Ehrenzweig (285 results)

Paperback. Condition: Acceptable. Connecting readers with great books since 1972. Used textbooks may not include companion materials such as access codes, etc. May have condition issues including wear and notes/highlighting. We ship orders daily and Customer Service is our top priority.

Condition: acceptable. Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included.

Paperback. Condition: Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Condition: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:9781840222494.

Paperback. Condition: Very Good. Not issued. First Paperback Edition. Stated 1st paperback printing; no later printings indicated. Clean and tight. No markings. Original cover art:"The design on the cover is based on the author's diagram of color serialization. Color interaction is much stronger in the upper section, with squares inside squares than in the lower section, with circles in the squares." Ships in a box. Fast shipping from NYC.…

Mass Market Paperback. Condition: Good +. First Australian Paperback Edition. G+, Wear, creases, spine lean, dealer stamp, browning/NO DUST JACKET. Horwitz #42. "A Factual Account From the German Viewpoint". 178 pages, including the bibliography. Illustrated with photographs & plans. Expanded condition report/scan on request.…

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Trade Paperback. Condition: Good+. 3rd Edition. Cover has some rubbing and light edge wear, text clean. Book.

Paperback. Condition: Good. First Paperback Edition; First Printing. 5.4 X 0.87 X 8.2 inches; 306 pages; B&W illustrations. Light foxing on the exterior edges of textblock. Light fading and shelf rubbing on the covers. Good condition otherwise. No other noteworthy defects. No markings.; - Your satisfaction is our priority. We offer free returns and respond promptly to all inquiries. Your item will be carefully cushioned in bubble wrap and securely boxed. All orders ship on the same or next business day. Buy with confidence.…

Paperback. Condition: Good. Minimal underlining Book shows common (average) signs of wear and use. Binding is still tight. Covers are intact but may be repaired. We have 75,000 books to choose from -- Ship within 24 hours -- Satisfaction Guaranteed.

Softcover. Condition: Very Good+. Edges sooty and stained; contents tight clean and unmarked,; 8.2 X 5.4 X 0.9 inches.

Hardcover. Condition: Very Good. (1954), First Edition, Very Good/Very Good dj, octavo, 254pp., aqua cloth hardcover, light cover soil, price-clipped dj slightly worn around edges but colorful & solid, b&w and color photo ill's throughout, slight foxing mainly on endpapers, binding tight, text unmarked.…

Condition: As New. Unread book in perfect condition.

Condition: New.

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

Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Paperback. Condition: Very Good. Book has light rubbing/aging and faint smudges to covers, light wear to edges and tips of corners. otherwise in great condition, tight binding, clean and unmarked pages; some light cosmetic wear and signs of aging but an overall sturdy, handsome copy.

Hardcover. Condition: New. Dust Jacket Condition: As New. First Edition. PHOTO AND VIDEO OF PAGES TAKEN TO SHOW CONDITION PRIOR TO SHIPPING; Photos of book emailed upon requestPHOTOS EMAILED FOR MORE SPECIFICS WHEN REQUESTED; Book. Book.

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

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

Hardcover. Condition: Very Good. Dust Jacket Condition: Poor to Fair. 188 pp. Original blue cloth covers w/ gilt title on spine. Corners bumped. Light scattered foxing. DJ worn and torn w/ loss of back flap and 1/3 of rear panel. Illust. w/ b/w plates.

Condition: New.

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

Soft cover. Condition: Good. Vintage early edition with the 24 pages of illustrations. No marks in text. Not a library book. Ships today in a cardboard enclosure, from Tim's Used Books, Provincetown USA, buying and selling good books on the same spot since 1991. Shelf LL.

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

Condition: Good. Good condition. Good dust jacket. (Literature, Biography, Mountaineering) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included.…

Paperback. Condition: New. From the Preface: The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument. But fortunately this does not really matter. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion. The other aspects merely add stereoscopic depth to the argument, but not really new substance. May I, then, ask the reader not to be irritated by the obscurity of some of the material, to take out from the book what appeals to him and leave the rest unread? In a way this kind of reading needs what I will call a syncretistic approach. Children can listen breathlessly to a tale of which they understand only little. In the words of William James they take 'flying leaps' over long stretches that elude their understanding and fasten on the few points that appeal to them. They are still able to profit from this incomplete understanding.This ability of understanding- and it is an ability may be due to their syncretistic capacity to comprehend a total structure rather than analysing single elements. Child art too goes for the total structure without bothering about analytic details. I myself seem to have preserved some of this ability. This enables me to read technical books with some profit even if I am not conversant with some of the technical terms. A reader who cannot take 'flying leaps' over portions of technical information which he cannot understand will become of necessity a rather narrow specialist. It is an advantage therefore to retain some of the child's syncretistic ability, in order to escape excessive specialization. This book is certainly not for the man who can digest his information only within a well-defined range of technical terms. A publisher's reader once objected to my lack of focus. What he meant was that the argument had a tendency to jump from high psychological theory to highly practical recipes for art teaching and the like; scientific jargon mixed with mundane everyday language. This kind of treatment may well appear chaotic to an orderly mind. Yet I feel quite unrepentant.I realize that the apparently chaotic and scattered structure of my writing fits the subject matter of this book, which deals with the deceptive chaos in art's vast substructure. There is a 'hidden order' in this chaos which only a properly attuned reader or art lover can grasp. All artistic structure is essentially 'polyphonic'; it evolves not in a single line of thought, but in several superimposed strands at once. Hence creativity requires a diffuse, scattered kind of attention that contradicts our normal logical habits of thinking. Is it too high a claim to say that the polyphonic argument of my book must be read with this creative type of attention? I do not think that a reader who wants to proceed on a single track. …