2013, ISBN: 9780299202804

edizione con copertina flessibile, edizione con copertina rigida

New Haven: Yale University Press; The Phillips Collection; The Parrish Art Museum, 2013. 1st edition. Hardcover. Fine cloth copy in an equally fine dust-wrapper. Particularly and surpris… Altro …

New Haven: Yale University Press; The Phillips Collection; The Parrish Art Museum, 2013. 1st edition. Hardcover. Fine cloth copy in an equally fine dust-wrapper. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new. Physical description; ix, 145 pages: illustrations (chiefly colour); 29 cm. Notes; Catalogue accompanies exhibition held 9 February - 12 May 2013, The Phillips Collection, Washington; 21 July - 27 Ocotber 2013, The Parrish Art Museum, Southampton. Translated from French. Includes bibliographical references. Contents; Angles, demons and savages / Klaus Ottmann -- Pollock, Ossorio, Dubuffet, 1948-1952 / Alicia G. Longwell -- The initiatory paintings of Alfonso Ossorio / Jean Dubuffet; translated from the French by Richard Howard -- Materials and techniques / Elizabeth Steele, Sylvia Albro, Scott Homolka, Chantal Bernicky. Summary; The artistic relationships among Jackson Pollock (1912-1956), Alfonso Ossorio (1916-1990), and Jean Dubuffet (1901-1985) strongly influenced the development of postwar art. Ossorio, the central figure in the trio, was an early champion of Pollock and the close friend of Dubuffet, whose radically anticultural Art Brut collection was prominently displayed at Ossorio's Hamptons estate. Dubuffet's admiration for Ossorio is evident in his 1951 essay on the artist, published here for the first time in English. Angels, Demons, and Savages reveals previously unrecognized technical and thematic affinities in the artists' work, from Dubuffet's ""raw,"" unconventional style to Ossorio's use of Christian iconography and grotesque elements to Pollock's emphasis on medium and gestural force. Complete with two original essays and a conservation study, this groundbreaking catalogue shows how the three artists shaped the aesthetic on both sides of the Atlantic through their exchange of ideas and techniques. Review: ""A comprehensive account of the period when Paris Art transplanted to New York."" -Publishers Weekly. Subjects; Ossorio, Alfonso 1916-1990 - Exhibitions. Pollock, Jackson 1912-1956 - Exhibitions. Dubuffet, Jean 1901-1985 - Exhibitions. Abstract Expressionism. Art styles: c 1960 -. ART / History / Contemporary (1945-). ART / Individual Artists / General. Ossorio, Alfonso - Friends and associates. Pollock, Jackson - Friends and associates. Dubuffet, Jean - Friends and associates., New Haven: Yale University Press; The Phillips Collection; The Parrish Art Museum, 2013, 0, New York, N.Y.: Harper & Row, 1967. First Harper Torchbook edition [stated]. Presumed first printing thus. Trade paperback. Fair. ix, [1], 529, [1], 10 pages. Includes Footnotes, Plates, Maps, and Preface. Name in ink on half-title page. Some wear and creasing to spine, some weakness to front board. Book one contains The Third Crusade, with chapters on The Conscience of the West, Acre, Coeur-de-Lion, and the Second Kingdom. Book two contains Misguided Crusades, with chapters on The Crusade against Christians, The Fifth Crusade, The Emperor Frederick, and Legalized Anarchy; Book three contains The Mongols and the Mameluks, with chapters on The Coming of the Mongols, Saint Louis, The Mongols in Syria, and Sultan Baibars; Book four contains The End of Outremer, with chapters on The Commerce of Outremer, Architecture and the Arts in Outremer, and The Fall of Acre; Book five contains the Epilogue, with chapter 1 on the Last Crusades, and The Summing-Up. Appendix 1 contains principal sources for the History of the Later Crusades; Intellectual Life in Outremer, and Genealogical Trees. There also is a bibliography of Original Sources and Modern Works, along with an index. Sir James Cochran Stevenson Runciman CH FBA (7 July 1903 - 1 November 2000), known as Steven Runciman, was an English historian best known for his three-volume A History of the Crusades (1951-54). His three-volume history has had a profound impact on common conceptions of the