Hedin Thomas (93 results)

Paperback. Condition: Very Good. Fall/Winter 2009 issue of the Great River Review, centered around Yannis Ritsos. Contributions from Robert Bly, Jean Valentine, Thomas McGrath, and many more. Spine is uncreased, binding tight and sturdy. Light shelfwear to wraps. Interior is free of markings. Ships same or next day from Dinkytown, Minneapolis, Minnesota.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good-. Back cover of DJ has some light damage. ; 250 pages.

hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First Edition. Lightly read if read at all. No markings in book. Binding is fine. Scuffed DJ. This book cannot be shipped internationally without first contacting me prior to ordering.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. University of Missouri Press, Colombia, MO, 1983. Hardcover, 250 pp. Study of the pair of brothers who are best known for their work on the fountains of Versailles palace. Near fine. Jacket is lightly rubbed. Now in a new mylar sleeve.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:0826203957.

Hardbound. Condition: VG/VG new copy. Pea-green cloth boards with BW pictorial DJ, [10] 250pp, profuse BW illustrations. Comprehensive monograph on the Marsy workshop. A great value to art historians and to anyoneinterested in sculpture or seventeenth-century French culture.

1983 Hedin, Thomas THE SCULPTURE OF GASPARD AND BALTHAZARD MARSY Columbia: University of Missouri Press, c1983 250pp, index, bibliography, black and white photographs sm 4to As new unread hardcover in as new d/j.

Cloth. Condition: Near Fine. Dust Jacket Condition: Near Fine. Gaspard Marsy; Balthazar Marsy (sculptures) (illustrator). First U.S. Edition. [4], 250pp w appendices, bibliography and index. bw photos, figures and repros. Textured grey endpapers. Grey cloth w figure to front cover, fine lettering to spine. No edgewear, small bumping to corners. Binding square and sound. Photo illustrated DJ is clean and without edgewear. Quarto: 287 x 220mm.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. Black and white illustrations throughout. First edition. About fine in like dust jacket.

Hardcover. Condition: Fine. A clean fine copy. Issued without a dust wrapper.

Hardcover. Condition: As new. Square Quarto. Hardcover. Printed paper boards. No jacket, as issued. Illustrated end papers. 227 pages : color illustrations, color portraits ; 27 cm. "Denmark in the nineteenth century experienced the disastrous fallout of the Napoleonic Wars, the devastating bombardment of Copenhagen, bankruptcy, and mounting antagonism with Germany. Yet, this sociopolitical and economic tumult also gave rise to a vibrant cultural and philosophical environment for nineteenth-century Danish artists. Beyond the Light places the drawings, oil sketches, and paintings created by these artists firmly in this period, one that witnessed the transformation of a once-powerful Denmark into a small, somewhat marginalized country at the edge of Europe. Danish artists forged a close-knit community during this time, and the artworks they created explore notions of place, identity and belonging, and what it means to travel and return home. The exhibition features approximately 100 works from The Met collection, SMK - The National Gallery of Denmark, and several American collections, and highlights such artists as Christoffer Wilhelm Eckersberg, Christen Kĝbke, Constantin Hansen, Martinus Rĝrbye, and Vilhelm Hammershĝi as well as lesser-known figures like Anton Melbye, Johan Thomas Lundbye, Peter Christian Skovgaard, and Heinrich Gustav Ferdinand Holm, among others. Five thematic essays by leading scholars in Denmark and the United States explore the way Danish artists manifested the pride, traditions, and anxieties of their nation; the sea's ever-changing role as a marker of Danish identity; the evolving nature of portraiture; nostalgia for the Danish landscape and folk traditions; and the influence on Danish artists of their travels throughout Europe." -- Metropolitan Museum of Art.

Condition: New. In.

gebundene Ausgabe. Condition: Gut. 171 Seiten; Das Buch befindet sich in einem gut erhaltenen Zustand. Originalschutzumschlag vorhanden.In ENGLISCHER Sprache. Sprache: Englisch Gewicht in Gramm: 450.

Hardcover. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

29 x 22 cm. Condition: Gut. 250 Seiten ; With many Illustrations Original Cloth binding with gilt back in very good condition, inside and outside, dust jacket rubbed. In Englisch. Please note our pictures PG-7 Sprache: Englisch Gewicht in Gramm: 1300.

First 4to, cloth. viii+250 pp, 170 b/w illustrations, bibliography, index. 0826203957 Fine in dj.

Condition: New. In.

Condition: New. In.

Hardcover. Condition: As New. 4to, hardcover. About fine condition, incl dj. 250 pp. Over 100 illus.

Condition: New.

1st edn. Tall 8vo. Original pictorial boards (Fine). Pp. xxi + 190, illus with b&w plates (no inscriptions).

Condition: New.

