectual context in which these should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory, redefining the transactions between the seer and the seen that are at the core of pictorial representation in the Renaissance. The three essays that begin this collection, writings on art theory, criticism, and methods of art history, bring to light the intellectual and moral concerns—the search for ways to judge art without absolutes—that underlie all of Ackerman's art historical work. - James S. Ackerman was Professor of Fine Arts at Harvard University from 1961 to 1983 when he was named Arthur Kingsley Porter Professor of Fine Arts, a chair he held until his retirement in 1990. ISBN 978026, DE, [SC: 5.00], gebraucht; sehr gut, gewerbliches Angebot, [GW: 1665g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<

1991, ISBN: 0262011220

[EAN: 9780262011228], Gebraucht, guter Zustand, [PU: Cambrige ; London : MIT Press], Jacket, XXVII, 561 p., ill. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the… More...

[EAN: 9780262011228], Gebraucht, guter Zustand, [PU: Cambrige ; London : MIT Press], Jacket, XXVII, 561 p., ill. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Slightly gaping binding, minimal staining on bottom edge, otherwise very good and clean. / Leicht klaffender Einband, minimale Anschmutzung auf Fußschnitt, sonst sehr gut und sauber. - These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture. They characterize the broad scope of James Ackerman's contribution as well as its depth in sixteenth-century studies. The largest group of essays, dealing with the character and history of Renaissance architecture, are models of art historical scholarship in their direct approach to the essentials of a building, the problems faced by the architect, and the social and intellectual context in which these should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory, redefining the transactions between the seer and the seen that are at the core of pictorial representation in the Renaissance. The three essays that begin this collection, writings on art theory, criticism, and methods of art history, bring to light the intellectual and moral concerns—the search for ways to judge art without absolutes—that underlie all of Ackerman's art historical work. - James S. Ackerman was Professor of Fine Arts at Harvard University from 1961 to 1983 when he was named Arthur Kingsley Porter Professor of Fine Arts, a chair he held until his retirement in 1990. ISBN 9780262011228 Sprache: Englisch Gewicht in Gramm: 1665 Original cloth with dust jacket., Books<

1991, ISBN: 9780262011228

XXVII, 561 p., ill. Original cloth with dust jacket. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - … More...

XXVII, 561 p., ill. Original cloth with dust jacket. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Slightly gaping binding, minimal staining on bottom edge, otherwise very good and clean. / Leicht klaffender Einband, minimale Anschmutzung auf Fußschnitt, sonst sehr gut und sauber. - These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture. They characterize the broad scope of James Ackerman's contribution as well as its depth in sixteenth-century studies. The largest group of essays, dealing with the character and history of Renaissance architecture, are models of art historical scholarship in their direct approach to the essentials of a building, the problems faced by the architect, and the social and intellectual context in which these should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory, redefining the transactions between the seer and the seen that are at the core of pictorial representation in the Renaissance. The three essays that begin this collection, writings on art theory, criticism, and methods of art history, bring to light the intellectual and moral concernsthe search for ways to judge art without absolutesthat underlie all of Ackerman's art historical work. - James S. Ackerman was Professor of Fine Arts at Harvard University from 1961 to 1983 when he was named Arthur Kingsley Porter Professor of Fine Arts, a chair he held until his retirement in 1990. ISBN 9780262011228 Versand D: 5,50 EUR, [PU:Cambrige ; London : MIT Press,]<