This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Guía paso a paso completamente ilustrada de más de 30 técnicas para hacer velas. Incluye consejos profesionales que van desde los materiales y el equipo hasta cómo acabar y presentar sus velas. También muestra modelos de velas acabados por los mejores artistas contemporáneos.
Rafael Trobat, fotógrafo que inició su carrera de la mano de Cristina García Rodero, nos ofrece su particular visión de Nicaragua, país que lleva visitando regularmente desde hace dieciocho años. Esta obra, que es su lanzamiento a nivel editorial, nos muestra su capacidad para integrarse en una realidad que, finalmente, refleja en su complejidad pero también de forma directa y accesible. Una manera única de conocer una realidad diferente desde dentro, en toda su riqueza social, personal y cultural. En definitiva, un documento fotográfico de primera magnitud.
Fugitiu de la dictadura franquista, Josep Palau i Fabre va arribar a París el 1945 amb la idea fixa de conèixer Picasso. Què esperava daquesta trobada? Què podia donar-li Picasso humanament? De quina manera podia incidir en la seva trajectòria descriptor? El 27 de juny de 1947 Picasso va rebre Palau i Fabre a lestudi de la rue des Grands Agustins i es va iniciar una relació plena de contrastos: passió i sacrifici, adoració i sentiment de culpa, remordiment i amor filial. Conscient que estava vivint una experiència única, va anar anotant els records daquestes visites. Fins al 1960, com si fossin unes memòries. A partir de 1963, en un dietari apassionant. Picasso apareix a Nôtre-Dame de Vie, a la Costa Blava, en lentorn familiar, envoltat damics, conversant i dibuixant: un creador superdotat i un esperit de contradicció permanent. Un moment excepcional és el maig del 68, que Palau i Fabre va viure a casa de Picasso. Publicat per primera vegada el 1997, ledició que avui presentem, desplega visualment Estimat Picasso. A més de les obres de Picasso de la col.lecció Palau i Fabre, actualment a la Fundació Palau, inclou documents gràfics que permeten acompanyar Josep Palau i Fabre en la seva aventura al costat de lartista més gran del segle XX.
La Fundación Joan Miró fue la primera institución pública abierta en Barcelona centrada exclusivamente en el arte contemporáneo. Joan Miró y Josep Lluís Sert quien la diseñó, miembro fundador de GATCPAC (un grupo líder en la introducción de la arquitectura moderna en Cataluña) se encontraron por primera vez en 1932 y enseguida se hicieron buenos amigos mientras trabajaban en el pabellón español (de la República) de la Exposición Universal de París de 1937. Tras la primera gran retrospectiva del trabajo de Joan Miró en Barcelona (1968), el artista decidió construir un edificio para hacer su obra accesible al público de manera permanente. Sert fue el encargado del proyecto, para lo que creó una estructura de plano abierto en la que el interior se comunica con el exterior, creando un equilibrio perfecto entre arquitectura y paisaje. A partir de estas fechas, la Fundación se amplió en dos ocasiones. El arquitecto encargado de ambas ampliaciones fue Jaume Freixa, discípulo de Sert, que había trabajado con su maestro durante once años en Harvard y que había desempeñado un papel activo en la creación de la Fundación.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
La primera colección para niños. Destinada a los adultos ¿Le faltan las palabras frente a un cuadro? ¿Se pregunta como interesar a los niños en el arte? Este fantástico libro le ayudará en esta tarea y convertirla en una maravillosa aventura. No importa si sus conocimientos sobre el arte son escasos, o si le interesan más los deportes o la ciencia. Si confía en lo que ven sus ojos, sabrá hacer que los niños entren en un cuadro como si el mundo que este representa les perteneciera. Aprenderá a estimular tanto su imaginación como su mente analítica. Las treinta obras de arte que se comentan en este libro le guiarán desde el Renacimiento hasta el siglo XXI, con un lenguaje sencillo dirigido a distintos grupos de edades, desde niños de cinco años hasta jóvenes adolescentes.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Art is fakery, a lie," begins Leaving No Mark: Prolegomena to an Evanescent Art. In this striking essay, one by one, Donal McGraith dismantles our fundamental assumptions about Western art; especially that it consists of static works of originality and rare genius. Such views of art, as a specialized activity, are the basis for its academic study and the foundation of the multi-billion dollar art market. In particular in discussing, copies, fakes and reproductions he destroys the foundation for aesthetic uniqueness. This fallacy has given rise to a "cult of personality" and a "prison house of style," whose only purpose to inflate the art market. The so-called original operates in a similar mystifying way to the religious relic, the value lies less in aesthetic quality but only in the notion, more often untrue as fakes abound, that the 'genius' has touched the object. McGraith seeks to reclaim art as the lived expression of our creativity urging that we not direct these impulses into forms that can be quickly turned into commodities. Like Navajo sand painting or the ceilidh, such endeavours would soon be lost to time. Other strategies supporting an evanescent approach are developed in a section entitled, "Anonymity, Pseudonymity & Polynymity." Donal McGraith is the author of The Wild and the Free: Shane, Rousseau, Hippies. also published by Charivari Press. He has produced a number of articles on music and art for the magazines Musicworks and Sub Rosa. His seminal essay 'Anti-Copyright and Cassette Culture' was included in Sound By Artists. McGraith's provocative views, unsettling to those who benefit from high art, are clearly on display in Leaving No Mark. "A more interesting polemic that takes a run at the history of contemporary art and underground music id Donal McGraith's 'Anti-Copyright and Cassette Culture.'" -Clive Robertson, Fuse, Winter 1991.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Guía paso a paso completamente ilustrada de más de 30 técnicas para hacer velas. Incluye consejos profesionales que van desde los materiales y el equipo hasta cómo acabar y presentar sus velas. También muestra modelos de velas acabados por los mejores artistas contemporáneos.