Crusades, primarily portraying the Crusaders negatively and the Muslims favorably. Runciman was a strong admirer of the Byzantine Empire, and consequently held a bias against the Crusaders for the Fourth Crusade evident in his work. While praised by older crusade historians as a storyteller and prose stylist, he is viewed as biased by some contemporary historians. For much of his life he was an independent scholar, living on private means. He went on to be a press attache at the British Legation in the Bulgarian capital, Sofia, in 1940 and at the British Embassy in Cairo in 1941. From 1942 to 1945 he was Professor of Byzantine Art and History at Istanbul University, in Turkey, where he began the research on the Crusades which would lead to his best known work, the History of the Crusades. From 1945 to 1947 he was a representative in Athens of the British Council. Most of Runciman's historical works deal with Byzantium and her medieval neighbors between Sicily and Syria. Runciman held sympathies toward the Byzantine Empire and blamed the Crusaders, whom he considered "intolerant barbarians", for causing the downfall of Constantinople in the Fourth Crusade. The author's third and final volume carries the crusade story from the Third Crusade to the fall of the Latin east at the close of the thirteenth century, with an epilogue on the later crusades. Except for the Third and Fourth Crusades, the thirteenth-century expeditions are less well known than those of the eleventh and twelfth centuries. Even less understood are the politics of Latin Syria and Cyprus. As a consequence, this volume, which is the first detailed treatment in English of the Thirteenth-century Orient, will prove immensely valuable. Further, it includes the pertinent developments in farther Asia. There is an excellent discussion of the Mongols, their conquests in Asia, their intrusion into the Levant, and their diplomatic relations with Europe. A History of the Crusades by Steven Runciman, published in three volumes during 1951-1954, is an influential work in the historiography of the Crusades. It has seen numerous reprints and translations and in some respects has come to be seen as a standard work on the topic. Its scope encompasses the ascendancy of Islam in the Levant during the early 7th century through to the fall of the Kingdom of Acre in 1291. The work draws on a wide range of primary sources (in Greek, Latin, Armenian, Arabic). At the time of its initial publication it offered a novel interpretation of the crusades, less as a defensive war of Christendom against the threat of Islamic expansion but as a continuation of the destructive "barbarian invasions" that led to the fall of Rome. Furthermore, Runciman includes the history of the Byzantine Empire in his scope, moving his focus further east and at the same time curbing the "Romantic" view of the crusades as a heroic or chivalrous enterprise. It is undisputed that the work contains genuine scholarship and has been very influential on the generation of scholars educated during the 1950s to 1970s. Bernard Hamilton wrote in 2000: "The first two volumes of Sir Steven's History of the Crusades were published while I was an undergraduate. I read them with avidity [...] I still think that his History is one of the great literary works of English historical writing, which has inspired an interest in and enthusiasm for the crusades in a whole generation.", Harper & Row, 1967, 2, New Haven: Yale University Press; The Phillips Collection; The Parrish Art Museum, 2013. 1st edition. Hardcover. Fine cloth copy in an equally fine dust-wrapper. