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Art & Architect of the Late 20th Century Art [Englisch] [Gebundene Ausgabe] Dorothea Eimert (Autor)

Mehr von Dorothea Eimert
Dorothea Eimert (Autor)
Art & Architect of the Late 20th Century Art [Englisch] [Gebundene Ausgabe] Dorothea Eimert (Autor)

2009 Parkstone Pr Parkstone Pr 2009 Hardcover 32 x 27,2 x 3,4 cm EAN: 978-1844846887 (ISBN: 1844846881)


Zustand: gebraucht - sehr gut, The global upheavals that took place over the course of the 20th century provoked an incredible metamorphosis of western art. The abundance of creative productivity during this century revolutionised the art world, breaking down boundaries and resulting in an extraordinary proliferation of artistic currents. In this brilliant work, the author presents the essential d mehr lesen ...
Schlagworte: The global upheavals that took place over the course of the 20th century provoked an incredible metamorphosis of western art. The abundance of creative productivity during this century revolutionised the art world, breaking down boundaries and resulting in an extraordinary proliferation of artistic currents. In this brilliant work, the author presents the essential disciplines and different artistic movements that accompanied the political, cultural, ideological, and social upheavals of the 20th century. For many years, Dr. Dorothea Eimert has led the Leopold Hoesch Museum in Düren, Germany. After studying art history, musicology, archeology and phonetics, she specialised in twentieth century art. She published extensively on many subjects such as Expressionism, Futurism, New Objectivity, Concret Art, Paper Art and contemporary art. Expressionism, Abstraction, Dada, Surrealism, Concrete Art, Op Art, POP Art etc, etc the 20th Century was a melting pot of opposing, diverging and shifting artistic styles, that even for those in the know, can become confusing. This large format duo (split into early and late 20th Century art and architecture) however does a good job of cataloging and documenting the most influential artistic movements of the last century. The books are set out well and categorize the most prominent art and architectural movements of the century, while giving the reader the major players in each of the scenes. The large format allows for some great reproductions and the text is set out not to compete with the images. Text and pictures compliment each other well and very few pictures feel redundant or out of place. While a little hefty to be carrying around, if you have a nice coffee table or shelf to put it on, and a hankering to learn more about the countless groups, cliques and circles that shaped and categorized 20th Century Art, I would definitely recommend this book. Art & Architect of the Late 20th Century Art [Englisch] [Gebundene Ausgabe] Dorothea Eimert (Autor)

Bestell-Nr.: BN26698

Preis: 299,99 EUR
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Erno Goldfinger: The Life of an Architect [Englisch] by Nigel Warburton Architektur architecture modernist architects models drawings A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-37945-8 / 0415379458 ISBN-13 978-0-415-37945-8 / 9780415379458 Erno Goldfinger The Life of an Architect [English] by Nigel Warburton (Author)

Mehr von Nigel Warburton
Nigel Warburton (Autor)
Erno Goldfinger: The Life of an Architect [Englisch] by Nigel Warburton Architektur architecture modernist architects models drawings A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-37945-8 / 0415379458 ISBN-13 978-0-415-37945-8 / 9780415379458 Erno Goldfinger The Life of an Architect [English] by Nigel Warburton (Author)

Routledge; New edition edition Routledge Chapman & Hall Routledge Chapman & Hall Routledge; New edition edition Softcover 216 S. 1.3 x 16.2 x 22.7 cm ISBN: 415379458


Zustand: gebraucht - sehr gut, Having lived in Balfron Tower and Mots House and undertaken extensive research in regard to Erno Goldfinger interviewing the Goldfingers family, relatives, friends, and colleagues who they worked with, Nigel Warburton has produced comprehensive biography of the Surrealist architect. With Jewish background coupled with Marxist concepts, he was an extremely energetic, mehr lesen ...
Schlagworte: Architektur architecture modernist architect models drawings Having lived in Balfron Tower and Mots House and undertaken extensive research in regard to Erno Goldfinger interviewing the Goldfingers family, relatives, friends, and colleagues who they worked with, Nigel Warburton has produced comprehensive biography of the Surrealist architect. With Jewish background coupled with Marxist concepts, he was an extremely energetic, passionate, persistent individual and always presented strong determination to what he wanted to do. Having believed positive concepts of Marxist and Communism, he energetically organised the art exhibitions of the 20th century art collection which contain the individual artist`s deepest feelings of everyday life. The chief purpose of holding this exhibition to raise funds Russia, but in the meanwhile, this promoted the individualism in the art world. The furniture and devices that he filled for houses have always been highly valued and their functional and flexible features have contributed for space savings and span-and-speck environment at the modernist houses. He was a forward thinking man, and designed children`s toys that would help their creativity. His second child, Liz Goldfinger became a furniture designer and two pieces of furniture that she designed are on display at 2 Willow Road. Mr Warburton concludes that Erno Goldfinger achieved posthumous recognition and insult. It is impossible to disregard his character as an architect. He possessed meticulous eye for detail, and undoubtedly was an extremely skilled geometrician. He was a rational, obstinate, and single-minded architect at all times, and his outspoken and intimidating manner frequently scared his colleagues. He designed several high rise towers, e.g. Alexandra Fleming House, Balfron Tower, and Trelick Tower to solve the lack of social housing in post war period. In the event of Ronan Point disaster and the times when the journalist remarked a number of defective points, he showed an unapologetic and remorseless attitude to the public. By and by, he became an unpopular figure in the late 1970s. He died of pancreatic cancer in 1987. On the request of English Heritage, Trelick Tower was added for Grade II listed building in 1998. Most carefully designed property, 2 Willow Road in Hampstead, which is under the care for by the National Trust has saved his reputation as a modernist architect, in addition to maintaining and promoting the value of the modern architecture and furniture, and 20th century art collection today. Endorsed with plenty photos and anecodes, Nigel Warburton has produced a very informative and descriptive biography of the memorable architect in the 20th century.A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Nigel Warburton (1962 - ). Nigel Warburton is a freelance philosopher and podcaster and bestselling author of several popular introductory Philosophy books including A Little History of Philosophy, Philosophy: The Basics, Thinking from A to Z, Philosophy: The Classics, Free Speech: A Very Short Introduction, Philosophy: Basic Readings, Freedom: An Introduction with Readings, and The Art Question. He has also co-edited two books based on his popular Philosophy podcast which he makes with David Edmonds `Philosophy Bites`. On Twitter he his @philosophybites, and he runs the weblogs Virtual Philosopher and Art and Allusion. His other podcasts include Social Science Bites, Free Speech Bites, Everyday Philosophy, and Philosophy: The Classics Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-37945-8 / 0415379458 ISBN-13 978-0-415-37945-8 / 9780415379458 Erno Goldfinger The Life of an Architect [English] by Nigel Warburton (Author) Erno Goldfinger: The Life of an Architect [Englisch] Nigel Warburton (Author)

