Anabelle Kienle Ponka (44 results)

Condition: New. 2019. Bilingual Edition: English & French. Hardcover. In publisher's shrinkwrap. New.

Hardcover. Condition: Fine. 1st. Pictorial boards, 101 pages, illustrations (chiefly colour); 26 x 31 cm. Text in English and French. Published in conjunction with the exhibition at National Gallery of Canada, Ottawa, 30 October 2015 to 15 February 2016. Firm binding, clean inside copy. OVERSIZE! Additional shipping charges may be requested for international & priority orders. Richly illustrated with colour plates. *** "This beautifully illustrated catalogue explores Claude Monet's experiments with the motif of the bridge between 1872 and 1875, in the aftermath of the Franco-Prussian War. After moving to Argenteuil, a suburban town on the outskirts of Paris, the artist (1840-1926) was inspired to paint the local highway bridge located near his house on the banks of the Seine. Le Pont de Bois (1872) depicts the bridge under repair following the destruction wrought by the war, and as such is a tribute to France's return to order. A composition of startling modernity, the painting also became a starting point for further explorations of this theme. Focusing on twelve major paintings by the artist, this book examines how Monet used the motif of the bridge as a laboratory for his innovative ideas, in his desire to establish himself as a leader of the avant-garde. it also looks at the Impressionists' artistic response in the aftermath of the Franco-Prussian War and the way in which photographers and painters highlighted the remarkable range of brides in Paris." - Publisher. *** CONTENTS: Foreword; Acknowledgements; Lenders to the exhibition; Towards the modern landscape: Monet's Le pont de bois in context, by Annabelle Kienle Ponka; Reconstruction and reassurance in paintings: representing the aftermath of the Franco-Prussian War, by Richard Thomson; "Great works of human industry": imagining the bridges of Paris, 1852-75, by Simon Kelly; Chronology, by Kirsten Appleyard; Exhibition checklist. Size: Oblong.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Hardcover. Condition: Very Good. VG condition book without dust jacket. Boards are clean with little wear. Book has clean and bright contents.

Condition: New.

Paperback. Condition: new. Paperback. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 18761919) and Arthur Lismer (Canadian, 18851969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the ports activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port anime et une ville ravagee par l'explosion d'Halifax. Deux perspectives dHalifax un an apres l'explosion.En juin 1918, lartiste Arthur Lismer (18851969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend a Halifax pour documenter leffort de guerre sur le front canadien et representer le port de cette ville a la suite de lexplosion dorigine humaine la plus meurtriere a survenir avant lapparition des armes nucleaires.De son cote Harold Gilman (18761919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoye au Canada, est charge par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais dAnabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port dHalifax 1918 retracent l'approche meticuleuse des artistes a leur mission, les defis de travailler au lendemain de la tragedie et leur role au cours d'une moment dans l'histoire de la peinture de paysage canadienne. Catalog for the exhibition held at the National Gallery of Canada, Ottawa, October 12, 2018-March 17, 2019; and the Art Gallery of Nova Scotia, Halifax, April 12-September 2, 2019. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port's activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists' meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d'Halifax un an après l'explosion.En juin 1918, l'artiste Arthur Lismer (1885-1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l'effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l'explosion d'origine humaine la plus meurtrière à survenir avant l'apparition des armes nucléaires.De son côté Harold Gilman (1876-1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d'Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d'Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Softcover. Condition: Fine. Stiff unmarked book in crisp covers with flaps; about new. ; 8.8 X 0.8 X 10 inches; 124 pages.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condition: Brand New. bilingual edition. 101 pages. French language. 12.00x16.00x0.50 inches. In Stock.

Soft cover. Condition: New. Condition: Brand New. Still wrapped in plastic. International shipping will be extra. Thank you!

Condition: New. In English.

Condition: New.

Softcover. Condition: VG. Color-illustrated wraps with white lettering; French flaps. 124 pp. 28 color plates with 1 fold-out + many BW and color figures. Parallel text in English and French. Catalogue of an exhition held October 12, 2018-March 17, 2019 and in Halifax from April 12-September 2, 2019.

Condition: New.

Condition: As New. Unread book in perfect condition.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days. 635.

Condition: New.

Condition: New.

Soft cover. Condition: Fine. 1st Edition. pictorial paper covers, 124 pages : illustrations (some color. Catalogue of an exhibition held at the National Gallery of Canada, Ottawa, Ontario and at the Art Gallery of Nova Scotia, Halifax, Nova Scotia,Co-published by: National Gallery of Canada, Parallel texts in English and French. A year after the city was devastated by the Halifax Explosion, Harold Gilman (British, 1876-1919) and Arthur Lismer (Canadian, 1885-1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion. With the effects of the explosion still clearly visible, Gilman and Lismer turned their attention to the bustling harbour.

Condition: As New. Unread book in perfect condition.

Condition: new. Livraison rapide, bien emballé, service client soigné.Pour tout renseignement complémentaire, n'hésitez pas à nous contacter.

Soft cover. Condition: New. New, still in shrink wrap. 10" x 9". 124 pp. Book that accompanied the exhibition. 28 colour plates plus other images. English/French text.

Condition: Very Good. No Jacket.

Condition: Fine. Leichte Risse. Die Studie bietet erstmals eine zusammenfassende Darstellung der letzten drei Lebensjahre, 1947 bis 1950, die Max Beckmann - nach acht entbehrungsreichen Jahren im Amsterdamer Exil - in den USA verbrachte. Obwohl der Wechsel von Europa nach Amerika einem freien Entschluss folgte, werden die amerikanischen Jahre bislang der Exilzeit zugerechnet. Tatsachlich strebte Beckmann, der sich zeitlebens als Weltburger verstand, mit der Emigration eine Neuorientierung als Mensch und Kunstler an. Auf der Basis zahlreicher unveroffentlichter Primarquellen zeichnet die Autorin die Vorgeschichte der Emigration nach, die Presseresonanz auf erste Ausstellungen, die Aktivitaten seiner Galeristen J. B. Neumann und Curt Valentin in New York, das im Laufe der Jahre zunehmende Interesse an seinem Werk bei Personen und Institutionen sowie das intellektuelle Umfeld in St. Louis und New York. Vergleichende Bildanalysen werfen ein neues Licht auf das amerikanische Oeuvre, das bisher im Schatten des komplexen, symbolbehafteten Amsterdamer Werkes stand.

Paperback. Condition: Brand New. bilingual edition. 144 pages. 9.75x9.00x0.50 inches. In Stock.