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new and still in publisher's protective wrapping. Physical description; ix, 145 pages: illustrations (chiefly colour); 29 cm. Notes; Catalogue accompanies exhibition held 9 February - 12 May 2013, The Phillips Collection, Washington; 21 July - 27 Ocotber 2013, The Parrish Art Museum, Southampton. Translated from French. Includes bibliographical references. Contents; Angles, demons and savages / Klaus Ottmann -- Pollock, Ossorio, Dubuffet, 1948-1952 / Alicia G. Longwell -- The initiatory paintings of Alfonso Ossorio / Jean Dubuffet; translated from the French by Richard Howard -- Materials and techniques / Elizabeth Steele, Sylvia Albro, Scott Homolka, Chantal Bernicky. Summary; The artistic relationships among Jackson Pollock (1912-1956), Alfonso Ossorio (1916-1990), and Jean Dubuffet (1901-1985) strongly influenced the development of postwar art. Ossorio, the central figure in the trio, was an early champion of Pollock and the close friend of Dubuffet, whose radically anticultural Art Brut collection was prominently displayed at Ossorio's Hamptons estate. Dubuffet's admiration for Ossorio is evident in his 1951 essay on the artist, published here for the first time in English. Angels, Demons, and Savages reveals previously unrecognized technical and thematic affinities in the artists' work, from Dubuffet's ""raw,"" unconventional style to Ossorio's use of Christian iconography and grotesque elements to Pollock's emphasis on medium and gestural force. Complete with two original essays and a conservation study, this groundbreaking catalogue shows how the three artists shaped the aesthetic on both sides of the Atlantic through their exchange of ideas and techniques. Review: ""A comprehensive account of the period when Paris Art transplanted to New York."" -Publishers Weekly. Subjects; Ossorio, Alfonso 1916-1990 - Exhibitions. Pollock, Jackson 1912-1956 - Exhibitions. Dubuffet, Jean 1901-1985 - Exhibitions. Abstract Expressionism. Art styles: c 1960 -. ART / History / Contemporary (1945-). ART / Individual Artists / General. Ossorio, Alfonso - Friends and associates. Pollock, Jackson - Friends and associates. Dubuffet, Jean - Friends and associates., New Haven: Yale University Press; The Phillips Collection; The Parrish Art Museum, 2013, 0, University of Wisconsin Press, 2004-10-18. Hardcover. Very Good/Very Good. Minor shelf wear, binding tight, pages clean and unmarked. In Damascus in February 1840, a Capuchin monk and his servant disappear without a trace. By the end of the day, rumors point at the local Jewish community, a tiny minority in the city. Within weeks, the rumors turn to accusations of ritual murder—the infamous “blood libel.” Torture, coerced confessions, manufactured evidence, and the fury of the crowds are enough to convict the accused Jews. By the time the rest of the world learns of the events in Damascus, the entire leadership of the Jewish community is awaiting execution. Blood Libel is a story of unexpected history. If the charges of ritual murder seem familiar—similar accusations have been heard in Europe for centuries and are heard in the Middle East today—nothing in Damascus happened as we, or contemporaries, might have anticipated. The accusers of the Jews were not the Muslim majority. The French consul, the representative of the nation that had given the world the Rights of Man and had been the first to grant Jews the full right of citizenship, was the chief prosecutor. The British consul, serving under the enlightened Lord Palmerston and the new Queen, aided the prosecution. The American consul supported the charges. The Sultan, famed for the excesses of his court and his arbitrary rule of the vast Ottoman empire, and the Austrians, who tightly restricted the rights of Jews in their own empire, defended the accused Jews. The venerable London Times printed reports that defied its liberal reputation, while conservative Austrian and French newspapers took the equally unexpected opposite stand. As news of the Damascus accusations spread, diplomacy and confused loyalties made for strange bedfellows. Misperceptions, mutual fears, and isolation fueled the passions in Damascus. When the affair and the implications for the perceptions of world Jewry became a cause célèbre in Europe and the Americas, the priorities of diplomacy intervened: a rescue mission forgot the real victims in Damascus, and the fabric of a society that had once stretched to tolerate minorities finally burst in an outrage of fears turned to fury. The legacies of that torn fabric are the divisions of the Middle East today and the continuing myths that feed and sustain the fervor of anti-Semitism., University of Wisconsin Press, 2004-10-18, 3<