Bestell-Nr.: BN29897

Preis: 249,90 EUR
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Inszenierung als Widerstand: Bildkörper und Körperbild bei Paul Klee von Prof. Dr. Ralf Bohn Medienwissenschaften FH Dortmund philosophische psychoanalytische technische Medienanalyse, Heiner Wilharm Szenografie & Szenologie #2 In seinen Werken überträgt Paul Klee den Übergang von (innerer) Stimme und (äußerem) Bild in ein szenisches Spiel - und stellt uns vor das Problem einer möglichen Opferlosigkeit dieses Übergangs. Als Musiker, Zeichner und Maler experimentiert er vielfältig mit dieser szenischen Dramatik. Werkimmanent stellt sich dabei die Frage, wie die Gewalt der Sinnenübergänge in den Kunst- und Designproduktionen moderiert und Schuldfreiheit »naturhafter« Produktion erreicht werden kann. Seine neurodermitische Erkrankung zeigt in äußerster Verdichtung - der Sklerose als Palimpsest der Organhäute - den einbehaltenen Schuldkonflikt am Körperbild und dessen nothafte Entäußerung in Malerei. Die Sklerose Klees ist die ultimative Antwort auf das faschistische Programm sich selbst restlos konsumierender (Kriegs-)Produktion. Autor: Ralf Bohn (Prof. Dr.) lehrt Medienwissenschaften an der FH Dortmund. Er arbeitet im Schnittpunkt von philosophischer, psychoanalytischer und technischer Medienanalyse. Kunst Musik Theater Kunststile Sozialwissenschaften Kommunikationswissenschaft Medienwissenschaft Art History of the 20th Century Arts Bild Bildwissenschaft Body Fine Arts Image Klee, Paul Körper Krankheit Kunstgeschichte des 20. Jahrhunderts Kunstwissenschaft Paul Klee Philosophie Philosophy Political Art Politische Kunst Psychoanalyse Psychoanalysis Visual Studies ISBN-10 3-8376-1262-7 / 3837612627 ISBN-13 978-3-8376-1262-2 / 9783837612622

Mehr von Prof. Ralf Bohn
Prof. Dr. Ralf Bohn Medienwissenschaften FH Dortmund philosophische psychoanalytische technische Medienanalyse, Heiner Wilharm
Inszenierung als Widerstand: Bildkörper und Körperbild bei Paul Klee von Prof. Dr. Ralf Bohn Medienwissenschaften FH Dortmund philosophische psychoanalytische technische Medienanalyse, Heiner Wilharm Szenografie & Szenologie #2 In seinen Werken überträgt Paul Klee den Übergang von (innerer) Stimme und (äußerem) Bild in ein szenisches Spiel - und stellt uns vor das Problem einer möglichen Opferlosigkeit dieses Übergangs. Als Musiker, Zeichner und Maler experimentiert er vielfältig mit dieser szenischen Dramatik. Werkimmanent stellt sich dabei die Frage, wie die Gewalt der Sinnenübergänge in den Kunst- und Designproduktionen moderiert und Schuldfreiheit »naturhafter« Produktion erreicht werden kann. Seine neurodermitische Erkrankung zeigt in äußerster Verdichtung - der Sklerose als Palimpsest der Organhäute - den einbehaltenen Schuldkonflikt am Körperbild und dessen nothafte Entäußerung in Malerei. Die Sklerose Klees ist die ultimative Antwort auf das faschistische Programm sich selbst restlos konsumierender (Kriegs-)Produktion. Autor: Ralf Bohn (Prof. Dr.) lehrt Medienwissenschaften an der FH Dortmund. Er arbeitet im Schnittpunkt von philosophischer, psychoanalytischer und technischer Medienanalyse. Kunst Musik Theater Kunststile Sozialwissenschaften Kommunikationswissenschaft Medienwissenschaft Art History of the 20th Century Arts Bild Bildwissenschaft Body Fine Arts Image Klee, Paul Körper Krankheit Kunstgeschichte des 20. Jahrhunderts Kunstwissenschaft Paul Klee Philosophie Philosophy Political Art Politische Kunst Psychoanalyse Psychoanalysis Visual Studies ISBN-10 3-8376-1262-7 / 3837612627 ISBN-13 978-3-8376-1262-2 / 9783837612622

2009 Transcript Transcript 2009 Softcover 277 S. 22,4 x 14,2 x 2 cm ISBN: 3837612627 (EAN: 9783837612622 / 978-3837612622)


Zustand: gebraucht - sehr gut, Kunst Musik Theater Kunststile Sozialwissenschaften Kommunikationswissenschaft Medienwissenschaft Art History of the 20th Century Arts Bild Bildwissenschaft Body Fine Arts Image Klee, Paul Körper Krankheit Kunstgeschichte des 20. Jahrhunderts Kunstwissenschaft Paul Klee Philosophie Philosophy Political Art Politische Kunst Psychoanalyse Psychoanalysis Visual Studies mehr lesen ...
Schlagworte: Kunst Musik Theater Kunststile Sozialwissenschaften Kommunikationswissenschaft Medienwissenschaft Art History of the 20th Century Arts Bild Bildwissenschaft Body Fine Arts Image Klee, Paul Körper Krankheit Kunstgeschichte des 20. Jahrhunderts Kunstwissenschaft Paul Klee Philosophie Philosophy Political Art Politische Kunst Psychoanalyse Psychoanalysis Visual Studies In seinen Werken überträgt Paul Klee den Übergang von (innerer) Stimme und (äußerem) Bild in ein szenisches Spiel - und stellt uns vor das Problem einer möglichen Opferlosigkeit dieses Übergangs. Als Musiker, Zeichner und Maler experimentiert er vielfältig mit dieser szenischen Dramatik. Werkimmanent stellt sich dabei die Frage, wie die Gewalt der Sinnenübergänge in den Kunst- und Designproduktionen moderiert und Schuldfreiheit »naturhafter« Produktion erreicht werden kann. Seine neurodermitische Erkrankung zeigt in äußerster Verdichtung - der Sklerose als Palimpsest der Organhäute - den einbehaltenen Schuldkonflikt am Körperbild und dessen nothafte Entäußerung in Malerei. Die Sklerose Klees ist die ultimative Antwort auf das faschistische Programm sich selbst restlos konsumierender (Kriegs-)Produktion. Autor: Ralf Bohn (Prof. Dr.) lehrt Medienwissenschaften an der FH Dortmund. Er arbeitet im Schnittpunkt von philosophischer, psychoanalytischer und technischer Medienanalyse. Kunst Musik Theater Kunststile Sozialwissenschaften Kommunikationswissenschaft Medienwissenschaft Art History of the 20th Century Arts Bild Bildwissenschaft Body Fine Arts Image Klee, Paul Körper Krankheit Kunstgeschichte des 20. Jahrhunderts Kunstwissenschaft Paul Klee Philosophie Philosophy Political Art Politische Kunst Psychoanalyse Psychoanalysis Visual Studies ISBN-10 3-8376-1262-7 / 3837612627 ISBN-13 978-3-8376-1262-2 / 9783837612622 978-3837612622 Inszenierung als Widerstand: Bildkörper und Körperbild bei Paul Klee von Prof. Dr. Ralf Bohn Medienwissenschaften FH Dortmund philosophische psychoanalytische technische Medienanalyse, Heiner Wilharm Szenografie & Szenologie #2

Bestell-Nr.: BN22099

Preis: 59,90 EUR
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19TH AND 20TH CENTURY PHOTOGRAPHY. CATALOGUE 1. DAGUERREOTYPES, 19TH CENTURY BELGIAN PHOTOGRAPHY, 19TH CENTURY FRENCH PHOTOGRAPHY, 19TH CENTURY TRAVEL ALBUMS, 20TH CENTURY PHOTOGRAPHY, SURREALISM.

Mehr von N/A.
N/A.
19TH AND 20TH CENTURY PHOTOGRAPHY. CATALOGUE 1. DAGUERREOTYPES, 19TH CENTURY BELGIAN PHOTOGRAPHY, 19TH CENTURY FRENCH PHOTOGRAPHY, 19TH CENTURY TRAVEL ALBUMS, 20TH CENTURY PHOTOGRAPHY, SURREALISM.

Antwerp Ceuleers & Van de Velde 2001 Paperback, original editor's jacket, 29.7x21 cm., pages not numbered, with 104 illustrations in b/w or in sepia.


