Patrick j mcgrady (26 Ergebnisse)

Paperback. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. Very Good paperback with light shelfwear - NICE! Standard-sized.

Zustand: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Stapled wraps. Zustand: VG. A very nice copy with clean and bright interior pages. ; 4to 11" - 13" tall; 40 pages; Art hist ARTIST.

paperback. Zustand: Very Good. First Edition. Unread. No markings in book. Binding is fine. 31pp.

Paperback. Zustand: new. Paperback. 'My interest has been in developing further the plastic convictions that have been evolving in my abstract paintings; so that a portrait, while remaining a portrait, becomes in this sense an abstraction: the idea of a person in its most intense and essential aspect' - Will Barnet, 1962. Will Barnet (1911), much like Chuck Close and Alex Katz, has approached painting through sustained exploration of the relationship between abstract, geometric forms and the processes of perception. In this book, which accompanied an exhibition of the same name at the Palmer Museum of Art and the Alexandre Gallery, Patrick J. McGrady examines the paintings, drawings, and prints Barnet made in the 1960s, the decade when Barnet portrayed his family and renegotiated his commitment to pure abstraction. As McGrady traces work during this decisive period in Barnet's career, he shows how drawing became increasingly important in the evolution of such major paintings as "Mother and Child", "The Blue Robe", and "Eden". In addition, McGrady provides a richly documented discussion of critics' responses to the profound changes in Barnet's art and Barnet's own commentary on his goals as an abstract artist.Will Barnet illustrates many of the forty-nine works in the 2003 exhibition and includes a checklist of the exhibition as well as reproductions of comparative works. Patrick J. McGrady is Charles V. Hallman Curator at the Palmer Museum of Art and Affiliate Assistant Professor of Art History at Penn State University. Will Barnet has approached painting through sustained exploration of the relationship between abstract, geometric forms and the processes of perception. This book examines the paintings, drawings, and prints Barnet made in the 1960s, the decade when Barnet portrayed his family and renegotiated his commitment to pure abstraction. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Zustand: new. Paperback. Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. Yet his work, although included in the landmark exhibition of 1965, "The Responsive Eye", has an intuitive rhythm and poetic elegance that falls well outside the calculated, often hard-edged sturctures favoured by most Op artists. World War II interupted Pearson's first career in theatre design but led to a prolonged contact with Japanese culture and a passion for painting. Back in New York City, he studied at the Art Students League and, as early as 1959, began to develop drawings he had made during the war from secret Japanese survey maps. Gradually he transformed a topography of mountains and valleys into non-objective forms that reflected a personal vision and heralded a new era of linear abstraction in his work. This text accompanied an exhibition of Pearson's drawings from 1959 to the mid-1970s, the years when the artist moved toward geometric abstraction. Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. This text accompanied an exhibition of Pearson's drawings from 1959 to the mid-1970s, the years when the artist moved toward geometric abstraction. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Zustand: New. New, unread copy. Softcover with a little light shelfwear around the edges. NO marks.

Soft cover. Zustand: Fine. Inscribed by Will Barnet on title page, no other markings. Very tight binding, no reading creases. Very slight outer wear. Inscribed by Illustrator(s).

Softcover. Zustand: VG. Color-illustrated wraps with white lettering. 31 pp. Color and BW illustrations. Exhibitin catalogue. With a title essay by Patrick McGrady, Curator. Includes an exhibition checklist.

Wrappers. Zustand: Fine Condition. 32 pages. Paperback. Texts in English. 37 illustrations 33 in color. Foreword by Jan Keene Muhlert, Director. Published on the occasion of the exhibition from the Palmer Museum of Art, Pennsylvania State University, University Park, PA May 10-October 5, 2003. Exhibition Checklist. Book. …

Zustand: New. Num Pages: 32 pages, 28 colour/4 b&w illustrations. BIC Classification: ACXJ; AFC; AGB. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 9 x 11 x 5. Weight in Grams: 299. . 2004. Illustrated. paperback. . . . .

mass market paperback. Zustand: poor; used. Prompt Shipment, shipped in Boxes, Tracking PROVIDED12mo; 433 pages; poor mass market paperback; heavy crease front cover; heavier dam stain; crease back cover; many pages creased by previous owner; tanning to face cover, scuff to face cover;few slight nicks to eges cover; tips bumped; tanned pages; spine slanting; prompt shipping with tracking.…

Zustand: New. Brand New.