2004, ISBN: 9780299202804

University of Wisconsin Press, 2004-10-18. Hardcover. Very Good/Very Good. Minor shelf wear, binding tight, pages clean and unmarked. In Damascus in February 1840, a Capuchin monk and… Altro …

University of Wisconsin Press, 2004-10-18. Hardcover. Very Good/Very Good. Minor shelf wear, binding tight, pages clean and unmarked. In Damascus in February 1840, a Capuchin monk and his servant disappear without a trace. By the end of the day, rumors point at the local Jewish community, a tiny minority in the city. Within weeks, the rumors turn to accusations of ritual murder—the infamous “blood libel.” Torture, coerced confessions, manufactured evidence, and the fury of the crowds are enough to convict the accused Jews. By the time the rest of the world learns of the events in Damascus, the entire leadership of the Jewish community is awaiting execution. Blood Libel is a story of unexpected history. If the charges of ritual murder seem familiar—similar accusations have been heard in Europe for centuries and are heard in the Middle East today—nothing in Damascus happened as we, or contemporaries, might have anticipated. The accusers of the Jews were not the Muslim majority. The French consul, the representative of the nation that had given the world the Rights of Man and had been the first to grant Jews the full right of citizenship, was the chief prosecutor. The British consul, serving under the enlightened Lord Palmerston and the new Queen, aided the prosecution. The American consul supported the charges. The Sultan, famed for the excesses of his court and his arbitrary rule of the vast Ottoman empire, and the Austrians, who tightly restricted the rights of Jews in their own empire, defended the accused Jews. The venerable London Times printed reports that defied its liberal reputation, while conservative Austrian and French newspapers took the equally unexpected opposite stand. As news of the Damascus accusations spread, diplomacy and confused loyalties made for strange bedfellows. Misperceptions, mutual fears, and isolation fueled the passions in Damascus. When the affair and the implications for the perceptions of world Jewry became a cause célèbre in Europe and the Americas, the priorities of diplomacy intervened: a rescue mission forgot the real victims in Damascus, and the fabric of a society that had once stretched to tolerate minorities finally burst in an outrage of fears turned to fury. The legacies of that torn fabric are the divisions of the Middle East today and the continuing myths that feed and sustain the fervor of anti-Semitism., University of Wisconsin Press, 2004-10-18, 3<

2004, ISBN: 0299202801

[EAN: 9780299202804], Gebraucht, sehr guter Zustand, [PU: University of Wisconsin Press], ANTI-SEMITISM; JEWISH HISTORY; HISTORY, Jacket, Minor shelf wear, binding tight, pages clean and … Altro …

[EAN: 9780299202804], Gebraucht, sehr guter Zustand, [PU: University of Wisconsin Press], ANTI-SEMITISM; JEWISH HISTORY; HISTORY, Jacket, Minor shelf wear, binding tight, pages clean and unmarked. In Damascus in February 1840, a Capuchin monk and his servant disappear without a trace. By the end of the day, rumors point at the local Jewish community, a tiny minority in the city. Within weeks, the rumors turn to accusations of ritual murder?the infamous ?blood libel.? Torture, coerced confessions, manufactured evidence, and the fury of the crowds are enough to convict the accused Jews. By the time the rest of the world learns of the events in Damascus, the entire leadership of the Jewish community is awaiting execution. Blood Libel is a story of unexpected history. If the charges of ritual murder seem familiar?similar accusations have been heard in Europe for centuries and are heard in the Middle East today?nothing in Damascus happened as we, or contemporaries, might have anticipated. The accusers of the Jews were not the Muslim majority. The French consul, the representative of the nation that had given the world the Rights of Man and had been the first to grant Jews the full right of citizenship, was the chief prosecutor. The British consul, serving under the enlightened Lord Palmerston and the new Queen, aided the prosecution. The American consul supported the charges. The Sultan, famed for the excesses of his court and his arbitrary rule of the vast Ottoman empire, and the Austrians, who tightly restricted the rights of Jews in their own empire, defended the accused Jews. The venerable London Times printed reports that defied its liberal reputation, while conservative Austrian and French newspapers took the equally unexpected opposite stand. As news of the Damascus accusations spread, diplomacy and confused loyalties made for strange bedfellows. Misperceptions, mutual fears, and isolation fueled the passions in Damascus. When the affair and the implications for the perceptions of world Jewry became a cause c?l?bre in Europe and the Americas, the priorities of diplomacy intervened: a rescue mission forgot the real victims in Damascus, and the fabric of a society that had once stretched to tolerate minorities finally burst in an outrage of fears turned to fury. The legacies of that torn fabric are the divisions of the Middle East today and the continuing myths that feed and sustain the fervor of anti-Semitism., Books<