Balthus notebook (39 Ergebnisse)
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Hardcover. Zustand: Very Good. First Edition. With dust jacket. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.
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Zustand: very_good. Fast Free Shipping â" Very Good condition book with a firm cover and clean pages. Shows normal use and some light wear or limited notes markings. A solid, nice copy to enjoy.
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Hardcover. Zustand: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.
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Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.
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Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.
- Softcover
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Zustand: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.
- Softcover
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Paperback. Zustand: New. In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality and nudity i…n art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer. Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art.
- Softcover
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Paperback. Zustand: New. In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality and nudity i…n art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer. Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art.
- Softcover
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Zustand: As New. Unread copy in mint condition.
- Softcover
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Zustand: New. Brand New.
- Softcover
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Paperback. Zustand: new. Paperback. In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality a…nd nudity in art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer.Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
- Hardcover
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hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Hardcover, in jacket. Clean, unmarked, tightly bound. Light wear. Photos available. We ship daily. Expedited shipping available! (Heavy books & sets may require extra shipping charges.).
- Hardcover
- Erstausgabe
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Hardcover. Zustand: Good. Zustand des Schutzumschlags: Good. First Edition. A good hardcover first edition . Would be near fine except for a few dog-eared pages. First edition [6], 90 pages + plates. Interesting short monograph, particularly for the comparison of Balthus' imagery with the poetry of Rainer Maria Rilke (the artist…'s childhood mentor). Includes a short bibliography.7 b/w Illustrations / Plates.
- Hardcover
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Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. 1st Edition. Original hardcover in jacket, first edition, book is essentially new with tight spine and is unread. A few b + w plates. Excellent. c3.
- Softcover
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Paperback. Zustand: Brand New. 119 pages. 6.75x4.25x0.50 inches. In Stock.
- Hardcover
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Hardcover. Zustand: Used - Very Good. Zustand des Schutzumschlags: Very Good. Wrapped in complimentary Brodart dust jacket protector. Very nice clean, tight copy free of any marks.
- Softcover
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Paperback / softback. Zustand: New. New copy - Usually dispatched within 4 working days.
- Softcover
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Zustand: new.
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Zustand: New. 2020. 01st Edition. Paperback. . . . . .
- Softcover
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Zustand: New. 2020. 01st Edition. Paperback. . . . . . Books ship from the US and Ireland.
- Hardcover
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Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. Fine in dusdt jacket.
- Hardcover
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Zustand: very_good. This book is in Very good condition. There may be a few flaws like shelf wear and some light wear.
Verlag: Ecco Press 1989, 1989
- Hardcover
- Erstausgabe
Anbieter: Herland Books, Denver, CO, USAHerland Books
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In den WarenkorbHardcover First Printing. First Edition. Fine in fine dust jacket in mylar cover.
Verlag: Hopewell:Ecco Press. 1989. Hardcover., 1989
- Erstausgabe
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In den WarenkorbBalthus 1st. ed.not read or opened. new. d.j. Please email for info concerning any book or dust jacket. If d.j. does not appear in description, it means there is no dust jacket. Photos on request. Some books may have remainder marks. Heavy and/or oversized books require additional postage.
Verlag: The Ecco Press, New York, 1989
- Hardcover
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In den WarenkorbHardcover. Stated First Edition, First Printing. 5.5 x 8.5in. 90pp. Publisher's cloth boards. NEAR FINE in Near Fine dust jacket. The book itself shows the text-block edges lightly toned, otherwise remains Fine/As New. The dust jacket shows very slight shelf rubbing, otherwise is not price-clipped remaining Fine/As New. As pictu…red.
Verlag: Ecco, New York, 1989
- Hardcover
- Erstausgabe
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In den WarenkorbHardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First edition. Tiny soil spot on rear board, else fine in a fine dust jacket.
Verlag: David Zwirner Books 2020, 2020
- Softcover
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In den WarenkorbSm octavo softcover (VG+); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book may reduce your overall postage costs.
- Softcover
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Paperback. Zustand: new. Paperback. In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality a…nd nudity in art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer.Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Softcover
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Paperback. Zustand: New. In his 1989 book on Balthus-the storied and controversial artist who worked in Paris throughout the twentieth century-Guy Davenport gives one of the most nuanced, literary, and compelling readings of the work of this master. Reading it today highlights the change in perspectives on sexuality and nudity i…n art in the past thirty years.Written over several years in his notebooks, Davenport's distinct reflections on Balthus's paintings try to explain why his work is so radical, and why it has so often come under scrutiny for its depiction of girls and women. Davenport throws the lens back on the viewer and asks: is it us or Balthus who reads sexuality into these paintings? For Davenport, the answer is clear: Balthus may indeed show us periods in adolescent development that are uncomfortable to view, but the eroticization exists primarily on the part of the viewer. Arguing that Balthus's figures are erotic only if we make them so, and that their innocence is more present than anything pornographic in them, Davenport posits that the paintings hold up a mirror to our own perversities and force us, difficultly, to confront them. He writes, "The nearer an artist works to the erotic politics of his own culture, the more he gets its concerned attention. Gauguin's naked Polynesian girls, brown and remote, escape the scandal of Balthus's, although a Martian observer would not see the distinction." Davenport's critique helps us understand Balthus in our times-something we need more than ever as we crucially confront sexual politics in visual art.