Hardback. Condition: New. One of the functions of Louis XIV's Versailles was to provide a setting for the receptions of ambassadors, heads of state, and other visiting dignitaries who conducted diplomatic and political business with France. These activities became particularly important after Versailles was proclaimed the new seat of the monarchy and government in 1682. Diplomatic Tours in the Gardens of Versailles Under Louis XIV is the first book to examine how the vast gardens of Versailles were used for these diplomatic receptions during the reign of the Sun King (1661-1715). The gardens were the final mise en scÈne of an elaborate ritual, which included the housing of the foreigners in Paris, their journey to Versailles, and their official audience with the king in the palace. A showcase for the achievements of royal artists, landscape architects, and hydraulic engineers, the gardens were soon regarded as one of the wonders of the modern world, proclaiming the wealth, power, and artistic taste of France and the French monarchy. The diplomatic tours were programmed every step of the way, with trained guides leading their guests on prescribed itineraries. Beginning in 1689, the king himself drafted a series of comprehensive itineraries, collectively called the ManiÈre de montrer les jardins de Versailles, for the use of his guides (a newly discovered version of the ManiÈre appears for the first time in this book). These itineraries changed over the years in concert with modifications and additions to the gardens, attesting to a constant search for an ideal itinerary-a subtheme of Diplomatic Tours.

Hardcover. Condition: Brand New. 224 pages. 10.25x9.25x1.00 inches. In Stock.

Condition: New.

Hardcover. Condition: new. Hardcover. Ovid tells the story of Latona, the mother by Jupiter of Apollo and Diana. In her flight from the jealous Juno, she arrives faint and parched on the coast of Asia Minor. Kneeling to sip from a pond, Latona is met by the local peasants, who not only deny her effort but muddy the water in pure malice. Enraged, Latona calls a curse down upon the stingy peasants, turning them to frogs.In his masterful study, Thomas F. Hedin reveals how and why a fountain of this strange legend was installed in the heart of Versailles in the 1660s, the inaugural decade of Louis XIV's patronage there. The natural supply of water was scarce and unwieldy, and it took the genius of the king's hydraulic engineers, working in partnership with the landscape architect Andre Le Notre, to exploit it. If Ovid's peasants were punished for their stubborn denial of water, so too the obstacles of coarse nature at Versailles were conquered; the aquatic iconography of the fountain was equivalent to the aquatic reality of the gardens.Latona was designed by Charles Le Brun, the most powerful artist at the court of Louis XIV, and carried out by Gaspard and Balthazar Marsy. The 1660s were rich in artistic theory in France, and the artists of the fountain delivered substantial lectures at the Academie royale de peinture et de sculpture on subjects of central concern to their current work. What they professed was what they were visualizing in the gardens. As such, the fountain is an insider's guide to the leading artistic ideals of the moment.Louis XIV was viewed as the reincarnation of Apollo, the god of creativity, the inspiration of artists and scientists. Hedin's original argument is that Latona was a double declaration: a glorification of the king and a proud manifesto by artists. "In a many-sided examination of the artistic, cultural, and political worlds of Louis XIV, Thomas F. Hedin masterfully reveals how and why an elaborate fountain depicting the origin of frogs came to be the centerpiece of the gardens of Versailles"-- Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condition: New. Ovid tells the story of Latona, the mother by Jupiter of Apollo and Diana. In her flight from the jealous Juno, she arrives faint and parched on the coast of Asia Minor. Kneeling to sip from a pond, Latona is met by the local peasants, who not only deny her effort but muddy the water in pure malice. Enraged, Latona calls a curse down upon the stingy peasants, turning them to frogs. In his masterful study, Thomas F. Hedin reveals how and why a fountain of this strange legend was installed in the heart of Versailles in the 1660s, the inaugural decade of Louis XIV's patronage there. The natural supply of water was scarce and unwieldy, and it took the genius of the king's hydraulic engineers, working in partnership with the landscape architect André Le Nôtre, to exploit it. If Ovid's peasants were punished for their stubborn denial of water, so too the obstacles of coarse nature at Versailles were conquered; the aquatic iconography of the fountain was equivalent to the aquatic reality of the gardens. Latona was designed by Charles Le Brun, the most powerful artist at the court of Louis XIV, and carried out by Gaspard and Balthazar Marsy. The 1660s were rich in artistic theory in France, and the artists of the fountain delivered substantial lectures at the Académie royale de peinture et de sculpture on subjects of central concern to their current work. What they professed was what they were visualizing in the gardens. As such, the fountain is an insider's guide to the leading artistic ideals of the moment. Louis XIV was viewed as the reincarnation of Apollo, the god of creativity, the inspiration of artists and scientists. Hedin's original argument is that Latona was a double declaration: a glorification of the king and a proud manifesto by artists.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.