Zustand: New. Num Pages: 32 pages, 28 colour/4 b&w illustrations. BIC Classification: ACXJ; AFC; AGB. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 9 x 11 x 5. Weight in Grams: 299. . 2004. Illustrated. paperback. . . . . Books ship from the US and Ireland.

Zustand: New. Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. This text accompanied an exhibition of Pearson's drawings from 1959 to the mid-1970s, the years when the artist moved toward geometric abstraction. Illustrator(s): Pearson, Henry. Num Pages: 68 pages, Illustrations (some col.), ports. BIC Classification: ACXJ; AFF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 273 x 216 x 7. Weight in Grams: 363. . 2002. Paperback. . . . .…

Zustand: New. Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. This text accompanied an exhibition of Pearson's drawings from 1959 to the mid-1970s, the years when the artist moved toward geometric abstraction. Illustrator(s): Pearson, Henry. Num Pages: 68 pages, Illustrations (some col.), ports. BIC Classification: ACXJ; AFF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 273 x 216 x 7. Weight in Grams: 363. . 2002. Paperback. . . . . Books ship from the US and Ireland.…

Taschenbuch. Zustand: Neu. Neuware - Will Barnet (1911-), much like Chuck Close and Alex Katz, has approached painting through sustained exploration of the relationship between abstract, geometric forms and the processes of perception. In this book, which accompanied an exhibition of the same name at the Palmer Museum of Art and the Alexandre Gallery, Patrick J. McGrady examines the paintings, drawings, and prints Barnet made in the 1960s, the decade when Barnet portrayed his family and renegotiated his commitment to pure abstraction. As McGrady traces work during this decisive period in Barnet's career, he shows how drawing became increasingly important in the evolution of such major paintings as Mother and Child, The Blue Robe, and Eden. In addition, McGrady provides a richly documented discussion of critics' responses to the profound changes in Barnet's art and Barnet's own commentary on his goals as an abstract artist.…

Taschenbuch. Zustand: Neu. Neuware - Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. Yet his work, although included in the landmark exhibition of 1965, 'The Responsive Eye, ' has an intuitive rhythm and poetic elegance that fall well outside the calculated, often hard-edged structures favored by most Op artists.…

Zustand: New. Will Barnet has approached painting through sustained exploration of the relationship between abstract, geometric forms and the processes of perception. This book examines the paintings, drawings, and prints Barnet made in the 1960s, the decade when Barnet .

Zustand: New. Henry Pearson is often linked to the Op Art movement of the 1960s because his best-known paintings feature a labyrinth of undulating parallel lines. This text accompanied an exhibition of Pearson s drawings from 1959 to the mid-1970s, the years when the art.

paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Soft cover. Zustand: As New. As new with no inscriptions or creases/faults,32pp fully illustrated.

Paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Hardcover. Zustand: Collectible-Very Good.

Paperback. Zustand: New. Manet and Friends accompanies an exhibition of the same name organized by the Palmer Museum of Art in memory of Manet scholar and Penn State distinguished professor of art history George Mauner, who passed away in 2004. The catalogue focuses on the printmaking milieu of Paris during the 1860s and early 1870s, when Ãdouard Manet produced the majority of his graphic works. Seventeen of Manet's etchings and lithographs are discussed, as are an equal number of prints by several of his colleagues and associates, including Flix Bracquemond, Alphonse Legros, and Marcellin Desboutin. Nancy Locke's feature essay examines Manet's prints in light of the French concept of les moeurscustoms, habits, or manners, but also ethicsabout which midâ"nineteenthâ"century writers and artists were deeply concerned. In discussing the confrontational manner in which Manet regularly posed his subjects, Locke speculates on how the viewer might have been expected to respond to such portrayals. The catalogue entries were written by Patrick McGrady.…