Published on the occasion of the exhibition "19th and 20th Century Photography", Antiquariaat Rossaert Antwerp, from 15 September until 29 December 2001. With 104 exceptional photographs in b/w or sepia by Leo Dohmen, Marcel Mariën, Paul Nougé, Marcel Duchamp, Léonard Misonne, Edmond Fierlants, Louis Joseph Ghémar and many others.
Schlagworte: 19TH AND 20TH CENTURY PHOTOGRAPHY. CATALOGUE 1. DAGUERREOTYPES, 19TH CENTURY BELGIAN PHOTOGRAPHY, 19TH CENTURY FRENCH PHOTOGRAPHY, 19TH CENTURY TRAVEL ALBUMS, 20TH CENTURY PHOTOGRAPHY, SURREALISM. antwerp ceuleers & van de velde exhibition exposition tentoonstelling antiquariaat rossaert antwerp fotografie photographie photography catalogue catalog catalogus

Bestell-Nr.: 34749

Preis: 27,00 EUR
Versandkosten: 10,00 EUR
Gesamtpreis: 37,00 EUR
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Risunki russkih pisatelej XVII - nachala XX veka / Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries./ Figures Russian writers XVII - beginning XX century / Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries.

Mehr von Duganow
[Russische Kunstgeschichte] - Duganow, R.:
Risunki russkih pisatelej XVII - nachala XX veka / Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries./ Figures Russian writers XVII - beginning XX century / Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries. Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries. Self-portraits, Portraits, Landscapes, Caricatures, Battlepieces, Posters, Drawings, Calligraphy, Figured Verses, Book Illustrations.

Auflage: 1. Moscow : Sovetskaya Rossia, 1988. 254 S. mit Abb. 29.5 cm, Halbleinen mit Pappschuber


Nur russischer Text! Lese- und Lagerspuren, Schuber bestoßen und berieben / Gutes Exemplar / Bo17 / 47921 BO17
Schlagworte: Pictorial Souvenirs of Russian Writers From the 17th to the Early 20th Centuries. Self-portraits, Portraits, Landscapes, Caricatures, Battlepieces, Posters, Drawings, Calligraphy, Figured Verses, Book Illustrations, Russian Art

Bestell-Nr.: 47921

Preis: 35,00 EUR
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Transparente Bestellabwicklung - Verkäufer nutzt Order-Control - klicken für mehr Information
HEREND. TRADITIONAL CRAFTMANSHIP IN THE 20th CENTURY,

N/A;

HEREND. TRADITIONAL CRAFTMANSHIP IN THE 20th CENTURY,

Veszprem Szelenyi House 1997 Bound, red cardboard cover, illustrated dustjacket in colour, 215 x 310mm., 80pp., colour illustration throughout. ISBN 9638155736.


This book is an overview of Herend porcelain in the 20th century. In good condition.
Schlagworte: ceramics céramique porselein porcelain steengoed aardewerk applied art applique toegepaste kunst HEREND. TRADITIONAL CRAFTMANSHIP IN THE 20th CENTURY Szelenyi House 9638155736

Bestell-Nr.: 29030

Preis: 17,00 EUR
Versandkosten: 10,00 EUR
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Erno Goldfinger: The Life of an Architect [Gebundene Ausgabe] Nigel Warburton Architektur architecture modernist architects models drawings RIBA Collection Trellick Tower buildings Literatur Biografien Erfahrungsberichte BauTechnik A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-25853-7 / 0415258537 ISBN-13 978-0-415-25853-1 / 9780415258531 Erno Goldfinger The Life of an Architect [English] [Hardcover] Nigel Warburton (Author)

Mehr von Nigel Warburton
Nigel Warburton (Autor)
Erno Goldfinger: The Life of an Architect [Gebundene Ausgabe] Nigel Warburton Architektur architecture modernist architects models drawings RIBA Collection Trellick Tower buildings Literatur Biografien Erfahrungsberichte BauTechnik A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-25853-7 / 0415258537 ISBN-13 978-0-415-25853-1 / 9780415258531 Erno Goldfinger The Life of an Architect [English] [Hardcover] Nigel Warburton (Author)

Auflage: annotated edition Routledge Chapman & Hall Routledge Chapman & Hall Auflage: annotated edition Hardcover 197 S. 1,7 x 15,9 x 23,6 cm EAN: 978-0415258531 (ISBN: 0415258537)


Zustand: gebraucht - sehr gut, A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect i mehr lesen ...
Schlagworte: Architektur architecture modernist architect models drawings RIBA Collection Trellick Tower Literatur Biografien Erfahrungsberichte BauTechnik Erno Goldfinger A century after his birth Erno Goldfinger`s buildings are achieving heritage status. This biography of the British modernist architect of the 20th century details the story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition This is the first biography of Ern/ Goldfinger (1902-1987), the leading modernist architect in Britain in the twentieth century. It is the fascinating story of a man and his struggle to build in a modern style in Britain in the face of contemporary opposition. Today, opposition to his buildings, particularly Trellick Tower, is turning to admiration. 2 Willow Road, his own house, was recently acquired by the National Trust - its first modern property. A century after his birth his buildings are achieving heritage status. This book tells the story of Goldfinger`s life in architecture which raises profound questions about the role of architecture in British society and the political and moral values that buildings can embody. In writing this important new book, Nigel Warburton researched the extensive archive of Goldfinger`s writing, office papers, models and drawings held in the RIBA Collection and also interviewed people who knew and worked with him. Introduction 1. Foundations 2. Lessons in Concrete 3. In the Right Place 4. Connections 5. Making a Home 6. War Work 7. The Sensation of Space 8. Rebuilding 9. Rising High 10. Afterlife. Index. Literatur Biografien Erfahrungsberichte Technik Architektur ISBN-10 0-415-25853-7 / 0415258537 ISBN-13 978-0-415-25853-1 / 9780415258531 Erno Goldfinger The Life of an Architect [English] [Hardcover] Nigel Warburton (Author) Erno Goldfinger: The Life of an Architect [Englisch] [Gebundene Ausgabe] Nigel Warburton (Autor)

Bestell-Nr.: BN26707

Preis: 499,90 EUR
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The Louise and Walter Arensberg Collection : 20th century section / Philadelphia Museum of Art.

Mehr von Arensberg Louise Walter
Arensberg, Louise and Walter and Fiske Kimball:
The Louise and Walter Arensberg Collection : 20th century section / Philadelphia Museum of Art.

Philadelphia, Pa. : Philadelphia Museum of Art, 1954. [25] pages, 196 pages of plates : illustrations (some color), mit zahlr. teils farbigen Abbildungen / Fotos, 27 cm, gebundene Ausgabe, Leinen ohne Schutzumschlag, no dust jacket,


Zustand: geringe Gebrauchs- u. Lagerspuren, sehr gutes Exemplar. Text / Sprache: Englisch , The Louise and Walter Arensberg Collection : 20th century section / Philadelphia Museum of Art , foreword: Fiske Kimball. Introd.: Henry Clifford. Marianne Winter Martin ; 196 Tafeln, 1253B
Schlagworte: The Louise and Walter Arensberg Collection , 20th century section , Philadelphia Museum of Art , Kunst, Maler, Malerei, Indians of Mexico, Antiquities, Art, Pennsylvania, Philadelphia, Catalogs, Plastik, Skulptur, Mittelamerika ; Präkolumbische Zeit

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Water Colour on Porcelain: A Guide to the Use of Water Soluble Colourants [Englisch] [Gebundene Ausgabe] Arne Ase Annie Gisvold WaterColour on Porcelain Glazing Ceramics Manuals Stressing Materials and Techniques Textiles Dyes Ornament Porcelain 20th century Norway ISBN-10: 8200065243 ISBN-13: 978-8200065241 Scandinavian University Press

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Arne Ase (Autor) Annie Gisvold Arne A?se Scandinavian University Press
Water Colour on Porcelain: A Guide to the Use of Water Soluble Colourants [Englisch] [Gebundene Ausgabe] Arne Ase Annie Gisvold WaterColour on Porcelain Glazing Ceramics Manuals Stressing Materials and Techniques Textiles Dyes Ornament Porcelain 20th century Norway ISBN-10: 8200065243 ISBN-13: 978-8200065241 Scandinavian University Press

