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Long out of print, the Arundel Society first published Giotto and His Works in Padua between 1853 and 1860. It stands as Ruskin’s most compelling set of reflections on Giotto’s masterpiece—an artwork that, in Ruskin’s estimation, changed the very course of art history. Originally accompanied by a set of black and white woodcuts of the panels in the Chapel, this new(...)
Giotto and his works in Padua
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Long out of print, the Arundel Society first published Giotto and His Works in Padua between 1853 and 1860. It stands as Ruskin’s most compelling set of reflections on Giotto’s masterpiece—an artwork that, in Ruskin’s estimation, changed the very course of art history. Originally accompanied by a set of black and white woodcuts of the panels in the Chapel, this new edition presents each panel in vivid color photography, adding a useful visual aid to Ruskin’s lyrical descriptions. The result is a book that serves not only as an introduction for students of art history, but also as a discussion of what it means to be a great artist, by one of most influential writers ever to tackle visual art.
Théorie de l’art
Écrits naturels
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« À la recherche du temps » perdu de Marcel Proust a rendu internationalement célèbre le nom de Ruskin. Mais l’image ainsi donnée de son œuvre est biaisée, car John Ruskin (1819-1900) n’était pas qu’un spécialiste de Turner ou de l’architecture gothique. Sa science s’étendait à la géologie, à l’histoire naturelle ou à l’économie politique. Le nombre de ses travaux, dans(...)
Écrits naturels
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« À la recherche du temps » perdu de Marcel Proust a rendu internationalement célèbre le nom de Ruskin. Mais l’image ainsi donnée de son œuvre est biaisée, car John Ruskin (1819-1900) n’était pas qu’un spécialiste de Turner ou de l’architecture gothique. Sa science s’étendait à la géologie, à l’histoire naturelle ou à l’économie politique. Le nombre de ses travaux, dans ces domaines également, est considérable. Ces « Écrits naturels » réunissent, pour la première fois en français, quatre conférences d’histoire naturelle, dans lesquelles l’érudition prodigieuse de Ruskin s’allie à une verve humoristique déconcertante. Qu’il retrace le mythe d’Arachné, qu’il discoure sur le rouge-gorge, le crave à bec rouge ou sur les serpents, Ruskin se laisse entraîner par des réflexions beaucoup plus vastes, plus profondes, et toujours insolites. Un regard unique sur la nature, à découvrir de toute urgence.
Théorie/ philosophie
The stones of Venice
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John Ruskin, Victorian England's greatest writer on art and literature, believed himself an adopted son of Venice, and his feelings for this city are exquisitely expressed in "The Stones of Venice". This edition contains Ruskin's famous essay "The Nature of Gothic," a marvelously descriptive tour of Venice before its postwar restoration. As Ruskin wrote in 1851, "Thank(...)
septembre 2003, New York / Cambridge, Mass.
The stones of Venice
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John Ruskin, Victorian England's greatest writer on art and literature, believed himself an adopted son of Venice, and his feelings for this city are exquisitely expressed in "The Stones of Venice". This edition contains Ruskin's famous essay "The Nature of Gothic," a marvelously descriptive tour of Venice before its postwar restoration. As Ruskin wrote in 1851, "Thank God I am here, it is a Paradise of Cities."
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la(...)
L'oeil de Ruskin: l'exemple de la Bourgogne
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la publication de textes et de dessins souvent inédits, de disséquer la complexité de l'univers de Ruskin et sa méthode, basée sur l'observation d'une constellation de points spécifiques pour aboutir à des conceptions globales.
Théorie de l’art
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Lars Spuybroek argues that we must 'undo' the twentieth century and learn to understand the aesthetic insights of the nineteenth-century art critic John Ruskin, from which he distils pointers for the contemporary age. Linking philosophy, design, and the digital, with art history, architecture, and craft, Spuybroek explores the romantic notion of 'sympathy', a core concept(...)
The sympathy of things: Ruskin and the ecology of design, 2nd edition
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Lars Spuybroek argues that we must 'undo' the twentieth century and learn to understand the aesthetic insights of the nineteenth-century art critic John Ruskin, from which he distils pointers for the contemporary age. Linking philosophy, design, and the digital, with art history, architecture, and craft, Spuybroek explores the romantic notion of 'sympathy', a core concept in Ruskin's aesthetics, re-evaluating it as the driving force of the twenty-first century aesthetic experience. For Ruskin, beauty always comprises variation, imperfection and fragility, three concepts that wholly disappeared from our mindsets during the twentieth century, but which Spuybroek argues to be central to contemporary aesthetics and design.
