The Book On The Floor: André Malraux And The Imaginary Museum
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Lieferung aus: Vereinigte Staaten von Amerika, En Stock, frais de port.
In 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer.   Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.  .

Lieferung aus: Kanada, En Stock, frais de port.
In 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer.   Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.  .

Lieferung aus: Niederlande, 3-4 werkdagen.
bol.com.
In 1954, the French writer, politician, and publisher Andre Malraux (1901 1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musee imaginaire de la sculpture mondiale. The enchanting metaphor of the musee imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux S... In 1954, the French writer, politician, and publisher Andre Malraux (1901 1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musee imaginaire de la sculpture mondiale. The enchanting metaphor of the musee imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux s book on the floor is a variation of photographer Andre Vigneau s spectacular Encyclopedie photographique de l art, published in five volumes from 1935 on years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the museum without walls, the unjustly forgotten Vigneau.Soort: Met illustraties;Taal: Engels;Afmetingen: 23x248x176 mm;Gewicht: 948,00 gram;Verschijningsdatum: november 2016;Druk: 1;ISBN10: 1606065017;ISBN13: 9781606065013; Engelstalig | Hardcover | 2016.

Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: USA.
Von Händler/Antiquariat, Speedy Books.
Getty Research Institute. Hardcover. 1606065017 Expedited shipping NOT available. Brand New. Exceptional customer service. Standard shipping is ground. All deliveries in 4-14 business days. . New.

Von Händler/Antiquariat, AHA-BUCH GmbH [51283250], Einbeck, Germany.
Neuware - Englisch.

Von Händler/Antiquariat, GreatBookPrices [5352716], Columbia, MD, U.S.A.

Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, 4-9 business days.