1989 Scandinavian University Press Scandinavian University Press 1989 Hardcover 260 S. ISBN: 8200065243 (EAN: 9788200065241 / 978-8200065241)


Zustand: gebraucht - sehr gut, Hardcover: 260 pages Publisher: Scandinavian University Press; First edition edition (Dec. 1989) Language: English ISBN-10: 8200065243 ISBN-13: 978-8200065241 Package Dimensions: 35.3 x 24.9 x 3.3 cm Water Colour on Porcelain: A Guide to the Use of Water Soluble Colourants [Englisch] [Gebundene Ausgabe] Arne Ase (Autor) 978-82000652410 Water colour on porcelain : a mehr lesen ...
Schlagworte: Glazing Ceramics Porcelain 20th century Norway Manuals Stressing Materials and Techniques Textiles Dyes Ornament Hardcover: 260 pages Publisher: Scandinavian University Press; First edition edition (Dec. 1989) Language: English ISBN-10: 8200065243 ISBN-13: 978-8200065241 Package Dimensions: 35.3 x 24.9 x 3.3 cm Water Colour on Porcelain: A Guide to the Use of Water Soluble Colourants [Englisch] [Gebundene Ausgabe] Arne Ase (Autor) 978-82000652410 Water colour on porcelain : a guide to the use of water-soluble colourants / Arne A?se translated from the Norwegian by Annie Gisvold Creator: A?se, Arne ISBN: 8200065243 Published/Created: Oslo, Norway Norwegian University Press copyright 1989 259 p. : ill. (some col.) 28 cm.

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Signierte und gewidmete Autogrammkarte des französischen Komponisten für neue Musik in der Tradition von Maurice Ravel Claude Debussy und Olivier Messiaen.  original hand signed autograph card with picture of the famous french composer.

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Henri, Dutilleux, NEW MUSIC und NEUE MUSIK:
Signierte und gewidmete Autogrammkarte des französischen Komponisten für neue Musik in der Tradition von Maurice Ravel Claude Debussy und Olivier Messiaen. original hand signed autograph card with picture of the famous french composer.