Théorie de l’architecture
Suppose a sentence
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In ''Suppose a sentence,'' Brian Dillon, whom John Banville has called ''a literary flâneur in the tradition of Baudelaire and Walter Benjamin,'' has written a sequel of sorts to ''Essayism,'' turning his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence—from Shakespeare to James Baldwin, John Ruskin to Joan(...)
Suppose a sentence
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In ''Suppose a sentence,'' Brian Dillon, whom John Banville has called ''a literary flâneur in the tradition of Baudelaire and Walter Benjamin,'' has written a sequel of sorts to ''Essayism,'' turning his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence—from Shakespeare to James Baldwin, John Ruskin to Joan Didion—this new book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, ''Suppose a sentence'' is a polemical and personal reflection on the art of the sentence in literature.
Littérature et poésie
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Spanning the history of literature, art, and architecture from John Ruskin, Henry James, and Ezra Pound to Manfredo Tafuri, Italo Calvino, Jeanette Winterson, and Robert Coover ''Killing the Moonlight'' tracks the pressures that modernity has placed on the legacy of romantic Venice, and the distinctive strains of aesthetic invention that resulted from the clash. In(...)
Killing the moonlight: Modernism in Venice
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Spanning the history of literature, art, and architecture from John Ruskin, Henry James, and Ezra Pound to Manfredo Tafuri, Italo Calvino, Jeanette Winterson, and Robert Coover ''Killing the Moonlight'' tracks the pressures that modernity has placed on the legacy of romantic Venice, and the distinctive strains of aesthetic invention that resulted from the clash. In Venetian incarnations of modernism, the anachronistic urban fabric and vestigial sentiment that both the nation-state of Italy and the historical avant-garde would cast off become incompletely assimilated parts of the new.
Théorie de l’architecture
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Geography and Vision is a series of personal reflections by leading cultural geographer, Denis Cosgrove, on the complex connections between seeing, imagining and representing the world geographically. Ranging historically from the sixteenth century to the present day, the essays include reflections upon discovery and the role of imagination in giving it meaning;(...)
Architecture et l'imaginaire
janvier 1900, London, New York
Geography & vision: seeing, imagining and representing the world
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Geography and Vision is a series of personal reflections by leading cultural geographer, Denis Cosgrove, on the complex connections between seeing, imagining and representing the world geographically. Ranging historically from the sixteenth century to the present day, the essays include reflections upon discovery and the role of imagination in giving it meaning; colonisation and sixteenth century gardening; the shaping of American landscapes; wilderness, imperial mappings and masculinity; urban cartography and utopian visions; conceptions of the Pacific; the cartography of John Ruskin; and the imaginative grip of the Equator. Extensively illustrated, this engaging work reveals the richness and complexity of the geographical imagination as expressed over the past five centuries.
Architecture et l'imaginaire
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John Ruskin was an influential English art critic and social thinker of the Victorian era, who famously argued that the principal concern of the artist is “truth to nature.” For Ruskin, this truth entailed more than merely adept technical representation, but rather, should depict the natural world as mankind experiences it, with all the sensations of both beauty and(...)
Landscapes after Ruskin: redefining the sublime
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John Ruskin was an influential English art critic and social thinker of the Victorian era, who famously argued that the principal concern of the artist is “truth to nature.” For Ruskin, this truth entailed more than merely adept technical representation, but rather, should depict the natural world as mankind experiences it, with all the sensations of both beauty and terror it elicits. Today, in a world overwhelmed by industrial development and environmental uncertainty, contemporary artists are discovering new beauties and terrors associated with nature, invoking a sense of the sublime that is uniquely modern. "Landscapes after Ruskin" explores how a joyful experience of nature is now mixed with a particular dread as the earth and its atmosphere are increasingly touched by human activity.
Photographie- collections
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating(...)
Théorie de l’art
septembre 2012
Vital Beauty: Reclaiming aesthetics in the tangle of technology and nature
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating nature's abundant diversity. Today, this wonderful conception requires some rethinking, since sentience now encompasses technological as well as organic entities--raising the question of how we should design our environments, our objects and even our lives. In "Vital Beauty," leading philosophers, anthropologists, theorists and artists Thierry Bardini, Joke Brouwer, Gustav Fechner, Mark Frost, George Gessert, Tim Ingold, Arjen Mulder, Daniel N. Stern, Lars Spuybroek, Caroline Van Eck, Wendy Steiner and Ruskin himself examine what this idea of beauty might mean for their respective disciplines.
Théorie de l’art