Barr Alfred Editor (41 results)

Hardcover. Condition: Good. No Jacket. B/w And Color Illustrations (illustrator). Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Fair. No Jacket. B/w And Color Illustrations (illustrator). Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Condition: Very Good. VERY GOOD SOFTCOVER. PLEASE REVIEW PICTURES.

Softcover. Condition: Very Good-. Rubbing to spine edges. ; Small 4to 9" - 11" tall; 84 pages.

Soft cover. Condition: Good. No Jacket. 115 Pages With Preface And Acknowledgments In Front. Pages Tight; Clean; Glossy Paper. Beige Soft Covers With Black And Tan Lettering On Front Cover And Spine. Some Fading, Rubbing, Smudges, Discoloration Areas On Covers. Scope Of Picasso's Art Shown In America Included Sculpture, Paintings, Cubist Selections, And Generous Number Of Drawings. Includes Catalogue And Plates, Titles, Date, Place Location, Description, Etc. Rare Copy.

Condition: Fair. Acceptable condition. No Dust Jacket Former Library book. Rebound.

Paperback. Condition: Very Good. The Museum of Modern Art / The Chicago Art Institute, 1957 January 1957 Binding: Trade Paperback.

Hardcover. Condition: Fine. Dust Jacket Condition: Fair. 1st Edition. First edition. 327 pages. Thoroughly illustrated with black and white images of the art. Boards and interior fine throughout. Dust jacket has wear with tears from most edges and spine ends, larger torn flap from rear top edge. (ART4).

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: Good. Good condition. (Pablo Picasso, Exhibition Catalogs) 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.

First edition. Very good in wrappers, with some light soiling to soft white covers.

Soft cover. Condition: Very Good Plus. 1st Edition. Lightly age-darkened book in tight condition, illustrating the exhibit in 1957. Illustrated with many reproductions.

hardcover. Condition: Good. Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Oversized.

First Edition. First edition. Softcover. 115 pages. Exhibition catalog for a show that ran May 22 through September 8, 1957 at The Museum of Modern Art and then October 29 through December 8, 1957 at The Art Institute of Chicago. Features a preface by Barr. Includes numerous black and white illustrations and a few in color. An about very good copy in wrappers with bumping to the corners and some other light wear. Internally a clean copy.

Hardcover. Condition: Fair. Third Edition. 1954. Hardcover and dust jacket. Wear/tear to jacket with loss and tape repair. Good covers. Shaken. Clean, unmarked pages. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

1st edition. Fine cloth copy in an equally fine dust-wrapper. Particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical Description: 302 pages, 16 unnumbered pages of plates : illustrations, portraits ; 26 cm. Contents: The visionary. "Boston is modern art pauper" ; Wellesley and modernism ; A modern art questionnaire ; The Necco factory ; A course of five lectures on modern art ; A new art museum ; A new museum ; Modern architecture : international exhibition : foreword ; Modern and "modern" ; Cubism and abstract art : introduction ; Chart of modern art ; A brief guide to the exhibition of fantastic art, Dada, surrealism ; Bauhaus 1919-1928 : preface The critic / historian. Russian diary ; The LEF and Soviet art ; Sergei Michailovitch Eisenstein ; Otto Dix ; Paul Klee : introduction ; Nationalism in German films ; Art in the Third Reich : preview, 1933 ; Italian sources of three great traditions of European painting ; Twentieth-century Italian art : early futurism ; Matisse, Picasso, and the crisis of 1907 The statesman. Research and publication in art museums ; A symposium : the state of American art ; Is modern art communistic? ; Artistic freedom ; The Museum of Modern Art's record on American artists ; The new American painting as shown in eight European countries, 1958-1959 : intruduction ; Tastemaking ; The pied-billed grebe ; The loyalty oath ; The miracle ; City's resort for wild fowl ; American conformity Borrow. Subjects: 1900-1999. Art 20e siècle Art 20e siècle Histoire et critique. Art, Modern. 3 Kg.

Black & White Illustrations (illustrator). First Edition. New York, NY: Museum of Modern Art. Good plus condition: spine rubbed, margins yellowed/No Dustjacket. (1942). First Edition. tall 8vo., 84pp. . Good plus condition: spine rubbed, margins yellowed/No Dustjacket.

Paperback. Condition: Good. Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Oversized.

Paperback. Condition: Good. First Edition. 1942 1st printing paperback - some wear to cover - staining to page edge - tanned pages - paper clip mark inside cover - otherwise cover strong binding strong contents clean.

Condition: Good. Good condition. (Cubism, Art, Exhibition Catalogs) 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.

1st edition. Fine cloth copy in an equally fine dust-wrapper. Particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical Description: 302 pages, 16 unnumbered pages of plates : illustrations, portraits ; 26 cm. Contents: The visionary. "Boston is modern art pauper" ; Wellesley and modernism ; A modern art questionnaire ; The Necco factory ; A course of five lectures on modern art ; A new art museum ; A new museum ; Modern architecture : international exhibition : foreword ; Modern and "modern" ; Cubism and abstract art : introduction ; Chart of modern art ; A brief guide to the exhibition of fantastic art, Dada, surrealism ; Bauhaus 1919-1928 : preface The critic / historian. Russian diary ; The LEF and Soviet art ; Sergei Michailovitch Eisenstein ; Otto Dix ; Paul Klee : introduction ; Nationalism in German films ; Art in the Third Reich : preview, 1933 ; Italian sources of three great traditions of European painting ; Twentieth-century Italian art : early futurism ; Matisse, Picasso, and the crisis of 1907 The statesman. Research and publication in art museums ; A symposium : the state of American art ; Is modern art communistic? ; Artistic freedom ; The Museum of Modern Art's record on American artists ; The new American painting as shown in eight European countries, 1958-1959 : intruduction ; Tastemaking ; The pied-billed grebe ; The loyalty oath ; The miracle ; City's resort for wild fowl ; American conformity Borrow. Subjects: 1900-1999. Art 20e siècle Art 20e siècle Histoire et critique. Art, Modern. 1 Kg.