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Druckfoto des Französischen Komponisten Henri Dutilleux mit eigenhändiger handschriftlicher Widmung. Sehr schöner Erhaltungszustand. MINT CONDITION. Henri Dutilleux (French: [? ?i dytijø]; 22 January 1916 – 22 May 2013) was a French composer active mainly in the second half of the 20th century. His work, which garnered international acclaim, followed in the tradition of Maurice Ravel, Claude D mehr lesen ...
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Schlagworte: Henri Dutilleux wurde am 22.1.1916 im französischen Angers in eine der Kunst sehr eng verbundene Familie hineingeboren. Noch zu seiner Schulzeit begann er Klavier, Harmonielehre und Kontrapunkt bei Victor Gallois am Konservatorium in Douai zu studieren. Von 1933-1938 besuchte er das Pariser Konservatorium, wo er bei Jean und Noël Gallon Harmonielehre und Kontrapunkt, bei Henri Paul Busser Komposition und bei Maurice Emmanuel Musikgeschichte studierte. Nach kurzem Militärdienst als Sanitäter kehrte Dutilleux 1940 nach Paris zurück, wo er seinen Unterhalt zunächst als Pianist, Arrangeur und Lehrer verdiente, bis er 1942 Chorleiter an der Oper wurde. Von 1945 bis 1963 hatte er den Posten des Leiters der Musikproduktionen beim französischen Rundfunk ORTF inne, den er später aufgab, um sich mehr seiner eigenen Arbeit widmen zu können. 1961 bis 1970 lehrte er Tonsatz an der École Normale de Musique in Paris, außerdem war er von 1970 bis 1971 Gastprofessor am Pariser Konservatorium. Wenn auch persönliche Kontakte zu Kollegen wie André Jolivet, Darius Milhaud, Francis Poulenc und Georges Auric seinen Horizont erweiterten, so hat Henri Dutilleux doch nie einer bestimmten Gruppe oder Kompositionsrichtung angehört. Dutilleux komponierte sinfonische Werke, Solokonzerte (Cello, Violine), Kammermusik und Ballettmusik, Werke, die ihm alle seit seinem internationalen Durchbruch mit der ersten Sinfonie 1951 weltweite Anerkennung einbrachten. Zu den zahlreichen Auszeichnungen, die er erhielt, zählen der Grand Prix de Rome (1938), der französische Grand Prix National de la Musique (1967), der Praemium Imperiale in Anerkennung seines Gesamtwerks (1994), der Cannes Classical Award für The Shadows of Time (1999) und der Grand prix 1999 de la presse musicale internationale . Im Jahr 2005 wurde Anne-Sophie Mutters Ersteinspielung von Sur le même accord mit dem Echo Klassik ausgezeichnet. (signiert, Autogramm, Henri Dutilleux was born on 22 January 1916 in Angers, Maine-et-Loire. He was the great-grandson of the painter Constant Dutilleux and grandson of the composer Julien Koszul. He was also a cousin of the mathematician Jean-Louis Koszul. As a young man he studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Conservatoire de Paris. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint, in which he won joint first prize with the cellist Paul Tortelier),[3] Henri Büsser (composition) and Maurice Emmanuel (history of music). He studied music at the Conservatoire in the same class as Maurice Baquet, Henri Betti, Paul Bonneau and Louiguy.[citation needed] Dutilleux won the Prix de Rome in 1938 for his cantata L'anneau du roi but did not complete his entire residency in Rome due to the outbreak of World War II. He worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In 1942 he conducted the choir of the Paris Opera. Dutilleux worked as Head of Music Production for Radio France from 1945 to 1963. He served as Professor of Composition at the École Normale de Musique de Paris from 1961 to 1970. He was appointed to the staff of the Conservatoire National Supérieur de Musique in 1970 and was composer in residence at Tanglewood in 1995 and 1998. His students included the French composers Gérard Grisey and Francis Bayer, the Canadian composers Alain Gagnon and Jacques Hétu, the British composer Kenneth Hesketh, and many others. Invited by Walter Fink, he was the 16th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2006. For many years, Dutilleux had a studio on Île Saint-Louis, which was the heart of his existence.[4] He died on 22 May 2013 in Paris, aged 97[5] and was buried in Montparnasse Cemetery, in the same grave as Geneviève, his wife who pre-deceased him in 2009.[6]. His tombstone is made from grey granite and bears the epitaph "Compositeur".[7] Influences and style Dutilleux's music extends the legacies of earlier French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky. Among his favourite pieces, he mentioned Beethoven's late string quartets and Debussy's Pelléas et Mélisande.[8] His attitude toward serialism was more ambiguous. While he always paid attention to the developments of contemporary music and incorporated some serialist techniques into his own compositions,[9] he also criticized the more radical and intolerant aspects of the movement: "What I reject is the dogma and the authoritarianism which manifested themselves in that period".[10] As an independent composer, Dutilleux always refused to be associated with any school.[11] Rather, his works merge the traditions of earlier composers and post-World War II innovations and translate them into his own idiosyncratic style. His music also contains distant echoes of jazz as can be heard in the plucked double bass strings at the very beginning of his First Symphony and his frequent use of syncopated rhythms. Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers.[12] Some of Dutilleux's trademarks include very refined orchestral textures; complex rhythms; a preference for atonality and modality over tonality; the use of pedal points that serve as atonal pitch centers;[13] and "reverse variation," by which a theme is not exposed immediately but rather revealed gradually, appearing in its complete form only after a few partial, tentative expositions.[14] His music also displays a very strong sense of structure and symmetry. This is particularly obvious from an "external" point of view, in the overall organisation of the different movements or the spatial distribution of the various instruments, but is also apparent in the music itself (themes, harmonies and rhythms mirroring, complementing or opposing each other). According to Stuart Jefferies, "A passage may be conceived as a symmetrical shape of notes on paper and only later given musical substance. He loves symmetrical musical figures such as palindromes or fan-shaped phrases..."[15][16] Dutilleux's music was often influenced by art and literature, such as the works of Vincent van Gogh,[17] Charles Baudelaire[18] and Marcel Proust.[19] It also shows a concern for the concepts of time and memory, both in its use of quotations (notably from Béla Bartók, Benjamin Britten and Jehan Alain), and in short interludes that recall material used in earlier movements and/or introduce ideas that will be fully developed later. A perfectionist with a strong sense of artistic integrity, he allowed only a small number of his works to be published; what he did publish he often repeatedly revised. In his own words: I always doubt my work. I always have regrets. That's why I revise my work so much and, at the same time, I regret not being more prolific. But the reason I am not more prolific is because I doubt my work and spend a lot of time changing it. It's paradoxical, isn't it?[20] Compositions Dutilleux numbered as Op. 1 his Piano Sonata (1946–1948), written for the pianist Geneviève Joy, whom he had married in 1946. He renounced most of the works he composed before it because he did not believe them to be representative of his mature standards, considering many of them to be too derivative to have merit.[21] After the Piano Sonata, Dutilleux started working on his First Symphony (1951). It consists of four monothematic movements and has a perfectly symmetrical structure: music slowly emerges from silence (first movement—a passacaglia) and builds towards a fast climax (second—a scherzo and moto perpetuo), keeps its momentum (third—"a continuous melodic line that never goes back on itself"), and finally slowly fades out (fourth—a theme and variations).[22] In 1953, Dutilleux wrote the music for the ballet Le loup ("The Wolf"). In his Second Symphony, titled Le double (1959), the orchestra is divided into two groups: a small one at the front with instruments taken from the various sections (brass, woodwind, strings and percussion) and a bigger one at the back consisting of the rest of the orchestra. Although this brings to mind the Baroque concerto grosso, the approach is different: in this piece, the smaller ensemble acts as a mirror or ghost of the bigger one, sometimes playing similar or complementary lines, sometimes contrasting ones.[23] His next work, Métaboles (for orchestra, 1965) explores the idea of metamorphosis, how a series of subtle and gradual changes can radically transform a structure. A different section of the orchestra dominates each of the first four movements before the fifth brings them all together for the finale. As a result, it can be considered as a concerto for orchestra.[24] It quickly achieved celebrity and, following its première by George Szell and the Cleveland Orchestra, was performed in several North American cities, then in France.