Rafael Trobat, fotógrafo que inició su carrera de la mano de Cristina García Rodero, nos ofrece su particular visión de Nicaragua, país que lleva visitando regularmente desde hace dieciocho años. Esta obra, que es su lanzamiento a nivel editorial, nos muestra su capacidad para integrarse en una realidad que, finalmente, refleja en su complejidad pero también de forma directa y accesible. Una manera única de conocer una realidad diferente desde dentro, en toda su riqueza social, personal y cultural. En definitiva, un documento fotográfico de primera magnitud.
Fugitiu de la dictadura franquista, Josep Palau i Fabre va arribar a París el 1945 amb la idea fixa de conèixer Picasso. Què esperava daquesta trobada? Què podia donar-li Picasso humanament? De quina manera podia incidir en la seva trajectòria descriptor? El 27 de juny de 1947 Picasso va rebre Palau i Fabre a lestudi de la rue des Grands Agustins i es va iniciar una relació plena de contrastos: passió i sacrifici, adoració i sentiment de culpa, remordiment i amor filial. Conscient que estava vivint una experiència única, va anar anotant els records daquestes visites. Fins al 1960, com si fossin unes memòries. A partir de 1963, en un dietari apassionant. Picasso apareix a Nôtre-Dame de Vie, a la Costa Blava, en lentorn familiar, envoltat damics, conversant i dibuixant: un creador superdotat i un esperit de contradicció permanent. Un moment excepcional és el maig del 68, que Palau i Fabre va viure a casa de Picasso. Publicat per primera vegada el 1997, ledició que avui presentem, desplega visualment Estimat Picasso. A més de les obres de Picasso de la col.lecció Palau i Fabre, actualment a la Fundació Palau, inclou documents gràfics que permeten acompanyar Josep Palau i Fabre en la seva aventura al costat de lartista més gran del segle XX.
La Fundación Joan Miró fue la primera institución pública abierta en Barcelona centrada exclusivamente en el arte contemporáneo. Joan Miró y Josep Lluís Sert quien la diseñó, miembro fundador de GATCPAC (un grupo líder en la introducción de la arquitectura moderna en Cataluña) se encontraron por primera vez en 1932 y enseguida se hicieron buenos amigos mientras trabajaban en el pabellón español (de la República) de la Exposición Universal de París de 1937. Tras la primera gran retrospectiva del trabajo de Joan Miró en Barcelona (1968), el artista decidió construir un edificio para hacer su obra accesible al público de manera permanente. Sert fue el encargado del proyecto, para lo que creó una estructura de plano abierto en la que el interior se comunica con el exterior, creando un equilibrio perfecto entre arquitectura y paisaje. A partir de estas fechas, la Fundación se amplió en dos ocasiones. El arquitecto encargado de ambas ampliaciones fue Jaume Freixa, discípulo de Sert, que había trabajado con su maestro durante once años en Harvard y que había desempeñado un papel activo en la creación de la Fundación.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
La primera colección para niños. Destinada a los adultos ¿Le faltan las palabras frente a un cuadro? ¿Se pregunta como interesar a los niños en el arte? Este fantástico libro le ayudará en esta tarea y convertirla en una maravillosa aventura. No importa si sus conocimientos sobre el arte son escasos, o si le interesan más los deportes o la ciencia. Si confía en lo que ven sus ojos, sabrá hacer que los niños entren en un cuadro como si el mundo que este representa les perteneciera. Aprenderá a estimular tanto su imaginación como su mente analítica. Las treinta obras de arte que se comentan en este libro le guiarán desde el Renacimiento hasta el siglo XXI, con un lenguaje sencillo dirigido a distintos grupos de edades, desde niños de cinco años hasta jóvenes adolescentes.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Art is fakery, a lie," begins Leaving No Mark: Prolegomena to an Evanescent Art. In this striking essay, one by one, Donal McGraith dismantles our fundamental assumptions about Western art; especially that it consists of static works of originality and rare genius. Such views of art, as a specialized activity, are the basis for its academic study and the foundation of the multi-billion dollar art market. In particular in discussing, copies, fakes and reproductions he destroys the foundation for aesthetic uniqueness. This fallacy has given rise to a "cult of personality" and a "prison house of style," whose only purpose to inflate the art market. The so-called original operates in a similar mystifying way to the religious relic, the value lies less in aesthetic quality but only in the notion, more often untrue as fakes abound, that the 'genius' has touched the object. McGraith seeks to reclaim art as the lived expression of our creativity urging that we not direct these impulses into forms that can be quickly turned into commodities. Like Navajo sand painting or the ceilidh, such endeavours would soon be lost to time. Other strategies supporting an evanescent approach are developed in a section entitled, "Anonymity, Pseudonymity & Polynymity." Donal McGraith is the author of The Wild and the Free: Shane, Rousseau, Hippies. also published by Charivari Press. He has produced a number of articles on music and art for the magazines Musicworks and Sub Rosa. His seminal essay 'Anti-Copyright and Cassette Culture' was included in Sound By Artists. McGraith's provocative views, unsettling to those who benefit from high art, are clearly on display in Leaving No Mark. "A more interesting polemic that takes a run at the history of contemporary art and underground music id Donal McGraith's 'Anti-Copyright and Cassette Culture.'" -Clive Robertson, Fuse, Winter 1991.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.