Studio Secrets by Taubes Frederic (34 results)

Paperback. Condition: New.

Condition: Fair. Acceptable condition. No Dust Jacket (Art, Painting Techniques) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.

Condition: New.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. hardback book in near fine condition,unclipped dust jacket [$3.50] is very good.

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+. 2nd Edition. 8vo. A nice copy. Dk blue boards, silver titles. Wear to edges. Marks to rear board. Slight paper adhesion to top of front board. A few light marks. Book.

Condition: New. In English.

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

Hardback. Condition: New.

Paperback. Condition: Brand New. 152 pages. 8.50x5.35x0.71 inches. In Stock.

Condition: New.

Condition: New. In English.

Hardcover. Condition: Good+. Dust Jacket Condition: Good. First Edition. Small tears in the dust jacket. Yellowing to edge of pages. Light foxing to edge of pages. - Great overall condition. Minor cosmetic wear. No noteworthy blemishes. No writing. ; - We're committed to your satisfaction. We offer free returns and respond promptly to all inquiries. Your item will be carefully wrapped in bubble wrap and securely boxed. All orders ship on the same or next business day. Buy with confidence.…

Hardcover. Condition: Acceptable. Prompt Shipment, shipped in Boxes, Tracking PROVIDED; Acceptable or Better hardcover, wear to spine, tips bumped, discolorization inside covers, sm4to, 134 pp.

Hardcover. Condition: Brand New. 156 pages. 8.50x5.50x0.50 inches. In Stock.

Paperback. Condition: New.

Hardback. Condition: New.

Condition: BUONO USATO. IV ED. Da revisionare INGLESE Quarta edizione. Legatura tutta tela blu, con titoli in argento al piatto ed al dorso, con strappetto alla cerniera, leggera usura alle cuffie e con bordi stanchi. Tagli e pagine ingialliti; quest'ultime salde, con ampio margine e qualche piccola gora e con alcune sottolineature a penna, corredate da 21 figure nel testo e da Vi tavole fuori testo, in bianco e nero. Il volume potrebbe contenere timbri, il materiale à stato regolarmente acquisito dalla nostra Libreria. Numero pagine 134.…

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Hardcover. Condition: Very Good. 2nd Edition. New York: Watson-Guptill, 2d Edition (May 1944). VeryGood Hardcover (DarkBlue cloth, Silver lettering), no dj. Minimal corner wear. Clean unmarked throughout, excellent Binding and hinges, 10.1"x7.8". be5.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 170. A perfect gift for your loved ones. Reprinted from 1944 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 170.…

Paperback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

HRD. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

HRD. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condition: New. Print on Demand pp. 152 1:B&W 5.5 x 8.5 in or 216 x 140 mm (Demy 8vo) Perfect Bound on Creme w/Gloss Lam.

Condition: New. Print on Demand pp. 152.

Condition: New. PRINT ON DEMAND pp. 152.

Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Were there paints used by the old masters better than ours today And were their methods superior Is turpentine a good painting medium Why do some paintings darken, discolour, or crack with age, while others do not What varnish should I use to restore the brilliancy of a painting which has grown dull Which is better, a sable or a bristle brush These are typical of hundreds of questions which painters and students all over the land are constantly asking. Particularly since I started my Question and Answer Department in the Taubes Page, in the magazine AMERICAN ARTIST, have come to realize what a strong interest exists today in all such technical matters. This was not always so. In fact, this present keen attention to sound craftsmanship in painting is most gratifying to those of us who have long worked toward this very goal. For far too lengthy a period we might even say for scores of years many painters were so immersed in the purely aesthetic aspects of their art that they neglected those equally important technical phases which must always be observed if results are to be enduring. A gradual awakening has taken place only as one horrible example after another of fading, darkening, discoloration, cracking, or like type of failure has come to the fore. Even in the recent past there have been those who have treated craftsmanship so lightly that their paintings have already badly deteriorated or are doomed to an early demise. Small wonder, then, that more and more contemporary painters, profiting from all this, are turning to the investigation of the chemical and physical nature and action of pigments the respective functions of oils, varnishes and other media the preparation of grounds the possibilities of underpainting, etc. My personal feeling has always been that if a painting is worth doing at all, it is worth doing well And by well I mean not only aesthetically well, but technically well. At the very outset of my career I was so impressed by the needless deterioration of thousands of paintings that the mastery of craftsmanship became a consuming passion. By good fortune, I was able to indulge this passion by studying at first hand the works of those leading exponents of sound craftsmanship, the old masters. In Paris, in Italy, in Vienna, in the Bauhaus in Weimar, under the famous Doerner in Munich, for years I was able to gratify my inquisitiveness along technical lines. One by one I inspected the great masterpieces of old. I compared I analysed I investigated I asked questions I read assiduously everything I could lay my hands on. And gradually I arrived at a conviction which decades of subsequent painting and teaching have served only to strengthen, that a regeneration of art will be possible only when painters cease to look on technical matters as superficial and return to the sound basic principles long ago established by the old masters.…