[25] Métaboles is now one of his most often performed works.[26] In the 1960s, Dutilleux met Mstislav Rostropovich, who commissioned him to write a cello concerto. Rostropovich premièred the work, titled Tout un monde lointain... [A whole distant world], in 1970. It is one of the most important additions to the cello repertoire of the second half of the 20th century[27][28] and is considered one of the composer's major achievements.[29] After the cello concerto, Dutilleux turned to chamber music for the first time in more than 20 years and wrote the string quartet Ainsi la nuit (1976). It consists of seven movements, some of which are linked by short "parentheses". The function of these parentheses is to recall material that has already been heard and to introduce fragments that will be fully developed later.[30] It is based on a hexachord (C?-G?-F-G-C-D) which highlights the intervals of fifth and major second.[31] Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics...) resulting in a difficult and elaborate work[30] which has been called "one of the treasures of the 20th century quartet repertoire".[32] He also published various works for piano (3 Préludes, Figures de résonances) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter work was originally composed on the occasion of Paul Sacher's 70th birthday in 1976, on a request by the Russian cellist Mstislav Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re (Es is E-flat in German, H is B-natural in German, and Re is D in French; see Sacher hexachord). He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit etoilée, inspired by Vincent van Gogh's The Starry Night. In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement conveyed by the painting. The work employs a string section of only lower-register instruments: cellos and double basses, no violins or violas.[30] In 1985, Isaac Stern premiered L'arbre des songes [The Tree of Dreams], a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire. According to the composer, it is based on a process of continual growth and renewal (hence the title): "All in all the piece grows somewhat like a tree, for the constant multiplication and renewal of its branches is the lyrical essence of the tree. This symbolic image, as well as the notion of a seasonal cycle, inspired my choice of 'L'arbre des songes' as the title of the piece."[33] Dutilleux later wrote Mystère de l'instant (for cymbalum, string orchestra and percussion, 1989), Les Citations (for oboe, harpsichord, double bass and percussion, 1991), The Shadows of Time (for orchestra and children voices, 1997), Slava's Fanfare (for Rostropovich's 70th birthday, 1997) and Sur le même accord (for violin and orchestra, 2002 – dedicated to Anne-Sophie Mutter). In 2003, he completed Correspondances, a song-cycle for soprano and orchestra inspired by poems and letters by Prithwindra Mukherjee, Rainer Maria Rilke, Aleksandr Solzhenitsyn and Vincent van Gogh. This work has received a very enthusiastic reception and has been programmed several times since its première.[34] His last major work was a song-cycle entitled Le temps l'horloge,[11] written for American soprano Renée Fleming. It consists of four pieces and an instrumental interlude on two poems by Jean Tardieu, one by Robert Desnos and one by Charles Baudelaire. The first three songs were premièred at the Saito Kinen Festival Matsumoto, Japan in September 2007. The American première of this partial version took place in November 2007 with the Boston Symphony Orchestra.[35] The complete work was unveiled on 7 May 2009 at the Théâtre des Champs-Elysées in Paris.[36][37] In 2010, Dutilleux added a third movement to his chamber work Les Citations.[38] The expanded version was premiered at the Festival d’Auvers-sur-Oise. In 2011, Pascal Gallois transcribed with Dutilleux's approval three of his early vocal works for bassoon and piano: Regards sur l'Infini (from the early cycle for voice and piano Quatre mélodies) and Deux sonnets de Jean Cassou (originally for baritone and piano). He played them in a concert at the Hôtel de Lauzun in presence of the composer.[39] While Dutilleux allowed only a small number of his works to be published, he actually wrote a lot of music but kept only a small fraction of it.[40] Dutilleux talked several times about his projects and expressed the wish to write more chamber music,[41] notably a second string quartet, a piece for clarinet and ensemble, one for solo double bass as well as some additional piano préludes.[22][42][43][44] He long considered composing an opera but abandoned that project because he could not find a libretto that appealed to him.[22][42] Those who commissioned works from Dutilleux included Charles Munch (Symphony No. 2, Le double), George Szell (Métaboles), Mstislav Rostropovich (Tout un monde lointain and Timbres, espace, mouvement), Isaac Stern (L'arbre des songes), Anne-Sophie Mutter (Sur le même accord) and Seiji Ozawa (The Shadows of Time and Le temps l'horloge). Works Dutilleux disowned many of the compositions he wrote before his Piano Sonata (1948). They are listed separately under Early works. Orchestral Symphony No. 1 (1951) Sérénades (1956; his contribution to Variations sur le nom de Marguerite Long) Symphony No. 2 Le double (1959) Métaboles (1964) Timbres, espace, mouvement (1978) Mystère de l'instant (1989) The Shadows of Time, for three children's voices and orchestra (1997) Slava's Fanfare for spatial ensemble (1997) Concertante Cello Concerto – Tout un monde lointain... [A whole distant world] (1970) Violin Concerto – L'arbre des songes [The Tree of Dreams] (1985) Nocturne for violin and orchestra Sur le même accord [On just one chord] (2002) Chamber/instrumental String Quartet – Ainsi la nuit [Thus the night] (1976) Trois strophes sur le nom de Sacher [Three stanzas on the name Sacher] for solo cello (1976–1982) Les citations for oboe, harpsichord, double bass and percussion (1985/1991/2010) Regards sur l'Infini and Deux sonnets de Jean Cassou for bassoon and piano (1943/2011 and 1954/2011 – transcription of the vocal works) Piano Tous les chemins mènent à Rome [All roads lead to Rome] (1947) Bergerie (1947) Piano Sonata (1947–48): I Allegro con moto II Lied III Choral et variations Blackbird (1950) Résonances (1965) Figures de résonances (1970) for two pianos Trois Préludes (1973–1988): D'ombre et de silence [In shadow and silence] (1973) Sur un même accord [On one chord] (1977) Le jeu des contraires [The game of opposites] (1988) Petit air à dormir debout [Little nonsensical air] (1981) Vocal Chansons de bord, for three children's voices (1952) Deux sonnets de Jean Cassou, for baritone and piano or baritone and orchestra (1954) Éloignez-vous for baritone and orchestra (1956) San Francisco Night, for voice and piano (1963) Hommage à Nadia Boulanger, for soprano, 3 violas, clarinet, percussion and zither (1967) Correspondances, for soprano and orchestra (2003) Le temps l'horloge, for soprano and orchestra (2007–2009) Ballet Le loup (1953) Film scores La Fille du diable) (fr), by Henri Decoin (1946) Six Hours to Lose, by Alex Joffé and Jean Lévitte (1947) Le Café du Cadran (fr), by Jean Gehret (1947) Le Crime des justes (fr), by Jean Gehret (1950) L'Amour d'une femme (fr), by Jean Grémillon (1953) Under the Sun of Satan, by Maurice Pialat (1987) Arrangements Choral, cadence et fugato for trombone and symphonic band (1995 – same as the chamber work, orchestrated by Claude Pichaureau) Au gré des ondes, 6 petites pièces pour orchestre (2014 - orchestrated by Kenneth Hesketh, published by Leduc) San Francisco Night, for voice and orchestra (2014 - orchestrated by Kenneth Hesketh, published by Leduc) Blackbird (1950) scored for Les Citations (instrumentation: oboe, harpsichord, percussion, double bass) by Kenneth Hesketh (2014, published by Billaudot) Mini-prélude en éventail (1987) scored for Les Citations (instrumentation: oboe, harpsichord, percussion, double bass) by Kenneth Hesketh (2016, unpublished) Early works Dutilleux disowned most of these pieces, written before his Piano Sonata of 1948. Some of them are nonetheless played and recorded regularly, in particular the Sonatine for Flute and Piano. Chamber/instrumental Four Exam Pieces for the Paris Conservatoire (1942–1950) Sarabande et cortège for bassoon and piano (1942) Sonatine for Flute and Piano (1943) Oboe Sonata (1947) Choral, cadence et fugato for trombone and piano (1950) Vocal Barque d'or [The Golden Boat] for soprano and piano (1937) Cantata L'anneau du roi [The King's Ring] (1938) Quatre mélodies [Four Melodies] for voice and piano (1943) La geôle [The Prison] for voice and orchestra (1944) Piano Au gré des ondes, 6 petites pièces pour piano (1946) [Along the waves]: I Prélude en berceuse II Claquettes III Improvisation IV Mouvement perpétuel V Hommage à Bach VI Étude Stature and tributes Following Dutilleux's death, the composer and conductor Laurent Petitgirard paid tribute to him as "one of the very rare contemporary composers" whose music became part of the repertoire in his lifetime, predicting that "[h]is work will remain intensely present after his death".