M E Warlick (44 results)

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Softcover. Condition: Good with no dust jacket. Sound binding. Underlined passages in one article and small ink mark on contents page. Other pages clean and bright. Wrappers have general handling wear. Contents: Murray, The Hangzhou Portraits of Confucius and Seventy-two Disciples (Sheng xian tu): art in the service of politics. Germer, In search of a beholder: on the relation between art, audiences, and social spheres in post-Thermidor France. Drucker, Harnett, Haberle, and Peto: visuality and artifice among the proto-modern Americans. Gould, Jean Pucelle and northern Gothic art: new evidence from Strasbourg Cathedral. Buettner, Profane illuminations, secular illusions: manuscripts in late medieval coutly society. Hertel, Irony, dream, and kitsch: Max Klinger's Paraphrase of the Finding of a Glove and German modernism. Warlick, Mythic rebirth in Gustav Klimt's Stoclet frieze: new considerations of his Egyptianizing form and content. de Jong, An important patron and an unknown artist: Giovanni Ricci, Ponsio Jacquio, and the decoration of the Palazzo Ricci-Sacchetti in Rome. Cheney, Comment: The date of Francesco Salviati's French journey. Reviews. ; 11.5" tall; 178 pages.

Paperback. Condition: New. Surrealist artist Max Ernst defined collage as the "alchemy of the visual image." Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career.A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst's work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites. This pioneering research adds an essential key to understanding the multilayered complexity of Ernst's works, as it affirms his standing as one of Germany's most significant artists of the twentieth century.

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Paperback or Softback. Condition: New. Max Ernst and Alchemy: A Magician in Search of Myth. Book.

Paperback. Condition: new. Paperback. Surrealist artist Marx Ernst defined collage as the "alchemy of the visual image". Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, the author persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of th elate 19th and early 20th centuries, and the author sets Ernst's work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work images in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites.This pioneering research adds an essential key to understanding the multilayered complexity of Ernst's works, as if affirms his standing as one of Germany's most significant artists of the 20th century. Surrealist artist Max Ernst defined collage as the 'alchemy of the visual image'. This book demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. It helps you understand a multilayered complexity of Ernst's works. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Condition: New. Surrealist artist Max Ernst defined collage as the 'alchemy of the visual image'. This book demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. It helps you understand a multilayered complexity of Ernst's works. Series: The Surrealist Revolution Series. Num Pages: 335 pages, 73 b&w illus. BIC Classification: 3JJ; ACXD7; AGB; HRQX2. Category: (P) Professional & Vocational. Dimension: 155 x 230 x 18. Weight in Grams: 484. . 2001. Paperback. . . . .

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Soft cover. Condition: New. No Jacket. 1st Edition. First edition stated 2001, first printing, Published by University of Texas Press. Trade softcover without DJ as issued. Condition new, square tight and clean book, no edgewear, sharp corners, spine not creased, no names, no underlinings, no highlights, no bent page corners, not a reminder. 8vo, XXIV + 309 pages.

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Condition: New. Surrealist artist Max Ernst defined collage as the 'alchemy of the visual image'. This book demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. It helps you understand a multilayered complexity of Ernst's works. Series: The Surrealist Revolution Series. Num Pages: 335 pages, 73 b&w illus. BIC Classification: 3JJ; ACXD7; AGB; HRQX2. Category: (P) Professional & Vocational. Dimension: 155 x 230 x 18. Weight in Grams: 484. . 2001. Paperback. . . . . Books ship from the US and Ireland.

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Hardcover. Condition: new. Hardcover. A sweeping panorama of images of women in alchemical manuscripts, early printed books, prints and paintingsThe images of women compiled in this pioneering volume evolved from alchemical philosophy, in which gendered and sexualized concepts are used to describe physical matter and laboratory processes. When alchemical imagery arose in the late Middle Ages, and over the next three centuries, images of women developed in ways that reflected wider social pressures. Building on scholarly studies of the increasing exclusion of women from public arenas in the early modern period, The Alchemical Feminine examines the transformations of alchemical images of women and the increasing masculinization of earlier feminine imagery.When alchemy returned to the Latin West, metals were thought to be composed of hot, dry, fixed Philosophic Sulphur and cool, moist, volatile Philosophic Mercury. In the laboratory, these lovers fused in a "Chemical Wedding" that produced their child, the "Philosophers' Stone," a mysterious catalyst enabling the transformation of base metals into silver and gold. As alchemical imagery developed, women appeared as ancient philosophers, religious figures, royal queens, sexual partners, cosmological personifications, deities, allegorical symbols of Nature and the wives of fools. Herbal alchemy also had ancient roots and it is in this realm that women as alchemical practitioners can be found. Using abundant illustrations, this book examines the alchemical feminine and the thematic diversity of alchemical images of women. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New. Taking a wholly different perspective on Max Ernst and alchemy, the author persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career.

A sweeping panorama of images of women in alchemical manuscripts, early printed books, prints and paintings The images of women compiled in this pioneering volume evolved from alchemical philosophy, in which gendered and sexualized concepts are used to describe physical matter and laboratory processes. When alchemical imagery arose in the late Middle Ages, and over the next three centuries, images of women developed in ways that reflected wider social pressures. Building on scholarly studies of the increasing exclusion of women from public arenas in the early modern period, The Alchemical Feminine examines the transformations of alchemical images of women and the increasing masculinization of earlier feminine imagery. When alchemy returned to the Latin West, metals were thought to be composed of hot, dry, fixed Philosophic Sulphur and cool, moist, volatile Philosophic Mercury. In the laboratory, these lovers fused in a "Chemical Wedding" that produced their child, the "Philosophers' Stone," a mysterious catalyst enabling the transformation of base metals into silver and gold. As alchemical imagery developed, women appeared as ancient philosophers, religious figures, royal queens, sexual partners, cosmological personifications, deities, allegorical symbols of Nature and the wives of fools. Herbal alchemy also had ancient roots and it is in this realm that women as alchemical practitioners can be found. Using abundant illustrations, this book examines the alchemical feminine and the thematic diversity of alchemical images of women.

Paperback. Condition: new. Paperback. Surrealist artist Marx Ernst defined collage as the "alchemy of the visual image". Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, the author persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of th elate 19th and early 20th centuries, and the author sets Ernst's work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work images in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites.This pioneering research adds an essential key to understanding the multilayered complexity of Ernst's works, as if affirms his standing as one of Germany's most significant artists of the 20th century. Surrealist artist Max Ernst defined collage as the 'alchemy of the visual image'. This book demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. It helps you understand a multilayered complexity of Ernst's works. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.