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Published by Insight Publications, 2011
ISBN 10: 1921411414ISBN 13: 9781921411410
Seller: HPB-Emerald, Dallas, TX, U.S.A.
Book
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!.
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Published by Routledge, 2018
ISBN 10: 1138490334ISBN 13: 9781138490338
Seller: Reuseabook, Gloucester, GLOS, United Kingdom
Book
Hardcover. Condition: Used; Like New. Dispatched, from the UK, within 48 hours of ordering. This book is in mint condition. Both the pages and the cover are completely intact, without zero sign of previous usage.
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Published by Salt 2014-10-15, 2014
ISBN 10: 1907773681ISBN 13: 9781907773686
Seller: Chiron Media, Wallingford, United Kingdom
Book
Paperback. Condition: New.
Published by University of Ottawa Press 2020-07-31, Ottawa, 2020
ISBN 10: 0776628070ISBN 13: 9780776628073
Seller: Blackwell's, London, United Kingdom
Book
paperback. Condition: New. Language: ENG.
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Published by MOCA; Et Al, 2007
ISBN 10: 0958270449ISBN 13: 9780958270441
Seller: GF Books, Inc., Hawthorne, CA, U.S.A.
Book
Condition: Very Good. Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.23.
Published by Daw, New York, 2002
ISBN 10: 0756400910ISBN 13: 9780756400910
Seller: All-Ways Fiction, Carson City, NV, U.S.A.
Book First Edition Signed
Mass Market Paperback. Condition: Very Good +. First Edition. SIGNED by GREGORY BENFORD, STANLEY SCHMIDT, WILL MCCARTHY, SCOTT EDELMAN, FIONA PATTON, & TANYA HUFF on their story. First edition, First printing. Book is in Very Good + condition. Boards are clean, tiny bit of wear along the spine and edges. Page edges have a small amount of reading wear. Interior is clean and legible. Not remaindered. Thanks and Enjoy. All-Ways well packaged, All-Ways fast service. Signed by Contributor. Book.
Published by Bloomsbury Academic, 2020
ISBN 10: 1350084662ISBN 13: 9781350084667
Seller: GreatBookPrices, Columbia, MD, U.S.A.
Book
Condition: New.
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Published by Heide Museum of Modern Art, Australia, 2013
ISBN 10: 1921330287ISBN 13: 9781921330285
Seller: 246 Books, Seattle, WA, U.S.A.
Book
Paperback. Condition: Very Good +. FIONA HALL: BIG GAME HUNTING-This is the catalog for Fiona Hall's 2013 exhibition at the Heide Museum of Modern Art in Bulleen, Australia. The exhibition included many of her mixed media sculptures. Text by Jason Smith, Kendrah Morgan, David Hansen, Gregory O'Brien, Manoi Nair and Fiona Hall. 88 pages, paper with stiff wraps. Color reproductions. 10 1/4" x 8 1/4". Very good + condition.
Published by The Power Plant (Toronto, Canada), 2007
Seller: Chris Grobel, Arlington, TX, U.S.A.
Book First Edition
Soft cover. Condition: Very Good. 1st Edition. The Power Plant (Toronto) 2007 First Edition. A Very Good copy of this exhibition catalogue in newpaper tabloid format. (A small scuff/abrasion on the lower bottom corner of the front page). Illustrated throughout in black and white. Folded in its original plastic bag.
Published by Taylor & Francis 2020-02-25, London, 2020
ISBN 10: 0367492423ISBN 13: 9780367492427
Seller: Blackwell's, London, United Kingdom
Book
paperback. Condition: New. Language: ENG.
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Published by The Power Plant,, Toronto,, 2007
ISBN 10: 189421210XISBN 13: 9781894212106
Book First Edition
Paperback. Condition: Very Good. First Edition. Wraps. 4to. 29cm by 44cm. pp 47. Newspaper style publication. In association with the exhibition 'The Bastard Word', 3rd March - 22nd April, the Power Plant, Toronto. Copiously illustrated in black and white throughout. ISBN: 189421210X Very good indeed. Neatly folded in its own sealed bag.
Published by Nordicom
ISBN 10: 9186523848ISBN 13: 9789186523848
Seller: medimops, Berlin, Germany
Book
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.
Seller: Libreria Studio Bosazzi, Firenze, FI, Italy
Book
Rilegato. Condition: nuovo. Pages:2 vols, 944 p. NEW. Hardback. Illustrations:362 b/w, 104 col. Language(s):English. Brepols, Publication Year:2016 - One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time there emerged a new, secular, genre of art devoted to the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. Still, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is a happy accident of history that so many of these splendid paintings are now widely visible in the great museums of the world.
Rilegato. Condition: nuovo. Pages:2 vols, 946 p. Illustrations:450 b/w. Language(s):English. HArdback. Brepols, Publication Year:2023 -- SUMMARY One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.
Published by Brepols - Harvey Miller 2023, 2023
hardcover with dusjacket, 2 vols, 946 pages.Size:175 x 260 mm Illustrations:450 b/w. Language(s):English. ISBN 9781912554867. One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world. 0 g.