[45] Several major musicians and conductors championed Dutilleux's works notably Charles Munch, George Szell, Mstislav Rostropovich, the Juilliard String Quartet, Isaac Stern, Paul Sacher, Anne-Sophie Mutter, Simon Rattle, Renee Fleming and Seiji Ozawa. The conductor and composer Esa-Pekka Salonen said of his music: "His production is rather small but every note has been weighed with golden scales... It's just perfect – very haunting, very beautiful. There’s some kind of sadness in his music which I find very touching and arresting."[46] The critic Tom Service, writing for the BBC, said: "Dutilleux's exquisite catalogue of pieces is becoming, rightly, ever more popular with performers and listeners all over the world".[47] An obituary in Gramophone commented that "Dutilleux represented a generation of musicians with roots almost back into the 19th century; certainly his music can be seen in a direct line from that of his great predecessors Debussy and Ravel."[48] Roger Nichols, in an obituary in The Guardian, described him as "the outstanding French composer between Messiaen and Boulez", adding that he "achieved a wholly individual synthesis of ear-catching colours and harmonies with formal rigour."[49] The Daily Telegraph said: "Because Dutilleux was a perfectionist and self-critical to a fault, his output was small. He wrote barely a dozen major works in his career, destroyed much of his early music and often revised what he had written. His early work was clearly derivative of Ravel, Debussy and Roussel; but his later music, though influenced by Bartok and Stravinsky, was entirely original and often seemed—in its scale—more German than French." However, The Daily Telegraph’s critic Philip Hensher described Dutilleux as "the Laura Ashley of music; tasteful, unfaultable, but hardly ever daring ... Personally," Hensher admitted, "I can’t stick him."[50] Rob Cowan, the BBC Radio 3 presenter and critic, recalled in June 2013 an interview with Dutilleux in which the composer had told Cowan that his personal favourite among his own works was Tout un monde lointain.[51] Awards and prizes Grand Prix de Rome (for his cantata L'Anneau du Roi) – 1938 UNESCO's International Rostrum of Composers (for Symphony No. 1) – 1955 Grand Prix National de Musique (for his entire oeuvre) – 1967 Praemium Imperiale (Japan – for his entire oeuvre) – 1994 Prix MIDEM Classique de Cannes (for The Shadows of Time) – 1999 Grand-Croix de la Légion d'honneur – 2004 Ernst von Siemens Music Prize (for his entire oeuvre) – 2005 Prix MIDEM Classique de Cannes (for his entire oeuvre) – 2007 Cardiff University Honorary Fellowship (for his entire oeuvre) – 2008[52] Gold Medal of the Royal Philharmonic Society – 2008 Kravis Prize – 2011 Honours Monaco : Commander of the Order of Saint-Charles (13 May 1998)[53] France : Grand'Croix of the Légion d'honneur (31 Dec 2003)[54] Notes "Henri Dutilleux | Biography, Albums, & Streaming Radio". AllMusic. Retrieved 2015-11-16. Paul Griffiths (23 May 2013). "Henri Dutilleux, Modernist Composer, Dies at 97". The New York Times. Retrieved 24 May 2013. Blum, David; Tortelier, Paul (1984). Paul Tortelier: a self-portrait, in conversation with David Blum (1 ed.). London: Heinemann. p. 53. ISBN 0-434-78860-0. Roger Nichols (2013-01-21). "Henri Dutilleux obituary | Music". The Guardian. Retrieved 2015-11-16. Pierre Gervasoni (22 May 2013). "Le compositeur français Henri Dutilleux est mort". Le Monde. Retrieved 22 May 2013. "Henri Dutilleux (1916 - 2013) - Find A Grave Memorial". Findagrave.com. Retrieved 2015-11-16. Sarka-SPIP, Collectif. "DUTILLEUX Henri (1916-2013) - Cimetières de France et d'ailleurs". www.landrucimetieres.fr. Retrieved 11 June 2017. "Mezzo Voce interview". Youtube.com. 2010. Retrieved 2015-11-16. "'Obsessionnel', the third movement of Métaboles, uses a note row. . . ." (Potter 2001); Nichols and Dutilleux 1994, 87. Nichols and Dutilleux 1994, 87. [1] Archived 9 June 2011 at the Wayback Machine. Henri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory : Conversations with Claude Glayman. Ashgate Publishing, Ltd. pp. 110–1. ISBN 978-0-7546-0899-8. Retrieved 26 May 2013. "This use of pivot chords (or pivot notes) is a constant of Dutilleux's mature style, and provides a point of reference for the listener within an essentially atonal context" (Potter 2007, 53). Potter 2001, also quoted on Ensemble Sospeso website Archived 25 May 2006 at the Wayback Machine. (5th paragraph). BBC Philharmonic website, "Latest Concerts from the Manchester Student Music Network" Saturday 25 November (undated) (accessed 19 June 2008). Swart ?2007[dead link]. Jeffries 2005. "Dutilleux pousse plus avant encore que Bartók les symétries de tout type, rétrogrades (par exemple au début du quatuor Ainsi la nuit, 1974–1976) ou en miroir" (Amblard 2007 Archived 24 October 2007 at the Wayback Machine.). "A great lover of painting, Dutilleux claimed to have van Gogh's La nuit etoilee always in mind when writing Timbres, espace, mouvement, and later added the title of the painting as a subtitle to his work" (Potter 2001 Archived 25 May 2006 at the Wayback Machine.) "Baudelaire's poetry inspired the cello concerto Tout un monde lointain...; all five movements feature a Baudelaire epigraph at the head of the score" (Potter 2001 Archived 25 May 2006 at the Wayback Machine.). "It is especially the ideas of time and memory, more specifically involuntary memory that the internationally acclaimed French composer Henri Dutilleux finds attractive. Dutilleux often refers to Proust's influence on his music. Furthermore, they both believe in direct experience and communication as the essential function of the work of art" (Swart and Spies 2007 Archived 26 August 2009 at the Wayback Machine.). "Work of the week - Henri Dutilleux: Le temps l'horloge". Schott-music.com. Archived from the original on 2014-12-19. Retrieved 2015-11-16. The Living Composers Project: "Henri Dutilleux" (accessed 19 June 2008), paragraph 2. Henri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory: Conversations with Claude Glayman. Ashgate Publishing, Ltd. pp. 33–34. ISBN 978-0-7546-0899-8. Retrieved 26 May 2013. Seen and Heard International: Glyn Pursglove, "Concert Review: Dutilleux, Bartok", accessed 26 May 2013 Henri Dutilleux; Claude Glayman (2003). Henri Dutilleux: Music—mystery and Memory: Conversations with Claude Glayman. Ashgate Publishing, Ltd. p. 58. ISBN 978-0-7546-0899-8. Retrieved 26 May 2013. CIRM – Centre National de Création Musicale, 2006 "Les Métaboles furent commandées en 1959 par le chef George Szell à Henri Dutilleux à l'occasion du quarantième anniversaire de l'Orchestre de Cleveland, qui en assura la création le 14 janvier 1965 sous la direction du commanditaire. L'œuvre connut rapidement la célébrité et fut reprise dans les grandes villes nord-américaines puis en France." Métaboles, accessed 26 May 2013 "Wasselin 2007". Archived from the original on 16 July 2011. Retrieved 27 August 2008. "The great Russian cellist Mstislav Rostropovich commissioned Dutilleux to write Tout un monde lointain, now an important work in the cello repertoire." "London Symphony Orchestra – 2009". Archived from the original on 20 December 2010. Retrieved 1 July 2013. "Tout un monde lointain... un des plus beaux concertos pour violoncelle de la seconde moitié du XXe siècle qui... s'est trouvé hissé au premier rang, celui des concertos de Chostakovitch, Penderecki, Britten..." (Peters 2007 Archived 3 December 2013 at the Wayback Machine.). "In the meantime other cellists had Dutilleux's concerto in their repertoire and several other recordings are now available. Tout un monde lointain... is a splendid work and probably one of the composer's finest achievements"(Culot 2008). Simon Marin's liner notes (Erato CD 0630-14068-2) "Henri Dutilleux : Entree de cristal." (PDF). Symetrie.com. Retrieved 25 November 2017. "50ish Essential String Quartets for Fun and Profit". Rate Your Music. Archived from the original on 2014-11-24. Retrieved 2015-11-16. Robert Adelson (1985-11-05). "L'arbre des songes, concerto for… | Details". AllMusic. Retrieved 2015-11-16. "Correspondances... Je suis heureux que cette œuvre soit beaucoup jouée en ce moment, vingt fois dans le monde!" (Costantino 2006 Archived 25 November 2008 at the Wayback Machine.). Eichler 2007. Boston.com (30 November 2007). "The Classical Music Network". ConcertoNet.com. Retrieved 2015-11-16. "" Le Temps l'horloge " de Dutilleux, enfin complet". LeMonde.fr. Retrieved 2015-11-16. Paulino, Romain (27 June 2010). "Henri Dutilleux fêté au Festival d'Auvers-sur-Oise". ResMusica. Retrieved 26 May 2013. "Pascal Gallois". Pascal Gallois. Archived from the original on 17 November 2015. Retrieved 2015-11-16. "This modest output—modest in quantity, though not in quality—is nonetheless deceptive. His biographer Caroline Potter reports, 'Dutilleux has said that, contrary to what may be assumed by glancing at his catalogue, he actually writes a great deal, but uses only a small percentage of the material.'" (The Marie-Josée Kravis Prize for New Music at the New York Philharmonic 2011) "... je voudrais combler les lacunes de mon œuvre ; ce que je n’ai pas fait ou trop peu. Par exemple, j’ai peu d’oeuvres de musique de chambre" (Costantino 2006 Archived 25 November 2008 at the Wayback Machine.). Bruno Serrou. "Classique d'aujourd'hui, blog d'actualité de la musique classique et contemporaine: Le grand compositeur français Henri Dutilleux est mort". Brunoserrou.blogspot.be. Retrieved 2015-11-16. "Nor is the cycle meant as a swan song—the composer has expressed interest in returning to the string quartet genre" ("May 2007" (PDF). Archived from the original (PDF) on 19 July 2011. Retrieved 14 April 2009.) "La Chronique d'Altamusica". Altamusica.com. 2013-05-23. Retrieved 2015-11-16. "Famed French composer Dutilleux dies aged 97". google.com. 2013. Retrieved 22 May 2013. Brian Wise (22 May 2013). "Henri Dutilleux, Leading French composer, Dies at Age 97". wqxr.org. Retrieved 23 May 2013. Tom Service (22 May 2013). "Henri Dutilleux, French composer, dies aged 97". bbc.co.uk. Retrieved 22 May 2013. Obituary: Henri Dutilleux – composer. gramophone.co.uk (22 January 1916). Henri Dutilleux obituary | Music. The Guardian (22 January 1916). "Henri Dutilleux". The Daily Telegraph. 