Condition: Good. Penguin Modern Painters series Location:50 32 plates in black and white and color corner creased 50.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Boltin, Lee (illustrator). First Edition. 255 pp. Folio. Clean, crisp copy with dust jacket in mylar cover.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. Tipped In Color Plates, B/W Illustrations (illustrator). 1st Edition. 239 Pp. Black Cloth Spine, Gilt, Patterned Boards. First Printing. Near Fine In Near Fine Dj Priced $15.00. Small Name Label On Front Free Endpaper.

Condition: Very Good. Dust Jacket Condition: Good. Vincent van Gogh (illustrator). 193 pages, hardcover with dust jacket. With an introduction and notes selected from the letters of the artist, edited by Alfred H. Barr, Jr. Moderate edgewear, rubbing, light soiling to dustjacket. Fading to front endpapers. Record # 951373.

Hardcover. Condition: Good. No Jacket. Dust jacket missing. Shelf and handling wear to cover and binding, with general signs of previous use. VINTAGE PRINTING. CLEAN CONTENT PAGES. SEE PHOTOS FOR MORE INFORMATION. Secure packaging for safe delivery.

Hardcover. Condition: Fine. Dust Jacket Condition: Good. 2nd Edition. FINE, second edition revised of 1941 catalog which accompanied Klee's memorial exhibit which toured major US museums. This revised edition is enlarged and includes 64 pps, 54 plates (several in full color), statements by Barr, Julia and Lyonnel Feininger, James Johnson Sweeney, extracts from Klee's journal, Klee statement of his work translated from the French for the first time, chronology, list of plates, biblio, works by Klee in American Museum at this time. Russet cloth cover with gray Klee signature on cover and gray font on spine, without writing or marks, tight binding, only noted flaw is light age toning of this 71 year old book. Dust jacket is good, not price clipped (shows original $2.25 price), chips along spine ends and top edge, several closed tears and is now mylar protected. See our photo and/or request additional informaiton.

Wraps. Second Edition [stated]. [2], 115, [1] p. illus. (part col. ) 25 cm. From Wikipedia: "Alfred Hamilton Barr, Jr. (January 28, 1902 August 15, 1981), known as Alfred H. Barr, Jr., was an American art historian and the first director of the Museum of Modern Art in New York City. From that position, he was one of the most influential forces in the development of popular attitudes toward modern art; for example, his arranging of the blockbuster Van Gogh exhibition of 1935, in the words of author Bernice Kert, was "a precursor to the hold Van Gogh has to this day on the contemporary imagination." Barr graduated from the Boys' Latin School of Maryland. Barr received his B.A. in 1923 and his M.A. in 1924 from Princeton University, where he studied art history with Frank Jewett Mather and Charles Rufus Morey. In 1924, he began doctoral work at Harvard, but left after completing PhD course requirements to pursue teaching. He would not be awarded the PhD until 1946. Barr was hired as an associate professor to teach art history at Wellesley College in 1926, where in the same year he offered the first-ever undergraduate course on modern art, "Tradition and Revolt in Modern Painting." This course was notable not only for the novelty of its subject-matter but also for its unconventional pedagogy: Barr referred to all nine students in the class as "faculty", making them each responsible for mastering and teaching some of the course content. Although, per its title, the course ostensibly focused on painting, Barr thought a broad understanding of culture was necessary to understand any individual artistic discipline, and accordingly, the class also studied design, architecture, film, sculpture, and photography. There was no required reading aside from Vanity Fair, The New Yorker, and The New Masses, and the numerous class trips were not to typical locations of art-historical interest. For example, on a trip to Cambridge, the class passed over the wealth of Harvard's museums to experience the "exquisite structural virtuosity", in Barr's words, of the Necco candy factory. In 1929, Barr was awarded a Carnegie Fellowship, which he intended to use to complete the requirements for his PhD by writing a dissertation during the following academic year on modern art and Cubism at New York University. But greater ambitions obliged him to shelve that intention when Anson Conger Goodyear, acting on the recommendation of Paul J. Sachs, offered Barr the directorship of the newly founded Museum of Modern Art. Assuming the post in August 1929 aged only twenty-seven, Barr's achievements in it accumulated quickly; the Museum held its first loan exhibition in November, on the Post-Impressionists Van Gogh, Cezanne, Gauguin, and Seurat. Perhaps Barr's most memorable and enduring accomplishment in his directorial capacity was the Picasso retrospective of 1939 1940, which caused a reinterpretation of the artist's work and established the model for all future retrospectives at the Museum. According to Sybil Gordon Kantor in her book Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art, Frank Crowninshield art critic, journalist and editor of Vanity Fair, was one of Barr's mentors and one of the founding trustee members of the Museum of Modern Art along with several others. In 1943, Museum of Modern Art president Nelson Rockefeller, to whom Barr had been personal art advisor for many years, dismissed Barr as director of the Museum, though he was allowed to stay on as an advisory director (working with his successor Rene d'Harnoncourt); later Barr was given the title Director of Collections. By the time Barr left MoMA in 1968, modern art would be considered as legitimate an art-historical field of study as earlier eras such as the Renaissance. He was elected a Fellow of the American Academy of Arts and Sciences in 1952. In recognition of Barr's legacy as an art historian and first director of MoMA, the College Art Association established the Alfred H. Barr Jr. Award for m.