22 May 2013. Retrieved 23 May 2013. "A novelist, a botanist, a TV writer, a missionary and a composer". bbc.co.uk. 9 June 2013. Retrieved 9 June 2013. "Dutilleux centenary on BBC Radio 3". Retrieved 11 June 2017. Nomination by Sovereign Ordonnance n° 13454 of 13 May 1998 (French) "Archived copy". Archived from the original on 6 August 2016. Retrieved 8 June 2016. References Amblard, Jacques. 2007. "Parcours de l'oeuvre de Henri Dutilleux (1916)". BRAHMS: Base de documentation sur la musique contemporaine. Paris: Ircam—Centre Pompidou (2 October). Costantino, Cédric. 2006. "Applaudir: Entretien avec Henri Dutilleux". Classiquenews.com (11 May). (Accessed 19 June 2008) Culot, Hubert. 2008. "CD Review Dutilleux – Caplet Works for cello" MusicWeb International (September). Dutilleux, Henri, and Claude Glayman. 1993. Henri Dutilleux, Mystère et Mémoire des Sons: Entretiens avec Claude Glayman. Paris: Belfond. ISBN 2-7144-2971-8. English edition, as Henri Dutilleux: Music—Mystery and Memory: Conversations with Claude Glayman, translated by Roger Nichols. Aldershot (Hants) and Burlington (VT): Ashgate, 2003. ISBN 0-7546-0899-9. Eichler, Jeremy. 2007. "Henri Dutilleux's Search for Lost Time (and the Clock)". The Boston Globe (30 November). Jeffries, Stuart. 2005. "Contentious, moi?" The Guardian (28 April 2005). May, Thomas. 2007. "Henri Dutilleux: 'Le Temps l’Horloge,' for Soprano and Orchestra" at the Wayback Machine (archived 19 July 2011) [program notes]. Boston: Boston Symphony Orchestra (29 November) (archive from 19 July 2011). Nichols, Roger, and Henri Dutilleux. 1994. "Progressive Growth: Roger Nichols Talks to Henri Dutilleux about His Life and Music". The Musical Times 135, no. 1812 (February): 87–90. Peters, Jean-François. 2007. "Henri Dutilleux, Tout un monde lointain... , concerto pour violoncelle en présence du compositeur". Classiquenews.com (10 January 2007). Potter, Caroline. 2001. "Dutilleux, Henri". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell, 7:770–77. London: Macmillan. Potter, Caroline. 1997. Henri Dutilleux: His Life and Works. Aldershot (UK) and Brookfield (Vermont, USA): Ashgate Publishing Company. ISBN 1-85928-330-6. Potter, Caroline. 2006. "Dutilleux at 90". Musical Times 147, no.1894 (Spring): 51–58. Rae, Caroline. 2000. "Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?" Tempo, new series, 212 (April): 22–30. Serrou, Bruno. 1995. [2]. Entretien avec Henri Dutilleux. Paris (19 December 1995). Swart, Bernarda. [2007]. "Proust's memory concept in Dutilleux's Sonata for Oboe and Piano (1947)[permanent dead link]" Brigham Young University Hawaii: Fine Arts website (accessed 19 June 2008). Swart, Bernarda, and Bertha Spies. 2007. "Om te onthou: Marcel Proust en Henri Dutilleux". Tydskrif vir Geesteswetenskappe 47, no. 2:243–58. Wasselin, Christian. 2007. "Portrait: L’humble fierté d’Henri Dutilleux" at the Wayback Machine (archived 16 July 2011). Scenesmagazine.com (July) (archive from 16 July 2011). External links Wikimedia Commons has media related to Henri Dutilleux. Henri Dutilleux on IMDb Henri Dutilleux's page at Theodore Presser Company Henri Dutilleux on The Living Composers Project Henri Dutilleux's page on the Schott Music website Dutilleux Centenary Website of the "Dutilleux Centenary", 2016 "Henri Dutilleux biography" (in French). IRCAM. "Barque d'or"—an early Dutilleux song rediscovered Janet Obi-Keller, 2005 Dutilleux at 90 Caroline Potter in Musical Times, 2006 Henri Dutilleux classicalsource, articles on Dutilleux and CD and concert reviews Dutilleux awarded prestigious RPS Gold Medal Schott news, 2008 Sidelined, But Not Forgotten LISTEN Magazine Spring 2010 Excerpts from sound archives of Dutilleux's works. Project "eSACHERe" vte Henri Dutilleux Orchestral works Symphony No. 1 Symphony No. 2 (le Double) Métaboles Timbres, espace, mouvement Concertante L'arbre des songes Sur le même accord Tout un monde lointain... Chamber/instrumental Ainsi la nuit Sonatine for Flute and Piano Piano music Piano Sonata Vocal music Correspondances Deux sonnets de Jean Cassou Le temps l'horloge Related articles Constant Dutilleux Portal Portal:Classical music vte Modernist composers Europe Béla Bartók Alban Berg Luciano Berio Pierre Boulez Benjamin Britten Ferruccio Busoni Jacques Calonne Paul Dukas Marcel Dupré Henri Dutilleux Hans Werner Henze Arthur Honegger Gottfried Huppertz Leoš Janácek Sigfrid Karg-Elert Charles Koechlin Ernst Krenek György Ligeti Witold Lutoslawski Gustav Mahler Igor Markevitch Olivier Messiaen Darius Milhaud Nikolai Myaskovsky Luigi Nono Gavriil Popov Francis Poulenc Sergei Prokofiev Max Reger Nikolai Roslavets Othmar Schoeck Arnold Schoenberg Alexander Scriabin Dmitri Shostakovich Karlheinz Stockhausen Richard Strauss Igor Stravinsky Michael Tippett Ernst Toch Charles Tournemire Fartein Valen Edgard Varèse Louis Vierne William Walton Anton Webern Kurt Weill Iannis Xenakis Sharp symbol N. America George Antheil Milton Babbitt Samuel Barber Leonard Bernstein John Cage Elliott Carter Carlos Chávez Aaron Copland Henry Cowell David Diamond George Gershwin Philip Glass Charles Ives Conlon Nancarrow Leo Ornstein Walter Piston Steve Reich Silvestre Revueltas Wallingford Riegger George Rochberg Carl Ruggles Ruth Crawford Seeger Roger Sessions S. America Alberto Ginastera Mozart Camargo Guarnieri Heitor Villa-Lobos Gilberto Mendes Leon Schidlowsky vte Musical modernism Genres and techniques Abstractionism Athematicism Atonality Dissonant counterpoint Dada Experimental music Expressionism Futurism Impressionism Microtonal music Modality Modes of limited transposition Neoclassicism Neotonality New Objectivity Noise music Pandiatonicism Polyrhythm Polytonality Process music Quartal and quintal harmony Serialism Surrealism Sound collage Sound mass Tone cluster Tropes Twelve-tone technique Sharp symbol Related topics Postmodern music vte Ernst von Siemens Music Prize Benjamin Britten (1974) Olivier Messiaen (1975) Mstislav Rostropovich (1976) Herbert von Karajan (1977) Rudolf Serkin (1978) Pierre Boulez (1979) Dietrich Fischer-Dieskau (1980) Elliott Carter (1981) Gidon Kremer (1982) Witold Lutoslawski (1983) Yehudi Menuhin (1984) Andrés Segovia (1985) Karlheinz Stockhausen (1986) Leonard Bernstein (1987) Peter Schreier (1988) Luciano Berio (1989) Hans Werner Henze (1990) Heinz Holliger (1991) H. C. Robbins Landon (1992) György Ligeti (1993) Claudio Abbado (1994) Harrison Birtwistle (1995) Maurizio Pollini (1996) Helmut Lachenmann (1997) György Kurtág (1998) Arditti Quartet (1999) Mauricio Kagel (2000) Reinhold Brinkmann (2001) Nikolaus Harnoncourt (2002) Wolfgang Rihm (2002) Alfred Brendel (2004) Henri Dutilleux (2004) Daniel Barenboim (2005) Brian Ferneyhough (2007) Anne-Sophie Mutter (2008) Klaus Huber (2009) Michael Gielen (2010) Aribert Reimann (2011) Friedrich Cerha (2012) Mariss Jansons (2013) Peter Gülke (2014) Christoph Eschenbach (2015) Per Nørgård (2016) Pierre-Laurent Aimard (2017) Beat Furrer (2018) Authority control Edit this at Wikidata WorldCat Identities BIBSYS: 17896 BNE: XX912735 BNF: cb138935467 (data) GND: 118834924 ISNI: 0000 0001 2118 1128 LCCN: n80131738 LNB: 000039219 MusicBrainz: ee79471f-3ae5-426e-a469-d9f2aa312986 NDL: 00997262 SELIBR: 228955 SNAC: w65q4xxd SUDOC: 028077067 VIAF: 2655947 Categories: 1916 births 2013 deaths People from Angers French classical composers French male classical composers 20th-century classical composers 21st-century classical composersFrench ballet composers Prix de Rome for composition Recipients of the Praemium Imperiale Honorary Members of the Royal Academy of Music Conservatoire de Paris alumni Academics of the Conservatoire de Paris Academics of the École Normale de Musique de Paris Royal Philharmonic Society Gold Medallists Commanders of the Order of Saint-Charles French military personnel of World War II Pupils of Maurice Emmanuel International Rostrum of Composers prize-winners 20th-century French musicians Ernst von Siemens Music Prize winners Grand Croix of the Légion d'honneur Burials at Montparnasse Cemetery (Quelle: Wikipedia)

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